Podcasts about randy california

En esta entrega hemos escuchado la música de Big Scenic Nowhere; Burning Sleeves; 3rd Secret; Foghat; Black Country Communion; Space Debris; Randy California.

Episode 153: Well, Toot My Flute! Court Is In Session. Nostalgia Abounds Here. August 23, 2024 In case you wonder what's in this podcast episode, I can only tell you that I think you'll dig it from the front end to the back end. Have you heard of the group who needed a cover name to avoid contractual problems and decided to take the name of a crater on the moon? Yeh, things like that today in this hour. There's also a jazzy one from Spirit. Randy California could really rip! It's all a champagne jam. You can enjoy the company of others listening to Tales Vinyl Tells Wednesdays at 5 PM Central on RadioFreeNashville.org and of course you can catch all the 150+ episodes on your favorite podcast app as well as on StudioMillsWellness.com. If you'd want to financially support this project of preserving and sharing the great rock from the 60s & 70s, go ahead to Patron.podbean.com/talesvinyltellssupport and you'll have a better day. Thank you! Here's a link to Tales Vinyl Tells on Apple podcasts.

On this episode of the podcast, we discuss Spirit and their fourth album Twelve Dreams of Dr. Sardonicus. The band Spirit sports an impressive pedigree. Drummer Ed Cassidy (20 years older than the rest of the band) was an established jazz musician, having played drums with many jazz greats throughout the 1940s and 1950s.  His stepson Randy California (né Randy Wolfe) was a young guitar prodigy, who at 15 years old impressed Jimi Hendrix enough to be asked to join his band Jimmy James and the Blue Flames. Released in 1970, Twelve Dreams of Dr. Sardonicus, is Spirit's most beloved album, and considered by many to be an all-time great. With one foot firmly planted in the idealism of the 1960s, and the other planted in the experiential and harder-edged music of the 1970's,  it musically straddles both decades, but is unlike almost anything else released at the time.  Combining elements of folk, jazz, progressive rock, psychedelia, and even proto-metal, Twelve Dreams of Dr. Sardonicus effortlessly slides from folk ballads, to hook-laden rockers, to far out space jams. And while the album, like the band itself, may not be easy to categorize, Twelve Dreams of Dr. Sardonicus is an immensely compelling  and consistently entertaining listen. Visit us at www.tappingvinyl.com.

Robert Plant and Jimmy Page have an L.A. date set for May 10th, but it's not a Led Zeppelin reunion show. Rather, it's the start date for a jury trial over the claim they ripped off the opening riff from a song by the band Spirit for "Stairway to Heaven." On Friday, U.S. District Judge Gary Klausner ruled that Led Zep's 1971 classic is similar enough to "Taurus," a 1967 instrumental track by Spirit, to have a jury decide whether Plant and Page committed copyright infringement. The suit was filed by Michael Skidmore, a trustee for the late Randy California, who wrote "Taurus" and played guitar in Spirit. Skidmore points out that Spirit and Zeppelin toured together in 1968 and '69 and Page may have been motivated to write "Stairway" after hearing "Taurus" performed live by Spirit. There is some good news for the Zep camp, though. The judged dropped claims against bassist John Paul Jones and Warner Music, so only Page and Plant remain on the hook.

Robert Plant and Jimmy Page have an L.A. date set for May 10th, but it's not a Led Zeppelin reunion show. Rather, it's the start date for a jury trial over the claim they ripped off the opening riff from a song by the band Spirit for "Stairway to Heaven." On Friday, U.S. District Judge Gary Klausner ruled that Led Zep's 1971 classic is similar enough to "Taurus," a 1967 instrumental track by Spirit, to have a jury decide whether Plant and Page committed copyright infringement. The suit was filed by Michael Skidmore, a trustee for the late Randy California, who wrote "Taurus" and played guitar in Spirit. Skidmore points out that Spirit and Zeppelin toured together in 1968 and '69 and Page may have been motivated to write "Stairway" after hearing "Taurus" performed live by Spirit. There is some good news for the Zep camp, though. The judged dropped claims against bassist John Paul Jones and Warner Music, so only Page and Plant remain on the hook.

For it's fifth studio album, Jethro Tull decided to satirize the concept album which was popular amongst prog rock acts like themselves, Yes, and Emerson, Lake & Palmer.  Thick as a Brick is a single piece of music spread across two album sides, and takes inspiration from Monty Python, poking fun at the critics, the audience, and the band itself.  Ian Anderson wrote much of the album, but the entire band contributed to the songs.  The "concept" of this concept album is that the lyrics are written by an 8 year-old genius named Gerald Bostock, and the album is a musical adaptation of Bostock's poem.  The cover art continues the spoof, as it forms a 12-page English newspaper with both articles and advertisements that might be found in a small town paper.  Contemporary critical reviews of the album were mixed, but retrospective reviews would all be positive.  Commercially the album was a success, hitting number 1 in the US, Canada, and Australia, and hitting number 5 in the UK.  Brian brings us this prog rock spoof-turned-classic. Thick as a Brick, part 1This is the entire album side 1.  Most Jethro Tull fans will recognize the first few minutes as the radio cut of "Thick As a Brick," though most FM stations would truncate it as it drifts into the next movement of the suite.  Although it is one continuous piece of music, the movements are actually three- to five-minute songs stitched together to form a continuous whole.   ENTERTAINMENT TRACK:The main theme from the motion picture “The Godfather”  The ultimate mob movie was released this month, and was an offer we couldn't refuse! STAFF PICKS:A Horse With No Name by AmericaRob's staff pick was America's first and most successful single off their self-titled debut album.  The song was originally entitled "Desert Song," and was inspired by prints by Salvador Dali and M.C. Escher.  One unusual thing about this song is that it is built on only two chords.Chelsea Girls  by SpiritBruce brings us a deep cut in the leading track from Spirit's fifth album called Feedback.  This is the only Spirit album to feature John and Al Staehely as band members, and to not feature Randy California as a band member.  This album is a little more California country rock than the prog rock/psychedelic rock for which Spirit is better known.30 Days In the Hole by Humble Pie Wayne presents the version of Humble Pie with guitarist Steve Marriott on lead vocals, as Peter Frampton had left the group.  This is off their fifth and most successful album, “Smokin.'”  This would become Humble Pie's best known song, despite the fact that it did not do well on the charts.Stay With Me by the FacesRod Stewart's voice is hard to miss in Brian's staff pick.  This song chronicles the stereotypical one night stand of a band member on the tour.  Rod Stewart and Ronnie Wood co-wrote this song, and  it is off their album "A Nod Is As Good As A Wink...To A Blind Horse."   COMEDY TRACK:Taurus by Dennis CoffeyThis rock instrumental was on the charts in this month.

Episode 022: The Keys to Room Twenty-Two: Selections from the Post-Psychedelic Era Part TwoThe Bee Gees - Sweet Song of Summer (UK 1972) A true oddity in the brothers Gibb's sprawling discography, sounding like a lost track from their psych era four years previous.  They create quite an atmosphere that fuses trippy synth experiments with battle percussion and chants that sound like a crew of vikings backing them.  Part of their "lost" period where they are coming out of their early Beatle-esque pop sound, but before they'd stumble on a super successful style more informed by American soul and R&B.Vangelis Papathanis - Sunny Earth (Greece 1973) Originally part of Greek psychedelic warlords Aphrodite's Child, this moody sound piece comes from Vangelis' second solo album.  After a prolific run of albums, Vangelis would eventually find much success in the field of soundtrack world.Yoko Ono - Greenfield Morning I Pushed an Empty Baby Carriage All Over the City (US 1970) Yoko's work is often polarizing, sometimes dismissed as avant-garde rambling - but her early work does have its gems.  On this standout track from her first album, her trademark shriek is backed by a thumping groove that provides just enough grounding for her to deliver her audible freak out.Spirit - The Other Song (1975) Recorded several years after their "heyday", this song sounds like it could be a relic from their Dr. Sardonicus era.  Produced by the enigmatic Randy California, this phased wonder comes from the second album they recorded after their first initial reunion, Son of Spirit. White Noise - Love Without Sound (1969) Pioneers of early electronic exploration, this band began as a group project between David Vorhaus and BBC Radio Workshop members Delia Derbyshire and Brian Hodgson.  Their first album contains some of the most forward thinking and bizarre electronic music of the time, and foreshadows how music would be made in the future with it's use of tape loops and wacky machines.Kevin Ayers - The Confessions of Dr. Dream (UK 1974) Originally part of prog-psych legends The Soft Machine, Kev Ayers solo discography is filled with many highlights and is most definitely worth exploring.  This psychedelic masterpiece features the haunting voice of Nico, which adds to the spooky and otherworldly mood of the track.

Episode one hundred and forty-seven of A History of Rock Music in Five Hundred Songs looks at “Hey Joe" by the Jimi Hendrix Experience, and is the longest episode to date, at over two hours. Patreon backers also have a twenty-two-minute bonus episode available, on "Making Time" by The Creation. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, I've put together a Mixcloud mix containing all the music excerpted in this episode. For information on the Byrds, I relied mostly on Timeless Flight Revisited by Johnny Rogan, with some information from Chris Hillman's autobiography. Information on Arthur Lee and Love came from Forever Changes: Arthur Lee and the Book of Love by John Einarson, and Arthur Lee: Alone Again Or by Barney Hoskyns. Information on Gary Usher's work with the Surfaris and the Sons of Adam came from The California Sound by Stephen McParland, which can be found at https://payhip.com/CMusicBooks Information on Jimi Hendrix came from Room Full of Mirrors by Charles R. Cross, Crosstown Traffic by Charles Shaar Murray, and Wild Thing by Philip Norman. Information on the history of "Hey Joe" itself came from all these sources plus Hey Joe: The Unauthorised Biography of a Rock Classic by Marc Shapiro, though note that most of that book is about post-1967 cover versions. Most of the pre-Experience session work by Jimi Hendrix I excerpt in this episode is on this box set of alternate takes and live recordings. And "Hey Joe" can be found on Are You Experienced? Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Just a quick note before we start – this episode deals with a song whose basic subject is a man murdering a woman, and that song also contains references to guns, and in some versions to cocaine use. Some versions excerpted also contain misogynistic slurs. If those things are likely to upset you, please skip this episode, as the whole episode focusses on that song. I would hope it goes without saying that I don't approve of misogyny, intimate partner violence, or murder, and my discussing a song does not mean I condone acts depicted in its lyrics, and the episode itself deals with the writing and recording of the song rather than its subject matter, but it would be impossible to talk about the record without excerpting the song. The normalisation of violence against women in rock music lyrics is a subject I will come back to, but did not have room for in what is already a very long episode. Anyway, on with the show. Let's talk about the folk process, shall we? We've talked before, like in the episodes on "Stagger Lee" and "Ida Red", about how there are some songs that aren't really individual songs in themselves, but are instead collections of related songs that might happen to share a name, or a title, or a story, or a melody, but which might be different in other ways. There are probably more songs that are like this than songs that aren't, and it doesn't just apply to folk songs, although that's where we see it most notably. You only have to look at the way a song like "Hound Dog" changed from the Willie Mae Thornton version to the version by Elvis, which only shared a handful of words with the original. Songs change, and recombine, and everyone who sings them brings something different to them, until they change in ways that nobody could have predicted, like a game of telephone. But there usually remains a core, an archetypal story or idea which remains constant no matter how much the song changes. Like Stagger Lee shooting Billy in a bar over a hat, or Frankie killing her man -- sometimes the man is Al, sometimes he's Johnny, but he always done her wrong. And one of those stories is about a man who shoots his cheating woman with a forty-four, and tries to escape -- sometimes to a town called Jericho, and sometimes to Juarez, Mexico. The first version of this song we have a recording of is by Clarence Ashley, in 1929, a recording of an older folk song that was called, in his version, "Little Sadie": [Excerpt: Clarence Ashley, "Little Sadie"] At some point, somebody seems to have noticed that that song has a slight melodic similarity to another family of songs, the family known as "Cocaine Blues" or "Take a Whiff on Me", which was popular around the same time: [Excerpt: The Memphis Jug Band, "Cocaine Habit Blues"] And so the two songs became combined, and the protagonist of "Little Sadie" now had a reason to kill his woman -- a reason other than her cheating, that is. He had taken a shot of cocaine before shooting her. The first recording of this version, under the name "Cocaine Blues" seems to have been a Western Swing version by W. A. Nichol's Western Aces: [Excerpt: W.A. Nichol's Western Aces, "Cocaine Blues"] Woody Guthrie recorded a version around the same time -- I've seen different dates and so don't know for sure if it was before or after Nichol's version -- and his version had himself credited as songwriter, and included this last verse which doesn't seem to appear on any earlier recordings of the song: [Excerpt: Woody Guthrie, "Cocaine Blues"] That doesn't appear on many later recordings either, but it did clearly influence yet another song -- Mose Allison's classic jazz number "Parchman Farm": [Excerpt: Mose Allison, "Parchman Farm"] The most famous recordings of the song, though, were by Johnny Cash, who recorded it as both "Cocaine Blues" and as "Transfusion Blues". In Cash's version of the song, the murderer gets sentenced to "ninety-nine years in the Folsom pen", so it made sense that Cash would perform that on his most famous album, the live album of his January 1968 concerts at Folsom Prison, which revitalised his career after several years of limited success: [Excerpt: Johnny Cash, "Cocaine Blues (live at Folsom Prison)"] While that was Cash's first live recording at a prison, though, it wasn't the first show he played at a prison -- ever since the success of his single "Folsom Prison Blues" he'd been something of a hero to prisoners, and he had been doing shows in prisons for eleven years by the time of that recording. And on one of those shows he had as his support act a man named Billy Roberts, who performed his own song which followed the same broad outlines as "Cocaine Blues" -- a man with a forty-four who goes out to shoot his woman and then escapes to Mexico. Roberts was an obscure folk singer, who never had much success, but who was good with people. He'd been part of the Greenwich Village folk scene in the 1950s, and at a gig at Gerde's Folk City he'd met a woman named Niela Miller, an aspiring songwriter, and had struck up a relationship with her. Miller only ever wrote one song that got recorded by anyone else, a song called "Mean World Blues" that was recorded by Dave Van Ronk: [Excerpt: Dave Van Ronk, "Mean World Blues"] Now, that's an original song, but it does bear a certain melodic resemblance to another old folk song, one known as "Where Did You Sleep Last Night?" or "In the Pines", or sometimes "Black Girl": [Excerpt: Lead Belly, "Where Did You Sleep Last Night?"] Miller was clearly familiar with the tradition from which "Where Did You Sleep Last Night?" comes -- it's a type of folk song where someone asks a question and then someone else answers it, and this repeats, building up a story. This is a very old folk song format, and you hear it for example in "Lord Randall", the song on which Bob Dylan based "A Hard Rain's A-Gonna Fall": [Excerpt: Ewan MacColl, "Lord Randall"] I say she was clearly familiar with it, because the other song she wrote that anyone's heard was based very much around that idea. "Baby Please Don't Go To Town" is a question-and-answer song in precisely that form, but with an unusual chord progression for a folk song. You may remember back in the episode on "Eight Miles High" I talked about the circle of fifths -- a chord progression which either increases or decreases by a fifth for every chord, so it might go C-G-D-A-E [demonstrates] That's a common progression in pop and jazz, but not really so much in folk, but it's the one that Miller had used for "Baby, Please Don't Go to Town", and she'd taught Roberts that song, which she only recorded much later: [Excerpt: Niela Miller, "Baby, Please Don't Go To Town"] After Roberts and Miller broke up, Miller kept playing that melody, but he changed the lyrics. The lyrics he added had several influences. There was that question-and-answer folk-song format, there's the story of "Cocaine Blues" with its protagonist getting a forty-four to shoot his woman down before heading to Mexico, and there's also a country hit from 1953. "Hey, Joe!" was originally recorded by Carl Smith, one of the most popular country singers of the early fifties: [Excerpt: Carl Smith, "Hey Joe!"] That was written by Boudleaux Bryant, a few years before the songs he co-wrote for the Everly Brothers, and became a country number one, staying at the top for eight weeks. It didn't make the pop chart, but a pop cover version of it by Frankie Laine made the top ten in the US: [Excerpt: Frankie Laine, "Hey Joe"] Laine's record did even better in the UK, where it made number one, at a point where Laine was the biggest star in music in Britain -- at the time the UK charts only had a top twelve, and at one point four of the singles in the top twelve were by Laine, including that one. There was also an answer record by Kitty Wells which made the country top ten later that year: [Excerpt: Kitty Wells, "Hey Joe"] Oddly, despite it being a very big hit, that "Hey Joe" had almost no further cover versions for twenty years, though it did become part of the Searchers' setlist, and was included on their Live at the Star Club album in 1963, in an arrangement that owed a lot to "What'd I Say": [Excerpt: The Searchers, "Hey Joe"] But that song was clearly on Roberts' mind when, as so many American folk musicians did, he travelled to the UK in the late fifties and became briefly involved in the burgeoning UK folk movement. In particular, he spent some time with a twelve-string guitar player from Edinburgh called Len Partridge, who was also a mentor to Bert Jansch, and who was apparently an extraordinary musician, though I know of no recordings of his work. Partridge helped Roberts finish up the song, though Partridge is about the only person in this story who *didn't* claim a writing credit for it at one time or another, saying that he just helped Roberts out and that Roberts deserved all the credit. The first known recording of the completed song is from 1962, a few years after Roberts had returned to the US, though it didn't surface until decades later: [Excerpt: Billy Roberts, "Hey Joe"] Roberts was performing this song regularly on the folk circuit, and around the time of that recording he also finally got round to registering the copyright, several years after it was written. When Miller heard the song, she was furious, and she later said "Imagine my surprise when I heard Hey Joe by Billy Roberts. There was my tune, my chord progression, my question/answer format. He dropped the bridge that was in my song and changed it enough so that the copyright did not protect me from his plagiarism... I decided not to go through with all the complications of dealing with him. He never contacted me about it or gave me any credit. He knows he committed a morally reprehensible act. He never was man enough to make amends and apologize to me, or to give credit for the inspiration. Dealing with all that was also why I made the decision not to become a professional songwriter. It left a bad taste in my mouth.” Pete Seeger, a friend of Miller's, was outraged by the injustice and offered to testify on her behalf should she decide to take Roberts to court, but she never did. Some time around this point, Roberts also played on that prison bill with Johnny Cash, and what happened next is hard to pin down. I've read several different versions of the story, which change the date and which prison this was in, and none of the details in any story hang together properly -- everything introduces weird inconsistencies and things which just make no sense at all. Something like this basic outline of the story seems to have happened, but the outline itself is weird, and we'll probably never know the truth. Roberts played his set, and one of the songs he played was "Hey Joe", and at some point he got talking to one of the prisoners in the audience, Dino Valenti. We've met Valenti before, in the episode on "Mr. Tambourine Man" -- he was a singer/songwriter himself, and would later be the lead singer of Quicksilver Messenger Service, but he's probably best known for having written "Get Together": [Excerpt: Dino Valenti, "Get Together"] As we heard in the "Mr. Tambourine Man" episode, Valenti actually sold off his rights to that song to pay for his bail at one point, but he was in and out of prison several times because of drug busts. At this point, or so the story goes, he was eligible for parole, but he needed to prove he had a possible income when he got out, and one way he wanted to do that was to show that he had written a song that could be a hit he could make money off, but he didn't have such a song. He talked about his predicament with Roberts, who agreed to let him claim to have written "Hey Joe" so he could get out of prison. He did make that claim, and when he got out of prison he continued making the claim, and registered the copyright to "Hey Joe" in his own name -- even though Roberts had already registered it -- and signed a publishing deal for it with Third Story Music, a company owned by Herb Cohen, the future manager of the Mothers of Invention, and Cohen's brother Mutt. Valenti was a popular face on the folk scene, and he played "his" song to many people, but two in particular would influence the way the song would develop, both of them people we've seen relatively recently in episodes of the podcast. One of them, Vince Martin, we'll come back to later, but the other was David Crosby, and so let's talk about him and the Byrds a bit more. Crosby and Valenti had been friends long before the Byrds formed, and indeed we heard in the "Mr. Tambourine Man" episode how the group had named themselves after Valenti's song "Birdses": [Excerpt: Dino Valenti, "Birdses"] And Crosby *loved* "Hey Joe", which he believed was another of Valenti's songs. He'd perform it every chance he got, playing it solo on guitar in an arrangement that other people have compared to Mose Allison. He'd tried to get it on the first two Byrds albums, but had been turned down, mostly because of their manager and uncredited co-producer Jim Dickson, who had strong opinions about it, saying later "Some of the songs that David would bring in from the outside were perfectly valid songs for other people, but did not seem to be compatible with the Byrds' myth. And he may not have liked the Byrds' myth. He fought for 'Hey Joe' and he did it. As long as I could say 'No!' I did, and when I couldn't any more they did it. You had to give him something somewhere. I just wish it was something else... 'Hey Joe' I was bitterly opposed to. A song about a guy who murders his girlfriend in a jealous rage and is on the way to Mexico with a gun in his hand. It was not what I saw as a Byrds song." Indeed, Dickson was so opposed to the song that he would later say “One of the reasons David engineered my getting thrown out was because I would not let Hey Joe be on the Turn! Turn! Turn! album.” Dickson was, though, still working with the band when they got round to recording it. That came during the recording of their Fifth Dimension album, the album which included "Eight Miles High". That album was mostly recorded after the departure of Gene Clark, which was where we left the group at the end of the "Eight Miles High" episode, and the loss of their main songwriter meant that they were struggling for material -- doubly so since they also decided they were going to move away from Dylan covers. This meant that they had to rely on original material from the group's less commercial songwriters, and on a few folk songs, mostly learned from Pete Seeger The album ended up with only eleven songs on it, compared to the twelve that was normal for American albums at that time, and the singles on it after "Eight Miles High" weren't particularly promising as to the group's ability to come up with commercial material. The next single, "5D", a song by Roger McGuinn about the fifth dimension, was a waltz-time song that both Crosby and Chris Hillman were enthused by. It featured organ by Van Dyke Parks, and McGuinn said of the organ part "When he came into the studio I told him to think Bach. He was already thinking Bach before that anyway.": [Excerpt: The Byrds, "5D"] While the group liked it, though, that didn't make the top forty. The next single did, just about -- a song that McGuinn had written as an attempt at communicating with alien life. He hoped that it would be played on the radio, and that the radio waves would eventually reach aliens, who would hear it and respond: [Excerpt: The Byrds, "Mr. Spaceman"] The "Fifth Dimension" album did significantly worse, both critically and commercially, than their previous albums, and the group would soon drop Allen Stanton, the producer, in favour of Gary Usher, Brian Wilson's old songwriting partner. But the desperation for material meant that the group agreed to record the song which they still thought at that time had been written by Crosby's friend, though nobody other than Crosby was happy with it, and even Crosby later said "It was a mistake. I shouldn't have done it. Everybody makes mistakes." McGuinn said later "The reason Crosby did lead on 'Hey Joe' was because it was *his* song. He didn't write it but he was responsible for finding it. He'd wanted to do it for years but we would never let him.": [Excerpt: The Byrds, "Hey Joe"] Of course, that arrangement is very far from the Mose Allison style version Crosby had been doing previously. And the reason for that can be found in the full version of that McGuinn quote, because the full version continues "He'd wanted to do it for years but we would never let him. Then both Love and The Leaves had a minor hit with it and David got so angry that we had to let him do it. His version wasn't that hot because he wasn't a strong lead vocalist." The arrangement we just heard was the arrangement that by this point almost every group on the Sunset Strip scene was playing. And the reason for that was because of another friend of Crosby's, someone who had been a roadie for the Byrds -- Bryan MacLean. MacLean and Crosby had been very close because they were both from very similar backgrounds -- they were both Hollywood brats with huge egos. MacLean later said "Crosby and I got on perfectly. I didn't understand what everybody was complaining about, because he was just like me!" MacLean was, if anything, from an even more privileged background than Crosby. His father was an architect who'd designed houses for Elizabeth Taylor and Dean Martin, his neighbour when growing up was Frederick Loewe, the composer of My Fair Lady. He learned to swim in Elizabeth Taylor's private pool, and his first girlfriend was Liza Minelli. Another early girlfriend was Jackie DeShannon, the singer-songwriter who did the original version of "Needles and Pins", who he was introduced to by Sharon Sheeley, whose name you will remember from many previous episodes. MacLean had wanted to be an artist until his late teens, when he walked into a shop in Westwood which sometimes sold his paintings, the Sandal Shop, and heard some people singing folk songs there. He decided he wanted to be a folk singer, and soon started performing at the Balladeer, a club which would later be renamed the Troubadour, playing songs like Robert Johnson's "Cross Roads Blues", which had recently become a staple of the folk repertoire after John Hammond put out the King of the Delta Blues Singers album: [Excerpt: Robert Johnson, "Cross Roads Blues"] Reading interviews with people who knew MacLean at the time, the same phrase keeps coming up. John Kay, later the lead singer of Steppenwolf, said "There was a young kid, Bryan MacLean, kind of cocky but nonetheless a nice kid, who hung around Crosby and McGuinn" while Chris Hillman said "He was a pretty good kid but a wee bit cocky." He was a fan of the various musicians who later formed the Byrds, and was also an admirer of a young guitarist on the scene named Ryland Cooder, and of a blues singer on the scene named Taj Mahal. He apparently was briefly in a band with Taj Mahal, called Summer's Children, who as far as I can tell had no connection to the duo that Curt Boettcher later formed of the same name, before Taj Mahal and Cooder formed The Rising Sons, a multi-racial blues band who were for a while the main rivals to the Byrds on the scene. MacLean, though, firmly hitched himself to the Byrds, and particularly to Crosby. He became a roadie on their first tour, and Hillman said "He was a hard-working guy on our behalf. As I recall, he pretty much answered to Crosby and was David's assistant, to put it diplomatically – more like his gofer, in fact." But MacLean wasn't cut out for the hard work that being a roadie required, and after being the Byrds' roadie for about thirty shows, he started making mistakes, and when they went off on their UK tour they decided not to keep employing him. He was heartbroken, but got back into trying his own musical career. He auditioned for the Monkees, unsuccessfully, but shortly after that -- some sources say even the same day as the audition, though that seems a little too neat -- he went to Ben Frank's -- the LA hangout that had actually been namechecked in the open call for Monkees auditions, which said they wanted "Ben Franks types", and there he met Arthur Lee and Johnny Echols. Echols would later remember "He was this gadfly kind of character who knew everybody and was flitting from table to table. He wore striped pants and a scarf, and he had this long, strawberry hair. All the girls loved him. For whatever reason, he came and sat at our table. Of course, Arthur and I were the only two black people there at the time." Lee and Echols were both Black musicians who had been born in Memphis. Lee's birth father, Chester Taylor, had been a cornet player with Jimmie Lunceford, whose Delta Rhythm Boys had had a hit with "The Honeydripper", as we heard way back in the episode on "Rocket '88": [Excerpt: Jimmie Lunceford and the Delta Rhythm Boys, "The Honeydripper"] However, Taylor soon split from Lee's mother, a schoolteacher, and she married Clinton Lee, a stonemason, who doted on his adopted son, and they moved to California. They lived in a relatively prosperous area of LA, a neighbourhood that was almost all white, with a few Asian families, though the boxer Sugar Ray Robinson lived nearby. A year or so after Arthur and his mother moved to LA, so did the Echols family, who had known them in Memphis, and they happened to move only a couple of streets away. Eight year old Arthur Lee reconnected with seven-year-old Johnny Echols, and the two became close friends from that point on. Arthur Lee first started out playing music when his parents were talked into buying him an accordion by a salesman who would go around with a donkey, give kids free donkey rides, and give the parents a sales pitch while they were riding the donkey, He soon gave up on the accordion and persuaded his parents to buy him an organ instead -- he was a spoiled child, by all accounts, with a TV in his bedroom, which was almost unheard of in the late fifties. Johnny Echols had a similar experience which led to his parents buying him a guitar, and the two were growing up in a musical environment generally. They attended Dorsey High School at the same time as both Billy Preston and Mike Love of the Beach Boys, and Ella Fitzgerald and her then-husband, the great jazz bass player Ray Brown, lived in the same apartment building as the Echols family for a while. Ornette Coleman, the free-jazz saxophone player, lived next door to Echols, and Adolphus Jacobs, the guitarist with the Coasters, gave him guitar lessons. Arthur Lee also knew Johnny Otis, who ran a pigeon-breeding club for local children which Arthur would attend. Echols was the one who first suggested that he and Arthur should form a band, and they put together a group to play at a school talent show, performing "Last Night", the instrumental that had been a hit for the Mar-Keys on Stax records: [Excerpt: The Mar-Keys, "Last Night"] They soon became a regular group, naming themselves Arthur Lee and the LAGs -- the LA Group, in imitation of Booker T and the MGs – the Memphis Group. At some point around this time, Lee decided to switch from playing organ to playing guitar. He would say later that this was inspired by seeing Johnny "Guitar" Watson get out of a gold Cadillac, wearing a gold suit, and with gold teeth in his mouth. The LAGs started playing as support acts and backing bands for any blues and soul acts that came through LA, performing with Big Mama Thornton, Johnny Otis, the O'Jays, and more. Arthur and Johnny were both still under-age, and they would pencil in fake moustaches to play the clubs so they'd appear older. In the fifties and early sixties, there were a number of great electric guitar players playing blues on the West Coast -- Johnny "Guitar" Watson, T-Bone Walker, Guitar Slim, and others -- and they would compete with each other not only to play well, but to put on a show, and so there was a whole bag of stage tricks that West Coast R&B guitarists picked up, and Echols learned all of them -- playing his guitar behind his back, playing his guitar with his teeth, playing with his guitar between his legs. As well as playing their own shows, the LAGs also played gigs under other names -- they had a corrupt agent who would book them under the name of whatever Black group had a hit at the time, in the belief that almost nobody knew what popular groups looked like anyway, so they would go out and perform as the Drifters or the Coasters or half a dozen other bands. But Arthur Lee in particular wanted to have success in his own right. He would later say "When I was a little boy I would listen to Nat 'King' Cole and I would look at that purple Capitol Records logo. I wanted to be on Capitol, that was my goal. Later on I used to walk from Dorsey High School all the way up to the Capitol building in Hollywood -- did that many times. I was determined to get a record deal with Capitol, and I did, without the help of a fancy manager or anyone else. I talked to Adam Ross and Jack Levy at Ardmore-Beechwood. I talked to Kim Fowley, and then I talked to Capitol". The record that the LAGs released, though, was not very good, a track called "Rumble-Still-Skins": [Excerpt: The LAGs, "Rumble-Still-Skins"] Lee later said "I was young and very inexperienced and I was testing the record company. I figured if I gave them my worst stuff and they ripped me off I wouldn't get hurt. But it didn't work, and after that I started giving my best, and I've been doing that ever since." The LAGs were dropped by Capitol after one single, and for the next little while Arthur and Johnny did work for smaller labels, usually labels owned by Bob Keane, with Arthur writing and producing and Johnny playing guitar -- though Echols has said more recently that a lot of the songs that were credited to Arthur as sole writer were actually joint compositions. Most of these records were attempts at copying the style of other people. There was "I Been Trying", a Phil Spector soundalike released by Little Ray: [Excerpt: Little Ray, "I Been Trying"] And there were a few attempts at sounding like Curtis Mayfield, like "Slow Jerk" by Ronnie and the Pomona Casuals: [Excerpt: Ronnie and the Pomona Casuals, "Slow Jerk"] and "My Diary" by Rosa Lee Brooks: [Excerpt: Rosa Lee Brooks, "My Diary"] Echols was also playing with a lot of other people, and one of the musicians he was playing with, his old school friend Billy Preston, told him about a recent European tour he'd been on with Little Richard, and the band from Liverpool he'd befriended while he was there who idolised Richard, so when the Beatles hit America, Arthur and Johnny had some small amount of context for them. They soon broke up the LAGs and formed another group, the American Four, with two white musicians, bass player John Fleckenstein and drummer Don Costa. Lee had them wear wigs so they seemed like they had longer hair, and started dressing more eccentrically -- he would soon become known for wearing glasses with one blue lens and one red one, and, as he put it "wearing forty pounds of beads, two coats, three shirts, and wearing two pairs of shoes on one foot". As well as the Beatles, the American Four were inspired by the other British Invasion bands -- Arthur was in the audience for the TAMI show, and quite impressed by Mick Jagger -- and also by the Valentinos, Bobby Womack's group. They tried to get signed to SAR Records, the label owned by Sam Cooke for which the Valentinos recorded, but SAR weren't interested, and they ended up recording for Bob Keane's Del-Fi records, where they cut "Luci Baines", a "Twist and Shout" knock-off with lyrics referencing the daughter of new US President Lyndon Johnson: [Excerpt: The American Four, "Luci Baines"] But that didn't take off any more than the earlier records had. Another American Four track, "Stay Away", was recorded but went unreleased until 2006: [Excerpt: Arthur Lee and the American Four, "Stay Away"] Soon the American Four were changing their sound and name again. This time it was because of two bands who were becoming successful on the Sunset Strip. One was the Byrds, who to Lee's mind were making music like the stuff he heard in his head, and the other was their rivals the Rising Sons, the blues band we mentioned earlier with Taj Mahal and Ry Cooder. Lee was very impressed by them as an multiracial band making aggressive, loud, guitar music, though he would always make the point when talking about them that they were a blues band, not a rock band, and *he* had the first multiracial rock band. Whatever they were like live though, in their recordings, produced by the Byrds' first producer Terry Melcher, the Rising Sons often had the same garage band folk-punk sound that Lee and Echols would soon make their own: [Excerpt: The Rising Sons, "Take a Giant Step"] But while the Rising Sons recorded a full album's worth of material, only one single was released before they split up, and so the way was clear for Lee and Echols' band, now renamed once again to The Grass Roots, to become the Byrds' new challengers. Lee later said "I named the group The Grass Roots behind a trip, or an album I heard that Malcolm X did, where he said 'the grass roots of the people are out in the street doing something about their problems instead of sitting around talking about it'". After seeing the Rolling Stones and the Byrds live, Lee wanted to get up front and move like Mick Jagger, and not be hindered by playing a guitar he wasn't especially good at -- both the Stones and the Byrds had two guitarists and a frontman who just sang and played hand percussion, and these were the models that Lee was following for the group. He also thought it would be a good idea commercially to get a good-looking white boy up front. So the group got in another guitarist, a white pretty boy who Lee soon fell out with and gave the nickname "Bummer Bob" because he was unpleasant to be around. Those of you who know exactly why Bobby Beausoleil later became famous will probably agree that this was a more than reasonable nickname to give him (and those of you who don't, I'll be dealing with him when we get to 1969). So when Bryan MacLean introduced himself to Lee and Echols, and they found out that not only was he also a good-looking white guitarist, but he was also friends with the entire circle of hipsters who'd been going to Byrds gigs, people like Vito and Franzoni, and he could get a massive crowd of them to come along to gigs for any band he was in and make them the talk of the Sunset Strip scene, he was soon in the Grass Roots, and Bummer Bob was out. The Grass Roots soon had to change their name again, though. In 1965, Jan and Dean recorded their "Folk and Roll" album, which featured "The Universal Coward"... Which I am not going to excerpt again. I only put that pause in to terrify Tilt, who edits these podcasts, and has very strong opinions about that song. But P. F. Sloan and Steve Barri, the songwriters who also performed as the Fantastic Baggies, had come up with a song for that album called "Where Where You When I Needed You?": [Excerpt: Jan and Dean, "Where Were You When I Needed You?"] Sloan and Barri decided to cut their own version of that song under a fake band name, and then put together a group of other musicians to tour as that band. They just needed a name, and Lou Adler, the head of Dunhill Records, suggested they call themselves The Grass Roots, and so that's what they did: [Excerpt: The Grass Roots, "Where Were You When I Needed You?"] Echols would later claim that this was deliberate malice on Adler's part -- that Adler had come in to a Grass Roots show drunk, and pretended to be interested in signing them to a contract, mostly to show off to a woman he'd brought with him. Echols and MacLean had spoken to him, not known who he was, and he'd felt disrespected, and Echols claims that he suggested the name to get back at them, and also to capitalise on their local success. The new Grass Roots soon started having hits, and so the old band had to find another name, which they got as a joking reference to a day job Lee had had at one point -- he'd apparently worked in a specialist bra shop, Luv Brassieres, which the rest of the band found hilarious. The Grass Roots became Love. While Arthur Lee was the group's lead singer, Bryan MacLean would often sing harmonies, and would get a song or two to sing live himself. And very early in the group's career, when they were playing a club called Bido Lito's, he started making his big lead spot a version of "Hey Joe", which he'd learned from his old friend David Crosby, and which soon became the highlight of the group's set. Their version was sped up, and included the riff which the Searchers had popularised in their cover version of  "Needles and Pins", the song originally recorded by MacLean's old girlfriend Jackie DeShannon: [Excerpt: The Searchers, "Needles and Pins"] That riff is a very simple one to play, and variants of it became very, very, common among the LA bands, most notably on the Byrds' "I'll Feel a Whole Lot Better": [Excerpt: The Byrds, "I'll Feel a Whole Lot Better"] The riff was so ubiquitous in the LA scene that in the late eighties Frank Zappa would still cite it as one of his main memories of the scene. I'm going to quote from his autobiography, where he's talking about the differences between the LA scene he was part of and the San Francisco scene he had no time for: "The Byrds were the be-all and end-all of Los Angeles rock then. They were 'It' -- and then a group called Love was 'It.' There were a few 'psychedelic' groups that never really got to be 'It,' but they could still find work and get record deals, including the West Coast Pop Art Experimental Band, Sky Saxon and the Seeds, and the Leaves (noted for their cover version of "Hey, Joe"). When we first went to San Francisco, in the early days of the Family Dog, it seemed that everybody was wearing the same costume, a mixture of Barbary Coast and Old West -- guys with handlebar mustaches, girls in big bustle dresses with feathers in their hair, etc. By contrast, the L.A. costumery was more random and outlandish. Musically, the northern bands had a little more country style. In L.A., it was folk-rock to death. Everything had that" [and here Zappa uses the adjectival form of a four-letter word beginning with 'f' that the main podcast providers don't like you saying on non-adult-rated shows] "D chord down at the bottom of the neck where you wiggle your finger around -- like 'Needles and Pins.'" The reason Zappa describes it that way, and the reason it became so popular, is that if you play that riff in D, the chords are D, Dsus2, and Dsus4 which means you literally only wiggle one finger on your left hand: [demonstrates] And so you get that on just a ton of records from that period, though Love, the Byrds, and the Searchers all actually play the riff on A rather than D: [demonstrates] So that riff became the Big Thing in LA after the Byrds popularised the Searchers sound there, and Love added it to their arrangement of "Hey Joe". In January 1966, the group would record their arrangement of it for their first album, which would come out in March: [Excerpt: Love, "Hey Joe"] But that wouldn't be the first recording of the song, or of Love's arrangement of it – although other than the Byrds' version, it would be the only one to come out of LA with the original Billy Roberts lyrics. Love's performances of the song at Bido Lito's had become the talk of the Sunset Strip scene, and soon every band worth its salt was copying it, and it became one of those songs like "Louie Louie" before it that everyone would play. The first record ever made with the "Hey Joe" melody actually had totally different lyrics. Kim Fowley had the idea of writing a sequel to "Hey Joe", titled "Wanted Dead or Alive", about what happened after Joe shot his woman and went off. He produced the track for The Rogues, a group consisting of Michael Lloyd and Shaun Harris, who later went on to form the West Coast Pop Art Experimental Band, and Lloyd and Harris were the credited writers: [Excerpt: The Rogues, "Wanted Dead or Alive"] The next version of the song to come out was the first by anyone to be released as "Hey Joe", or at least as "Hey Joe, Where You Gonna Go?", which was how it was titled on its initial release. This was by a band called The Leaves, who were friends of Love, and had picked up on "Hey Joe", and was produced by Nik Venet. It was also the first to have the now-familiar opening line "Hey Joe, where you going with that gun in your hand?": [Excerpt: The Leaves, "Hey Joe Where You Gonna Go?"] Roberts' original lyric, as sung by both Love and the Byrds, had been "where you going with that money in your hand?", and had Joe headed off to *buy* the gun. But as Echols later said “What happened was Bob Lee from The Leaves, who were friends of ours, asked me for the words to 'Hey Joe'. I told him I would have the words the next day. I decided to write totally different lyrics. The words you hear on their record are ones I wrote as a joke. The original words to Hey Joe are ‘Hey Joe, where you going with that money in your hand? Well I'm going downtown to buy me a blue steel .44. When I catch up with that woman, she won't be running round no more.' It never says ‘Hey Joe where you goin' with that gun in your hand.' Those were the words I wrote just because I knew they were going to try and cover the song before we released it. That was kind of a dirty trick that I played on The Leaves, which turned out to be the words that everybody uses.” That first release by the Leaves also contained an extra verse -- a nod to Love's previous name: [Excerpt: The Leaves, "Hey Joe Where You Gonna Go?"] That original recording credited the song as public domain -- apparently Bryan MacLean had refused to tell the Leaves who had written the song, and so they assumed it was traditional. It came out in November 1965, but only as a promo single. Even before the Leaves, though, another band had recorded "Hey Joe", but it didn't get released. The Sons of Adam had started out as a surf group called the Fender IV, who made records like "Malibu Run": [Excerpt: The Fender IV, "Malibu Run"] Kim Fowley had suggested they change their name to the Sons of Adam, and they were another group who were friends with Love -- their drummer, Michael Stuart-Ware, would later go on to join Love, and Arthur Lee wrote the song "Feathered Fish" for them: [Excerpt: Sons of Adam, "Feathered Fish"] But while they were the first to record "Hey Joe", their version has still to this day not been released. Their version was recorded for Decca, with producer Gary Usher, but before it was released, another Decca artist also recorded the song, and the label weren't sure which one to release. And then the label decided to press Usher to record a version with yet another act -- this time with the Surfaris, the surf group who had had a hit with "Wipe Out". Coincidentally, the Surfaris had just changed bass players -- their most recent bass player, Ken Forssi, had quit and joined Love, whose own bass player, John Fleckenstein, had gone off to join the Standells, who would also record a version of “Hey Joe” in 1966. Usher thought that the Sons of Adam were much better musicians than the Surfaris, who he was recording with more or less under protest, but their version, using Love's arrangement and the "gun in your hand" lyrics, became the first version to come out on a major label: [Excerpt: The Surfaris, "Hey Joe"] They believed the song was in the public domain, and so the songwriting credits on the record are split between Gary Usher, a W. Hale who nobody has been able to identify, and Tony Cost, a pseudonym for Nik Venet. Usher said later "I got writer's credit on it because I was told, or I assumed at the time, the song was Public Domain; meaning a non-copyrighted song. It had already been cut two or three times, and on each occasion the writing credit had been different. On a traditional song, whoever arranges it, takes the songwriting credit. I may have changed a few words and arranged and produced it, but I certainly did not co-write it." The public domain credit also appeared on the Leaves' second attempt to cut the song, which was actually given a general release, but flopped. But when the Leaves cut the song for a *third* time, still for the same tiny label, Mira, the track became a hit in May 1966, reaching number thirty-one: [Excerpt: The Leaves, "Hey Joe"] And *that* version had what they thought was the correct songwriting credit, to Dino Valenti. Which came as news to Billy Roberts, who had registered the copyright to the song back in 1962 and had no idea that it had become a staple of LA garage rock until he heard his song in the top forty with someone else's name on the credits. He angrily confronted Third Story Music, who agreed to a compromise -- they would stop giving Valenti songwriting royalties and start giving them to Roberts instead, so long as he didn't sue them and let them keep the publishing rights. Roberts was indignant about this -- he deserved all the money, not just half of it -- but he went along with it to avoid a lawsuit he might not win. So Roberts was now the credited songwriter on the versions coming out of the LA scene. But of course, Dino Valenti had been playing "his" song to other people, too. One of those other people was Vince Martin. Martin had been a member of a folk-pop group called the Tarriers, whose members also included the future film star Alan Arkin, and who had had a hit in the 1950s with "Cindy, Oh Cindy": [Excerpt: The Tarriers, "Cindy, Oh Cindy"] But as we heard in the episode on the Lovin' Spoonful, he had become a Greenwich Village folkie, in a duo with Fred Neil, and recorded an album with him, "Tear Down the Walls": [Excerpt: Fred Neil and Vince Martin, "Morning Dew"] That song we just heard, "Morning Dew", was another question-and-answer folk song. It was written by the Canadian folk-singer Bonnie Dobson, but after Martin and Neil recorded it, it was picked up on by Martin's friend Tim Rose who stuck his own name on the credits as well, without Dobson's permission, for a version which made the song into a rock standard for which he continued to collect royalties: [Excerpt: Tim Rose, "Morning Dew"] This was something that Rose seems to have made a habit of doing, though to be fair to him it went both ways. We heard about him in the Lovin' Spoonful episode too, when he was in a band named the Big Three with Cass Elliot and her coincidentally-named future husband Jim Hendricks, who recorded this song, with Rose putting new music to the lyrics of the old public domain song "Oh! Susanna": [Excerpt: The Big Three, "The Banjo Song"] The band Shocking Blue used that melody for their 1969 number-one hit "Venus", and didn't give Rose any credit: [Excerpt: Shocking Blue, "Venus"] But another song that Rose picked up from Vince Martin was "Hey Joe". Martin had picked the song up from Valenti, but didn't know who had written it, or who was claiming to have written it, and told Rose he thought it might be an old Appalchian murder ballad or something. Rose took the song and claimed writing credit in his own name -- he would always, for the rest of his life, claim it was an old folk tune he'd heard in Florida, and that he'd rewritten it substantially himself, but no evidence of the song has ever shown up from prior to Roberts' copyright registration, and Rose's version is basically identical to Roberts' in melody and lyrics. But Rose takes his version at a much slower pace, and his version would be the model for the most successful versions going forward, though those other versions would use the lyrics Johnny Echols had rewritten, rather than the ones Rose used: [Excerpt: Tim Rose, "Hey Joe"] Rose's version got heard across the Atlantic as well. And in particular it was heard by Chas Chandler, the bass player of the Animals. Some sources seem to suggest that Chandler first heard the song performed by a group called the Creation, but in a biography I've read of that group they clearly state that they didn't start playing the song until 1967. But however he came across it, when Chandler heard Rose's recording, he knew that the song could be a big hit for someone, but he didn't know who. And then he bumped into Linda Keith, Keith Richards' girlfriend,  who took him to see someone whose guitar we've already heard in this episode: [Excerpt: Rosa Lee Brooks, "My Diary"] The Curtis Mayfield impression on guitar there was, at least according to many sources the first recording session ever played on by a guitarist then calling himself Maurice (or possibly Mo-rees) James. We'll see later in the story that it possibly wasn't his first -- there are conflicting accounts, as there are about a lot of things, and it was recorded either in very early 1964, in which case it was his first, or (as seems more likely, and as I tell the story later) a year later, in which case he'd played on maybe half a dozen tracks in the studio by that point. But it was still a very early one. And by late 1966 that guitarist had reverted to the name by which he was brought up, and was calling himself Jimi Hendrix. Hendrix and Arthur Lee had become close, and Lee would later claim that Hendrix had copied much of Lee's dress style and attitude -- though many of Hendrix's other colleagues and employers, including Little Richard, would make similar claims -- and most of them had an element of truth, as Lee's did. Hendrix was a sponge. But Lee did influence him. Indeed, one of Hendrix's *last* sessions, in March 1970, was guesting on an album by Love: [Excerpt: Love with Jimi Hendrix, "Everlasting First"] Hendrix's name at birth was Johnny Allen Hendrix, which made his father, James Allen Hendrix, known as Al, who was away at war when his son was born, worry that he'd been named after another man who might possibly be the real father, so the family just referred to the child as "Buster" to avoid the issue. When Al Hendrix came back from the war the child was renamed James Marshall Hendrix -- James after Al's first name, Marshall after Al's dead brother -- though the family continued calling him "Buster". Little James Hendrix Junior didn't have anything like a stable home life. Both his parents were alcoholics, and Al Hendrix was frequently convinced that Jimi's mother Lucille was having affairs and became abusive about it. They had six children, four of whom were born disabled, and Jimi was the only one to remain with his parents -- the rest were either fostered or adopted at birth, fostered later on because the parents weren't providing a decent home life, or in one case made a ward of state because the Hendrixes couldn't afford to pay for a life-saving operation for him. The only one that Jimi had any kind of regular contact with was the second brother, Leon, his parents' favourite, who stayed with them for several years before being fostered by a family only a few blocks away. Al and Lucille Hendrix frequently split and reconciled, and while they were ostensibly raising Jimi (and for a  few years Leon), he was shuttled between them and various family members and friends, living sometimes in Seattle where his parents lived and sometimes in Vancouver with his paternal grandmother. He was frequently malnourished, and often survived because friends' families fed him. Al Hendrix was also often physically and emotionally abusive of the son he wasn't sure was his. Jimi grew up introverted, and stuttering, and only a couple of things seemed to bring him out of his shell. One was science fiction -- he always thought that his nickname, Buster, came from Buster Crabbe, the star of the Flash Gordon serials he loved to watch, though in fact he got the nickname even before that interest developed, and he was fascinated with ideas about aliens and UFOs -- and the other was music. Growing up in Seattle in the forties and fifties, most of the music he was exposed to as a child and in his early teens was music made by and for white people -- there wasn't a very large Black community in the area at the time compared to most major American cities, and so there were no prominent R&B stations. As a kid he loved the music of Bob Wills and the Texas Playboys, and when he was thirteen Jimi's favourite record was Dean Martin's "Memories are Made of This": [Excerpt: Dean Martin, "Memories are Made of This"] He also, like every teenager, became a fan of rock and roll music. When Elvis played at a local stadium when Jimi was fifteen, he couldn't afford a ticket, but he went and sat on top of a nearby hill and watched the show from the distance. Jimi's first exposure to the blues also came around this time, when his father briefly took in lodgers, Cornell and Ernestine Benson, and Ernestine had a record collection that included records by Lightnin' Hopkins, Howlin' Wolf, and Muddy Waters, all of whom Jimi became a big fan of, especially Muddy Waters. The Bensons' most vivid memory of Jimi in later years was him picking up a broom and pretending to play guitar along with these records: [Excerpt: Muddy Waters, "Baby Please Don't Go"] Shortly after this, it would be Ernestine Benson who would get Jimi his very first guitar. By this time Jimi and Al had lost their home and moved into a boarding house, and the owner's son had an acoustic guitar with only one string that he was planning to throw out. When Jimi asked if he could have it instead of it being thrown out, the owner told him he could have it for five dollars. Al Hendrix refused to pay that much for it, but Ernestine Benson bought Jimi the guitar. She said later “He only had one string, but he could really make that string talk.” He started carrying the guitar on his back everywhere he went, in imitation of Sterling Hayden in the western Johnny Guitar, and eventually got some more strings for it and learned to play. He would play it left-handed -- until his father came in. His father had forced him to write with his right hand, and was convinced that left-handedness was the work of the devil, so Jimi would play left-handed while his father was somewhere else, but as soon as Al came in he would flip the guitar the other way up and continue playing the song he had been playing, now right-handed. Jimi's mother died when he was fifteen, after having been ill for a long time with drink-related problems, and Jimi and his brother didn't get to go to the funeral -- depending on who you believe, either Al gave Jimi the bus fare and told him to go by himself and Jimi was too embarrassed to go to the funeral alone on the bus, or Al actually forbade Jimi and Leon from going.  After this, he became even more introverted than he was before, and he also developed a fascination with the idea of angels, convinced his mother now was one. Jimi started to hang around with a friend called Pernell Alexander, who also had a guitar, and they would play along together with Elmore James records. The two also went to see Little Richard and Bill Doggett perform live, and while Jimi was hugely introverted, he did start to build more friendships in the small Seattle music scene, including with Ron Holden, the man we talked about in the episode on "Louie Louie" who introduced that song to Seattle, and who would go on to record with Bruce Johnston for Bob Keane: [Excerpt: Ron Holden, "Gee But I'm Lonesome"] Eventually Ernestine Benson persuaded Al Hendrix to buy Jimi a decent electric guitar on credit -- Al also bought himself a saxophone at the same time, thinking he might play music with his son, but sent it back once the next payment became due. As well as blues and R&B, Jimi was soaking up the guitar instrumentals and garage rock that would soon turn into surf music. The first song he learned to play was "Tall Cool One" by the Fabulous Wailers, the local group who popularised a version of "Louie Louie" based on Holden's one: [Excerpt: The Fabulous Wailers, "Tall Cool One"] As we talked about in the "Louie Louie" episode, the Fabulous Wailers used to play at a venue called the Spanish Castle, and Jimi was a regular in the audience, later writing his song "Spanish Castle Magic" about those shows: [Excerpt: The Jimi Hendrix Experience, "Spanish Castle Magic"] He was also a big fan of Duane Eddy, and soon learned Eddy's big hits "Forty Miles of Bad Road", "Because They're Young", and "Peter Gunn" -- a song he would return to much later in his life: [Excerpt: Jimi Hendrix, "Peter Gunn/Catastrophe"] His career as a guitarist didn't get off to a great start -- the first night he played with his first band, he was meant to play two sets, but he was fired after the first set, because he was playing in too flashy a manner and showing off too much on stage. His girlfriend suggested that he might want to tone it down a little, but he said "That's not my style".  This would be a common story for the next several years. After that false start, the first real band he was in was the Velvetones, with his friend Pernell Alexander. There were four guitarists, two piano players, horns and drums, and they dressed up with glitter stuck to their pants. They played Duane Eddy songs, old jazz numbers, and "Honky Tonk" by Bill Doggett, which became Hendrix's signature song with the band. [Excerpt: Bill Doggett, "Honky Tonk"] His father was unsupportive of his music career, and he left his guitar at Alexander's house because he was scared that his dad would smash it if he took it home. At the same time he was with the Velvetones, he was also playing with another band called the Rocking Kings, who got gigs around the Seattle area, including at the Spanish Castle. But as they left school, most of Hendrix's friends were joining the Army, in order to make a steady living, and so did he -- although not entirely by choice. He was arrested, twice, for riding in stolen cars, and he was given a choice -- either go to prison, or sign up for the Army for three years. He chose the latter. At first, the Army seemed to suit him. He was accepted into the 101st Airborne Division, the famous "Screaming Eagles", whose actions at D-Day made them legendary in the US, and he was proud to be a member of the Division. They were based out of Fort Campbell, the base near Clarksville we talked about a couple of episodes ago, and while he was there he met a bass player, Billy Cox, who he started playing with. As Cox and Hendrix were Black, and as Fort Campbell straddled the border between Kentucky and Tennessee, they had to deal with segregation and play to only Black audiences. And Hendrix quickly discovered that Black audiences in the Southern states weren't interested in "Louie Louie", Duane Eddy, and surf music, the stuff he'd been playing in Seattle. He had to instead switch to playing Albert King and Slim Harpo songs, but luckily he loved that music too. He also started singing at this point -- when Hendrix and Cox started playing together, in a trio called the Kasuals, they had no singer, and while Hendrix never liked his own voice, Cox was worse, and so Hendrix was stuck as the singer. The Kasuals started gigging around Clarksville, and occasionally further afield, places like Nashville, where Arthur Alexander would occasionally sit in with them. But Cox was about to leave the Army, and Hendrix had another two and a bit years to go, having enlisted for three years. They couldn't play any further away unless Hendrix got out of the Army, which he was increasingly unhappy in anyway, and so he did the only thing he could -- he pretended to be gay, and got discharged on medical grounds for homosexuality. In later years he would always pretend he'd broken his ankle parachuting from a plane. For the next few years, he would be a full-time guitarist, and spend the periods when he wasn't earning enough money from that leeching off women he lived with, moving from one to another as they got sick of him or ran out of money. The Kasuals expanded their lineup, adding a second guitarist, Alphonso Young, who would show off on stage by playing guitar with his teeth. Hendrix didn't like being upstaged by another guitarist, and quickly learned to do the same. One biography I've used as a source for this says that at this point, Billy Cox played on a session for King Records, for Frank Howard and the Commanders, and brought Hendrix along, but the producer thought that Hendrix's guitar was too frantic and turned his mic off. But other sources say the session Hendrix and Cox played on for the Commanders wasn't until three years later, and the record *sounds* like a 1965 record, not a 1962 one, and his guitar is very audible – and the record isn't on King. But we've not had any music to break up the narration for a little while, and it's a good track (which later became a Northern Soul favourite) so I'll play a section here, as either way it was certainly an early Hendrix session: [Excerpt: Frank Howard and the Commanders, "I'm So Glad"] This illustrates a general problem with Hendrix's life at this point -- he would flit between bands, playing with the same people at multiple points, nobody was taking detailed notes, and later, once he became famous, everyone wanted to exaggerate their own importance in his life, meaning that while the broad outlines of his life are fairly clear, any detail before late 1966 might be hopelessly wrong. But all the time, Hendrix was learning his craft. One story from around this time  sums up both Hendrix's attitude to his playing -- he saw himself almost as much as a scientist as a musician -- and his slightly formal manner of speech.  He challenged the best blues guitarist in Nashville to a guitar duel, and the audience actually laughed at Hendrix's playing, as he was totally outclassed. When asked what he was doing, he replied “I was simply trying to get that B.B. King tone down and my experiment failed.” Bookings for the King Kasuals dried up, and he went to Vancouver, where he spent a couple of months playing in a covers band, Bobby Taylor and the Vancouvers, whose lead guitarist was Tommy Chong, later to find fame as one half of Cheech and Chong. But he got depressed at how white Vancouver was, and travelled back down south to join a reconfigured King Kasuals, who now had a horn section. The new lineup of King Kasuals were playing the chitlin circuit and had to put on a proper show, and so Hendrix started using all the techniques he'd seen other guitarists on the circuit use -- playing with his teeth like Alphonso Young, the other guitarist in the band, playing with his guitar behind his back like T-Bone Walker, and playing with a fifty-foot cord that allowed him to walk into the crowd and out of the venue, still playing, like Guitar Slim used to. As well as playing with the King Kasuals, he started playing the circuit as a sideman. He got short stints with many of the second-tier acts on the circuit -- people who had had one or two hits, or were crowd-pleasers, but weren't massive stars, like Carla Thomas or Jerry Butler or Slim Harpo. The first really big name he played with was Solomon Burke, who when Hendrix joined his band had just released "Just Out of Reach (Of My Two Empty Arms)": [Excerpt: Solomon Burke, "Just Out of Reach (Of My Two Empty Arms)"] But he lacked discipline. “Five dates would go beautifully,” Burke later said, “and then at the next show, he'd go into this wild stuff that wasn't part of the song. I just couldn't handle it anymore.” Burke traded him to Otis Redding, who was on the same tour, for two horn players, but then Redding fired him a week later and they left him on the side of the road. He played in the backing band for the Marvelettes, on a tour with Curtis Mayfield, who would be another of Hendrix's biggest influences, but he accidentally blew up Mayfield's amp and got sacked. On another tour, Cecil Womack threw Hendrix's guitar off the bus while he slept. In February 1964 he joined the band of the Isley Brothers, and he would watch the Beatles on Ed Sullivan with them during his first days with the group. Assuming he hadn't already played the Rosa Lee Brooks session (and I think there's good reason to believe he hadn't), then the first record Hendrix played on was their single "Testify": [Excerpt: The Isley Brothers, "Testify"] While he was with them, he also moonlighted on Don Covay's big hit "Mercy, Mercy": [Excerpt: Don Covay and the Goodtimers, "Mercy Mercy"] After leaving the Isleys, Hendrix joined the minor soul singer Gorgeous George, and on a break from Gorgeous George's tour, in Memphis, he went to Stax studios in the hope of meeting Steve Cropper, one of his idols. When he was told that Cropper was busy in the studio, he waited around all day until Cropper finished, and introduced himself. Hendrix was amazed to discover that Cropper was white -- he'd assumed that he must be Black -- and Cropper was delighted to meet the guitarist who had played on "Mercy Mercy", one of his favourite records. The two spent hours showing each other guitar licks -- Hendrix playing Cropper's right-handed guitar, as he hadn't brought along his own. Shortly after this, he joined Little Richard's band, and once again came into conflict with the star of the show by trying to upstage him. For one show he wore a satin shirt, and after the show Richard screamed at him “I am the only Little Richard! I am the King of Rock and Roll, and I am the only one allowed to be pretty. Take that shirt off!” While he was with Richard, Hendrix played on his "I Don't Know What You've Got, But It's Got Me", which like "Mercy Mercy" was written by Don Covay, who had started out as Richard's chauffeur: [Excerpt: Little Richard, "I Don't Know What You've Got, But It's Got Me"] According to the most likely version of events I've read, it was while he was working for Richard that Hendrix met Rosa Lee Brooks, on New Year's Eve 1964. At this point he was using the name Maurice James, apparently in tribute to the blues guitarist Elmore James, and he used various names, including Jimmy James, for most of his pre-fame performances. Rosa Lee Brooks was an R&B singer who had been mentored by Johnny "Guitar" Watson, and when she met Hendrix she was singing in a girl group who were one of the support acts for Ike & Tina Turner, who Hendrix went to see on his night off. Hendrix met Brooks afterwards, and told her she looked like his mother -- a line he used on a lot of women, but which was true in her case if photos are anything to go by. The two got into a relationship, and were soon talking about becoming a duo like Ike and Tina or Mickey and Sylvia -- "Love is Strange" was one of Hendrix's favourite records. But the only recording they made together was the "My Diary" single. Brooks always claimed that she actually wrote that song, but the label credit is for Arthur Lee, and it sounds like his work to me, albeit him trying hard to write like Curtis Mayfield, just as Hendrix is trying to play like him: [Excerpt: Rosa Lee Brooks, "My Diary"] Brooks and Hendrix had a very intense relationship for a short period. Brooks would later recall Little

Hace 50 años, un 8 de noviembre de 1971 junto a otras siete canciones que conformaban su cuarto disco, Led Zeppelin lanzó Stairway to Heaven (Escalera al cielo), una de las baladas rockeras más populares de todos los tiempos, que ostenta el curioso e improbable récord de ser la canción más pedida en las radios del mundo, la partitura más vendida y la introducción más interpretada por nóveles guitarristas. Aunque su aparición pasó desapercibida, esta composición fue ganando terreno entre el público a partir de su emotiva y misteriosa melodía y letra que generaron leyendas en torno a su supuesto contenido “satánico”. Lo que si es cierto es que, sobre una melodía creada por Page, el cantante Robert Plant escribió una historia inspirada en un libro de leyendas celtas sobre una mujer que tiene distintas visiones en su lecho de muerte. Sin embargo, a pesar de haber sido demandados en 2016 por plagio por parte de los herederos de Randy California, líder de Spirit, a raíz de la semejanza de esta pieza con su creación Taurus, cuyo fallo favoreció a los famosos Page y Plant, Stairway to Heaven sigue sonando y conmoviendo a escuchas de todos lados. Hoy escucharemos de manos de Led Zeppelin Stairway to Heaven.

What do Canned Heat, Spirit, Jo Jo Gunne, Heart, Chris Hillman, Firefall, Dan Fogelberg, Stevie Nicks, Joe Walsh, Kelly Willis, Alejandro Escovdeo, and Ian McLagan have in common? Bassist Mark Andes! From his Texas home, Mark  affords NOTES FROM AN ARTIST a candid interview on his career including his thoughts on; Led Zeppelin's “appropriation” of a signature Spirit track; the Wilson sisters' image in the grunge era; his recollections of bandmates Randy California and Cass Cassidy, and Firefall's new album entitled “Comet” which includes a duet with fellow bassist Timothy B. Schmidt (Eagles, Poco) on “Nature's Way.”The Mark Andes Playlist 

Mike was a huge fan of a band called Spirit back in the day. So you can imagine the thrill when he was able to play a few songs live with the guitarist Randy California at a venue in Chicago.

Mike was a huge fan of a band called Spirit back in the day. So you can imagine the thrill when he was able to play a few songs live with the guitarist Randy California at a venue in Chicago.

Mike was a huge fan of a band called Spirit back in the day. So you can imagine the thrill when he was able to play a few songs live with the guitarist Randy California at a venue in Chicago.

Mike was a huge fan of a band called Spirit back in the day. So you can imagine the thrill when he was able to play a few songs live with the guitarist Randy California at a venue in Chicago.

Getting groceries can sometimes be taken for granted but it's a necessity in the modern world. Today we countdown the best stores based on quality, variety and price.

We're doing the top feel good movies within the last 10 years. He's on Instagram @wills2021username

The very funny Cody and I talk about our favorite SNL sketches. Chances are you'll recognize at least one from our lists. Look out for his contribution to the "number 1" drop Check out all the projects he's contributed to including The Comedy Store and movies.

The women on this list are so influential, what they've done for the world cannot be quantified. They are trailblazers, icons, and idols reaching billions of hearts all over the world. This week Jazmin and I list our top female artists! Jazmin's website is https://www.lalilaluna.tv/ Her Instagram: @jazminkylene Check out Tempest's Instagram @temptootrill Are you here from TikTok? Welcome! Not? Check out @ramenworld for a special crossover post!

There's a powerful presence known as social norms. We join forces and lists, that's right, ONE list this week! Invisible forces are also breaking the 4th wall on this one. Check Josh out on Instagram: @joshaschultz

These are ONLY movies based on comic books (with one accidental exception). With his expertise and limitless comic book knowledge, Matt has leveled up the podcast. Check him out on Instagram: @idrawpaintings He also co-hosts Matt Makes Zac Watch Horror Movies

Netflix Originals have become so popular and Tempest Henderson has the ultimate list for you! We are doing only TV Netflix Originals with all genres on the table. Check out Tempest's Instagram @temptootrill

For bonus content, join our Patreon for a one time payment of $5!https://www.patreon.com/reactivaders

Marvel movies have always been a big deal, but the last few years leading up to End Game have been especially exciting. It's time to rank the best superheroes! Coming to you from the other side of the world, Matt & Leslie share their, battle-tested list! They've also got their own podcast called Chatting Pitch where they take different movies and merge the worlds with every episode ending in story-building harmony. You can find them on all the platforms here. https://linktr.ee/chattingpitch

This week Meredith joins us to count down and recommend the top lesbian movies! And check out the doc Meredith produced…Duty Free! https://www.dutyfreefilm.com/

Our guest is Mareike, and she's the host of the Child of the Library Podcast! On each episode, we count down the top dishes we've encountered on our travels abroad. Tune in on iTunes or Spotify to hear more! Featuring: Travel talk She has her own podcast! Instagram: Child Of The Library You can find her on Apple Podcasts, Spotify, Deezer, and YouTube for book-related content. Look out for the episode where I get a coaching session and get reading recommendations. https://www.instagram.com/childofthelibrary/ https://m.youtube.com/channel/UCzw1t5zau39yVEGssYULg4w https://podcasts.apple.com/de/podcast/child-of-the-library/id1546652329 https://open.spotify.com/show/1YXSscVFARyrRaLlnM28Bt?si=AM13zDK9QYuDFZXzTP5j6w https://www.deezer.com/us/show/2117582

Staying Sustainable Maya Eve This week, Maya and I talk about ways to reduce our carbon footprint. We discuss how we can stay environmentally conscious and use our voice to make a difference in the world! Ways to Support. Patreon Subscribe to the Podcast! This week, Maya and I talk about staying environmentally conscious and countdown "ways to lower our carbon footprint."

Musician Mark Andes, who played bass in bands like Spirit, Heart, Whitesnake, and Firefall, spoke with us about how he got into music, the legal battle between Randy California's estate and Led Zeppelin over the intro to "Stairway to Heaven", COVID's effect on musicians, and the tragic story of his wife's cousin who is in a Louisville hospital with COVID-19 and burns from a house fire...

Musician Mark Andes, who played bass in bands like Spirit, Heart, Whitesnake, and Firefall, spoke with us about how he got into music, the legal battle between Randy California's estate and Led Zeppelin over the intro to "Stairway to Heaven", COVID's effect on musicians, and the tragic story of his wife's cousin who is in a Louisville hospital with COVID-19 and burns from a house fire...

Episode 014: Fourteen Miles Below (Diggin' Up the Daisies Vol. 02)Harry Nilsson - Rainmaker (US 1969)Classic and oft covered feel good tune from this prolific singer songwriter from his Harry release.  Making his way in Los Angeles after leaving his native Brooklyn, Nilsson cut many a fine album and had quite a psychedelic start.  His greatest successes came in the early to mid 70's despite the lack of a heavy touring schedule.Paul Butterfield Blues Band - Last Hope's Gone (US 1968) Chicago based singer and harmonica player that found success both with his blues band and later as a solo artist.  This moody cut from their In My Own Dream album with it's wide open opening bass notes became prime fodder for the 90's era of hip-hop artists looking to dig for deeper sounds.Lou Rawls - You've Made Me So Very Happy (US 1970)One of David Axelrod's lesser hyped productions, it's minimal piano intro still made perfect sample for one of rap's most beautiful songs.  Originally by Motown act Brenda Holloway, it eventually became a massive hit for Blood, Sweat and Tears whose version informs this one, David Axelrod - The Signs (Part 2) (US 1969)Speaking of Axelrod, a little back to back Axe never hurt no one.  After two instrumental LP's, Axelrod's third album was a vocal affair and a concept built on the importance of environmental awareness.   Theme wise the album is ahead of it's time and stands unique in his catalog as his lone vocal based solo releaseSpirit - Ice (US 1969) A haunting and incredible instrumental from these Los Angeles legends featuring the epic guitar work of Randy California.  All of their albums are well worth seeking out. Lalo Schifrin - The Danube Incident The master of the moody soundtrack provides this classic track was that was sampled into a staple of the burgeoning "trip-hop" movement of the mid 90's.  Following the massive success of his Mission:Impossible score, this gem comes from the follow up More Mission: Impossible LP.The Cyrkle - The Vistation (US 1966) Possibly the strangest song to ever be sampled, as there is no obvious drum or bass groove to be heard,  But as the late 90's saw more and more experimentation in sampling, the vocal parts of songs - once maligned as getting in the way - became samples themselves,  The buttery harmonies laid down by these Pennsylvania based harmony pop wonders proved just the thing needed to spark an idea.Giorgio - Tears (Italy 1972) A pre-fame Giorgio Moroder when he was poised to be a solo star versus the studio virtuoso he would later become.  From his album Son of My Father, this instrumental became one of the most infamous samples from the up and coming instrumental hip-hop scene in the mid 90's.Ronald Stein - Go Home Pigs (US 1970) Another soundtrack gem from the golden era where almost any  from the time may offer a hidden gem to re-purpose.  This anti-police exploito track became a bigger hit once sampled in the late 90;s.The Sons - You Can Fly  (US 1969) Dropping the Champlin from their name for their 1969 album, these Marin County funk rock freaks drop a breakbeat classic that is sure to get the dancefloor movin'.  The Sons had a successful run of albums and are recommended for those who dig that funky Bay Area sound,

Stan Lee is the best. We're counting down our favorite Stan Lee cameos from Marvel movies! You'd be surprised to know where Stan appears on our personal/controversial list! Check out Nick's very funny podcast Reactivaders! It's an improv podcast that reviews video games from inside video games. It's never been easier to build a website. Thrive Themes will show you how to create your own website. You'll be able to launch a blog or show off your products with ease!

This week we're talking about sharks and their roles in movies then we're counting down their role in horror. Sharks are real and they can hurt you. Don't be scared of ghosts, they're not real. Also, Patreon to support the show and get some bonuses!

Wait until you hear what this week's episode is all about! We're counting down one of the most popular dessert in modern history. Fun Fact: It's sold at Disneyland in the form of a churro. Train with Jeff if you're in Southern California! Also, Patreon to support the show and get some bonuses!

We are wrapping up the Potty Talk episodes this week. Lots of fun twists and turns in this on with bonus travel tips too. She's on Instagram: @natalieguerraart Also, Patreon to support the show and get some bonuses!

That's right, it's a very personal list of the best bathrooms we've ever been to. Some are mundane, but some are just downright scary. She's on Instagram: @natalieguerraart Also, Patreon to support the show and get some bonuses!

The Deep Purple Podcast Show Notes Episode #92 Deep Purple - Live in Quebec with Randy California January 18, 2021 Subscribe at Apple Podcasts, Stitcher, Google Podcasts, Overcast, Pocket Casts, Anchor.fm, Breaker, PodBean, RadioPublic, Amazon Music, or search in your favorite podcatcher! Thanks to Our Show Supporters - Three Ways To Show Your Support Become a Patron on Patreon Donate on Paypal (Donate one time or click “make this a monthly donation” box) Leave us a 5-Star Review on Apple Podcasts The $50 “Soldier of Fortune” Tier John Tramontanis -- MONTH OF JANUARY The $25 “Super Trouper” Tier Vacant The $20 “Shades of Deep Pockets” Tier Ryan M Gerald Kelly - PATRON UPGRADE! (until episode #94) The $15 “Highball Shooter” Tier Alan Begg The Turn it up to $11 Tier Frank Theilgaard-Mortensen Clay Wombacher Mikkel Steen $10 “Some One Came” Tier Steve Seaborg (NameOnAnything.com, Alltheworldsastage.net) - Paypal Jeff Breis The Episode $6.66 Tier Richard Fusey - Paypal $5.99 The “Nice Price” Tier Fielding Fowler $5 “Money Lender” Tier Greg Sealby John Convery Arthur Smith German Heindl Adrian Hernandez Kenny Wymore Jesper Almén Oleksiy The Perfect Stranger Slyepukhov $3 “Nobody's Perfect” Tier Peter Gardow Ian Desrosiers Mark Roback Anton Glaving Will Porter Andrew Meyer $1 Made Up Name Tier Ells Murders Spacey Noodles The “Revolting” Leaky Mausoleum Michael Vader Stephen Sommerville The Concerto 1999 Fanatic Raphael Choury (Raff Kaff) Thanks to our Brothers at the Deep Dive Podcast Network: Ry @ Sabbath Bloody Podcast The Simple Man @ Skynyrd Reconsydyrd Terry “T-Bone” Mathley @ T-Bone's Prime Cuts Paul, David, and Joe @ In the Lap of the Pods (Queen podcast) Scott @ The Magician's Podcast Thanks to the Patron Saint and Archivist of The Deep Purple Podcast: Jörg Planer - an essential Twitter follow Buy Merch at Our New Etsy Store! Show Updates: Comments from social media. BreisHeim - The Mask Email from Per Sørensen Apple Podcast Reviews: 5 Stars! BreisHeim , 01/03/2021 Lead up to the Album: Strange kind of woman Into the fire Child in time The Mule Lazy When a blind man cry Space Truckin' Lucille Deep Purple: Self-Evaluation Time Again Personnel Ian Gillan - Vocals Roger Glover - Bass Randy California - Guitars Jon Lord - Organ Ian Paice - Drums The Show: Articles (Translated by Ian Desrosiers): Listener Mail/Comments Comments about the show? Things you'd like us to cover? We'd love to hear from you. Send us an email at info@deeppurplepodcast.com or @ us on Twitter, Facebook, or Instagram.

It's kind of hard to believe that a whole group of people moved to Japan to work and have amazing adventures. But it happened, and here are the top five things about that year! Thrive Themes for Building Amazing Websites on Word Press. https://thrivethemes.com/affiliates/ref.php?id=11189

Episode 23 Music for Space Travelers Lingering Sounds from the Atomic Age   Playlist Hamilton O'Hara And Charlie Dobson Featuring Satellite Singers and Orchestra, Directed by, written by Jim Timmens, “With A Great Big Noise Like Thunder (Rocket Into Space),” from Journey to the Moon and More about Outer Space (1974, Golden Records). Excerpt. Eric Siday, “Challenge of Space” from “The Ultra Sonic Perception” (1961 Conroy). Magnetic tape music and effects by Eric Siday for this album of library music for broadcast. The Tornadoes, “Telstar” from The Sounds Of The Tornadoes (1962 London), written and produced by Joe Meek. The record was named after the Telstar communications satellite which was launched into orbit on July 10, 1962. It featured the Clavioline. Toru Hatano, “Solaris” from Space Adventure (1978 Mu Land). Musical Instruments: KORG Polyphonic Ensemble 1000, KORG Polyphonic Ensemble "Orchestra" 2000, KORG Synthesizer 800DV, KORG Synthesizer 770, Rhythm Machine-mini pops 120P, Drums, Electric Guitar, Strings Ensemble. Tom Dissevelt, “Moon Maid” from Song of the Second Moon (1968 Limelight). This was a North American reissue of a track from 1962 called “Drifting” recorded in the Netherlands at the Philips electronic music laboratory. Dick Raaijmakers, “The Ray Makers” from Song of the Second Moon (1968 Limelight). This was a North American reissue of a track from 1962 called “Mechanical Motions” recorded in the Netherlands at the Philips electronic music laboratory. The US song title is a play on the last name of the composer, which is pronounced “Ray-makers.” Hugues Dufourt, Ensemble D'Instruments Électroniques De L'Itinéraire, Peter Eötvös, “Saturne, Part C (1978),” from Saturne (1980 Sappho). The work was conceived for an ensemble of wind instruments (12 performers), a group of percussion (6 performers) and an ensemble of electrical instruments (4 performers). Saturne was recorded in the Espace de Projection of the IRCAM centre Pompidou on 1st and 2nd December 1979. The first public performance of the work was made on the same place on the 3rd December 1979. Composed by Hugues Dufourt. Ensemble D'Instruments Électroniques De L'Itinéraire, electric guitar and synthesizer, Claude Pavy, François Bousch. Peter Huse, “Space Play (1969)” from Carrefour (Musique, Électro-Acoustique/Electroacoustic Music, Canada) (1972, Radio Canada International). Made in the Sonic Research Studio at Simon Fraser University. Huse was assistant director of the World Soundscape Project around this time. About this work he said, “Science fiction cinema taught me to regard all sounds and physical space as materials for music.” This play of sound in space was created using magnetic tape composition. Eric Siday, “Galaxy” from “The Ultra Sonic Perception” (1961 Conroy). Magnetic tape music and effects by Eric Siday for this album of library music for broadcast. John Keating, “Earthshine” from Space Experience 2 (1975 EMI). Produced by John Keating. Keyboards by Francis Monkman. All electronic instruments by ARP including 2600, Odysseynsemble, Pro Soloist, String Ensemble. Claude Dubois, “Une Guitare Des Ondes Et Leur Machine” from Fable D'espace (1978 Pingouin). Music and lyrics, produced by Claude Dubois; Synthesizer, Jean-Yves Labat; Drums, John Wilcox; Guitar, Percussion, Synthesizer, Engineer, John Holbrook; Piano, Clavinet, Bass, Electric Piano Richard Bell. Spirit, “Space Child,” from Twelve Dreams of Dr. Sardonicus (1970 Epic). Composer, keyboards, Moog Synthesizer, John Locke; vocals, guitar, Randy California; vocals, percussion, Jay Ferguson; drums, percussion, Ed Cassidy; bass, vocals, Mark Andes; produced by David Briggs. Lothar and the Hand People, “Space Hymn” from “Space Hymn” (1969 Capitol). ''All electronic music on this album was created and realized by the Hand People on Moog Synthesizer and Lothar, the Theremin.'' Lothar and the Hand People: John Emelin, Kim King, Paul Conly, Rusty Ford, Tom Flye. Written by Tom Flye. Produced by Nickolas Venet. Sun Ra, “Cosmic Explorer (1970)” excerpt, from Nuits De La Fondation Maeght Volume 1 (1971 Shandar). “Intergalactic instruments played by Sun Ra.” Recorded live at Saint Paul de Vence, France, 3/5 August 1970. Compositions by Sun Ra. Minimoog solos by Sun Ra. Percussion by Nimrod Hunt, Lex Humphries, and John Goldsmith. I've included over eight minutes of this 20-minute piece. Isao Tomita, “The Sea Named ‘Solaris' (Bach, Three-Part Invention No. 2 in C Minor-Chorale)," from Kosmos (1978 RCA). This is the complete version of the work that was shortened for use with the Cosmos television series and various greatest hits albums. " Music electronically created by Isao Tomita. Vangelis, “Pulstar” from Albedo 0.39 (1976 RCA). Keyboards, synthesizers, drums, bass, Vangelis. Speaking Clock: Post Office Telecommunications. The term “albedo” refers to the reflecting power of a planet or other non-luminous body. Isao Tomita, “The Earth - A Hollow Vessel” (Tomita: “Dororo”), from The Bermuda Triangle (1979 RCA). Music electronically created by Isao Tomita. Isao Tomita, “The Song Of Venus (Prokofiev: Violin Concerto No. 1, First Movement),” from The Bermuda Triangle (1979 RCA). Music electronically created by Isao Tomita. Archive Mix (two tracks played at the same time). Dick Raaijmakers, “Song of the Second Moon” from Song of the Second Moon (1968 Limelight). Recorded in the Netherlands at the Philips electronic music laboratory in 1962. Sun Ra, “The Star Gazers” (1970)” from Nuits De La Fondation Maeght Volume 1 (1971 Shandar). “Intergalactic instruments played by Sun Ra.” Recorded live at Saint Paul de Vence, France, 3/5 August 1970. Compositions by Sun Ra. Synthesizer [Moog], piano, electric piano, organ [electric], Sun Ra; vocal by Verta Grosvenor.

Board games are an awesome way to spend time with friends and family but there are so many out there, how do you choose? This week we interview Jono and ask him about his favorite board games! Check out Jono's website for much more! http://www.jmbhunter.com/ Thrive Themes for Building Amazing Websites on Word Press. https://thrivethemes.com/affiliates/ref.php?id=11189

Randy and Mark talk about their favorite '80s TV Shows. They share their memories of all the different shows they watched and rank them. Before the internet, there was '80s television. Thrive Themes for Building Amazing Websites on Word Press https://thrivethemes.com/affiliates/ref.php?id=11189

The top moments from The Cycle of Life Season 1. Get ready to relive the best moments from a previous podcast.

Episode 007: Seven & Seven Is: Sounds from Los Angeles01 Love - 7 & 7 Is (1966 - 45 Mono Mix) This proto-punk stunner is still years ahead of its time and set the bar for what could be done within the confines of a 2 minute single. Led by the enigmatic Arthur Lee, Love is responsible for some of the greatest music to come from the city. 02 The Byrds - Why (1966 - 45 Mono Mix) The kings of Los Angeles jangle took off for headier sounds with their single “Eight Miles High” of which this is the b-side. This take differs from the album version and packs a more immediate punch, capturing the Coltrane-esque solo they were going for better than the flip.   03 Lee Mallory - That's the Way (1966 - 45 Mono Mix) This harmony pop rocker is the first collaboration between producer Curt Boettcher and singer Lee Mallory, laying the groundwork for legendary pop psych band The Millennium. Their unmistakable harmonies are already in place and the bridge provides the perfect pallet for Curt's sonic experiments.  04 West Coast Pop Art Experimental Band - If You Want This Love (1967)  Brothers Dan and Shaun Harris recruited pal Michael Loyd to form a band that was then co-opted by scenester Bob Markley.  This fuzzy folk rocker is taken from their first album which, like most of their catalog, is a mix of earnest pop-sike by the brothers and strange ramblings from Markley. 05 Kim Fowley - Bubblegum (1968) Speaking of scenester, Kim Fowley may be the reason the word exists.  A constant on the scene, he involved himself with many a band from the city in some form or fashion.  His solo efforts are patchy affairs, but this early hard rock number featuring Mars Bonfire of Steppenwolf finds him finding his muse. 06 The Standells - Did You Ever Have The Feeling (1967 - Mono Mix) Unlike may of their contemporaries, the Standells are one of the few bands that were unaffected by trends.  The slight eastern overtones in this song are the closest the band would come to experimenting with psychedelia, as they called it a day before the flower power bandwagon appeared. 07 The Hook - Son of Fantasy (1968) After his time in the Leaves, Bobby Arlin teamed up with Buddy Sklar to form the more hard rock inclined The Hook.  They produced two albums for Uni before calling it quits, of which this dark riff heavy tune graces their first. 08 The Peanut Butter Conspiracy - Dark On You Now (1967 - Mono Mix) Classic jangly folk-rock from this band formed from the demise of The Ashes.  The band called it a day after two albums for Columbia and one for local label Challenge. 09 Spirit - Uncle Jack (1967 - 45 Mono Mix) Sounding like a long lost UK psych 45, this early single by these LA legends is uncharacteristic of their usual sound, which combined moody and introspective songs with guitarist Randy California's epic fretwork.10 The Monkees - For Pete's Sake (1967 - Mono Mix) Although often maligned for being a "fake band", the Monkees eventually came into their own.  This song is the first written by Peter Tork and features Mickey Dolenz on vocals.11 The Merry Go Round - Time Will Show the Wiser (1967 - Mono Mix) Led by Emitt Rhodes, this South Bay band recorded one magnificent album before Rhodes embarked on a solo career.12 The Electric Prunes - Wind Up Dolls (1967 - Mono Mix) This SFV based band found early success and recorded two albums for Reprise in 1967 before splitting up.  Their following two releases were produced by David Axelrod and feature none of the original band members13 Buffalo Springfield - Everydays (1967 - Mono Mix) Recorded live at Gold Star studios, this stunning number shows both Stephen Stills strength as a song writer as well as Neil Young's fearless guitar experiments.

Al talks about getting Deep Purple to hire his favorite guitar player and how it really didn't work out; then the same fellows shows up in a bizarre incident. Just another chapter the the life of the Zelig of Rock, Al Kooper.

Rebel sizzles, Trump heads home, Led Zeppelin v. Spirit, brushes w/ celebrities, and we set up & interview an 87-year-old trying to pass the bar for the 5th time.The audio of Mike Clark breaking down the Cory Lidle plane crash has been unearthed. Check out the end of the show.The Joe Biden lead is so big that the stock market is rolling despite his plan to tax large capital gains and President Trump having COVID.Donald Trump is set to leave the hospital after a pretty wild stay that included a joy ride. Allegedly even Don Jr. thinks his daddy is "acting crazy".Joe Biden is still fielding questions regarding his rascally brother and son (the bad one).87-year-old Porter Davis is trying to pass the California Bar Exam. We talk with him... but only after he verifies who the hell we are despite a pre-call.We've received even more email from listeners who had brushes with celebrity.Freddie Prinze wanted to kill John Travolta.Trudi recommends the Robert Kidd Gallery in Birmingham.Bill O'Brien became the 1st coach and GM in the NFL BLOWN OUT after an 0-4 start with the Houston Texans. Dan Orlovsky ripped Matt Patricia apart for lying.Rebel Wilson is sizzling and Drew can't take it. She's dating a billionaire now.Perez Hilton has a new memoir and dishes on Lady Gaga. He also tells what seems to be a made-up story about John Mayer.BranDon pretends he's never heard of Brent Corrigan.Chris Pratt is getting ripped because he made a joke about voting.Al Michaels and Cris Collinsworth hate masks. Drew wants to know why Al Michaels isn't getting fired for his slip of the tongue.An elderly couple in Colorado have been found dead on a hiking trail and some believe it was a murder/suicide.Drew Crime today covers the death of Dr. Paul Jarrett and his son, Gregg.Donald Trump is out of the hospital.Drew doesn't like Cat Stevens anymore.Randy California and Spirit finally lose to Led Zeppelin.Mariah Carey wants us to think that she never bangs any of her husbands/boyfriends.Tekashi69 overdosed on coffee and diet pills, not drugs because he's on parole.COVID-19 may delay the fast track appointment of Amy Coney Barrett.The Miami Heat beat the LA Lakers in Game 3 of the NBA Finals.Get your booty to the pollA civil lawsuit alleges a rape occurred at a University of Michigan fraternity. No word as to what happened to the criminal investigation.Follow us on Facebook, Instagram and Twitter (Drew and Mike Show, Marc Fellhauer, Trudi Daniels and BranDon).

I am honored to have Michael DeTemple on the show!! A consumate musician, Michael was a renowned session musician, playing guitar on Dave Mason's best selling album "Alone Together." He worked with such noted artists as Eric Clapton, Van Morrison, Bob Dylan, Neil Young, Pete Townshend, Ron Wood, Randy California, Booker T., Paul Butterfield, Earl Slick and many, many more. Michael got into instrument building, repair and restoration, which led to him building his world famous DeTemple Guitars. DeTemple guitars are hard to get, they are each hand made, and there is a long waiting list of A-players wanting their hands on these incredible instruments. We talk to Michael, about how he got into making guitars and what makes a DeTemple guitar, as luthier Rick Turner refers to it, as "dream Strat style guitar everybody's chasing after!" detempleguitars.com

I am honored to have Michael DeTemple on the show!! A consumate musician, Michael was a renowned session musician, playing guitar on Dave Mason's best selling album "Alone Together." He worked with such noted artists as Eric Clapton, Van Morrison, Bob Dylan, Neil Young, Pete Townshend, Ron Wood, Randy California, Booker T., Paul Butterfield, Earl Slick and many, many more. Michael got into instrument building, repair and restoration, which led to him building his world famous DeTemple Guitars. DeTemple guitars are hard to get, they are each hand made, and there is a long waiting list of A-players wanting their hands on these incredible instruments. We talk to Michael, about how he got into making guitars and what makes a DeTemple guitar, as luthier Rick Turner refers to it, as "dream Strat style guitar everybody's chasing after!" detempleguitars.com

Today's episode explains exactly what happened with the story you probably saw about how Led Zeppelin "got a new hearing" in their lawsuit with the estate of Randy California. What's going on? Listen and find out! We also break down the latest ethical wrangling over Yale law professor Amy Chua and Brett Kavanaugh. Is it as bad as everyone says? We begin with the tale of "Tiger Mom" Amy Chua, the Yale law professor who wrote a stirring defense of Brett Kavanaugh as a "mentor to women" after Kavanaugh had offered Chua's daughter a plum clerkship. Did that pot get sweetened when Kavanaugh was confirmed to the Supreme Court? (Hint: yes.) We break down all of the ethics & more in this segment. Then, it's time to revisit the lawsuit brought by the estate of Randy California against Led Zeppelin alleging that Led Zep stole the iconic riff for "Stairway to Heaven" from California's band, Spirit. If you haven't listened to Episode 236, go give that a listen right now, and then come back to find out what's new. Then, it's time for another Andrew Was Wrong segment -- this time, involving the actual penalty for refusing to answer or giving false answers on the Census. After all that, it's time for the answer to Thomas Takes the Bar Exam #130 about the constitutional propriety of collecting sales tax from a private individual who will then turn around and sell the objects to the state. Did Thomas get it right? There's only one way to know for sure! Appearances None! If you'd like to have either of us as a guest on your show, drop us an email at openarguments@gmail.com. Show Notes & Links Click here to read Chua's original Wall Street Journal op-ed, "Kavanaugh Is A Mentor to Women." After that broke, Elie Mystal criticized Chua in an Above the Law article, to which Sophia Chua-Rubenfeld tweeted that she "[w]on't be applying to SCOTUS." Mystal also teamed up with The Guardian to unearth more revelations regarding Chua, Kavanaugh, and how his clerks always "look like models." Of course, it was Mystal who broke the news that Sophia Chua-Rubenfeld was chosen as a Kavanaugh SCOTUS clerk. We covered Zeppelin in Episode 236. The false answers statute is 13 U.S.C. § 221. -Support us on Patreon at:  patreon.com/law -Follow us on Twitter:  @Openargs -Facebook:  https://www.facebook.com/openargs/, and don't forget the OA Facebook Community! -For show-related questions, check out the Opening Arguments Wiki, which now has its own Twitter feed!  @oawiki -And finally, remember that you can email us at openarguments@gmail.com!

Merrell Fankhauser has led one of the most diverse and interesting careers in music. His book Calling from a Star  The Merrel Fankhauser Story is on Amazon. Author-Songwriter-Musician - Friend to Mu ancients and ET's. He was born in Louisville, Kentucky, and moved to California when he was 13 years old. Merrell went on to become one of the innovators of surf music and psychedelic folk rock. His travels from Hollywood to his 15-year jungle experience on the island of Maui have been documented in numerous music books and magazines in the United States and Europe. Merrell has gained legendary international status throughout the field of rock music; his credits include over 250 songs published and released. He is a multi-talented singer/songwriter and unique guitar player whose sound has delighted listeners for over 35 years. He has an extraordinary book  that tells a unique story of one of the founding fathers of surf rock, who went on to play in a succession of progressive and psychedelic bands and to meet some of the greatest names in the business, including Captain Beefheart, Randy California, The Beach Boys, Jan and Dean.... and there is even a run in with the notorious Manson. There are  ET MU Sounds coming into our future of our Ascension Age Family shares Valentine's Day 2019 shares precogs with Janet Kira Lessin and Theresa J Morris. What we are about with reality and fantasy in cyberspace. Who we are and what we create in the future.

Today's deep-dive Tuesday tackles a long-running lawsuit by the estate of Randy California -- the founder, lead singer, and guitarist for the band Spirit -- alleging that Led Zeppelin stole the iconic riff for "Stairway to Heaven" from Spirit's 1968 song "Taurus."  With assistance from Thomas on guitar, we tackle all of the fun issues that are currently pending before the 9th Circuit... and possibly headed to the Supreme Court! We begin, however, with two follow-up questions that got cut from Friday's blockbuster show regarding the American Media, Inc. plea agreement:  (1) Could David Pecker still be indicted? and the big one:  (2) Can Donald Trump pardon a corporation?  The answer... may surprise you! After that, it's time for a deep dive into the law regarding musical copyright and an exploration of the similarities and differences between "Taurus" and "Stairway to Heaven."  Where do Andrew and Thomas come out?  You'll have to listen to find out! After that, it's time for the answer to Thomas Takes The Bar Exam #105 regarding a bank and a car dealership attempting to modify a contract.  As always, remember to follow our Twitter feed (@Openargs) and like our Facebook Page so that you too can play along with #TTTBE! Appearances None!  If you'd like to have either of us as a guest on your show, drop us an email at openarguments@gmail.com. Show Notes & Links We discussed the AMI deal in Episode 235. You can check out Spirit's "Taurus" by clicking here. Click here to read the original (and awesome!) Randy California v. Led Zeppelin complaint; you can also read (1) the jury verdict by the trial court; (2) the brief filed by Taurus in the 9th Circuit; (3) the opposition brief filed by Led Zeppelin; (4) the 9th Circuit's ruling; (5) the petition for rehearing en banc filed by Led Zeppelin; (6) the opposition to that motion for rehearing en banc; and (7) the just-filed reply brief by Led Zeppelin (filed 12-10-08).  Phew! Finally, click here for a mashup of "My Sweet Lord" (George Harrison) and "He's So Fine" (The Chiffons). Support us on Patreon at:  patreon.com/law Follow us on Twitter:  @Openargs Facebook:  https://www.facebook.com/openargs/ Don't forget the OA Facebook Community! For show-related questions, check out the Opening Arguments Wiki And email us at openarguments@gmail.com  

IRON BUTTERFLY e RANDY CALIFORNIA

IRON BUTTERFLY e RANDY CALIFORNIA

On this episode of the Fake Show we talk to the lawyer who unsuccessfully sued Jimmy Page and Robert Plant on behalf of the band Randy California and the band Spirit.

It is truly an honor to welcome back Prescott Niles back to the show! Actually we had him on The FLO Guitar-Enthusiasts and we barely scratched the surface of what this amazing musician can do! Prescott is well known for being the bassist of the band The Knack, and his iconic bass riff for "My Sharona" is known by a lot of musicians over several generations. But there is more to Prescott than that, and that is what we will explore tonight. We will talk to Prescott about, while in the Knack, working with producer Don Was and drummer Terry Bozzio and explore some amazing bass playing on the Knack albums. Also we take a look at life after the Knack, his working with George Harrison, Josie Cotton (featured in the movie Valley Girl), Velvet Turner and Randy California and will play some rare clips of some legendary sessions!! And we will talk about his playing bass for Missing Persons! We will be talking tone, basses and Prescott will be bringing some interesting basses in his collection to show us!!

It is truly an honor to welcome back Prescott Niles back to the show! Actually we had him on The FLO Guitar-Enthusiasts and we barely scratched the surface of what this amazing musician can do! Prescott is well known for being the bassist of the band The Knack, and his iconic bass riff for "My Sharona" is known by a lot of musicians over several generations. But there is more to Prescott than that, and that is what we will explore tonight. We will talk to Prescott about, while in the Knack, working with producer Don Was and drummer Terry Bozzio and explore some amazing bass playing on the Knack albums. Also we take a look at life after the Knack, his working with George Harrison, Josie Cotton (featured in the movie Valley Girl), Velvet Turner and Randy California and will play some rare clips of some legendary sessions!! And we will talk about his playing bass for Missing Persons! We will be talking tone, basses and Prescott will be bringing some interesting basses in his collection to show us!!

It is truly an honor to welcome back Prescott Niles back to the show! Actually we had him on The FLO Guitar-Enthusiasts and we barely scratched the surface of what this amazing musician can do! Prescott is well known for being the bassist of the band The Knack, and his iconic bass riff for "My Sharona" is known by a lot of musicians over several generations. But there is more to Prescott than that, and that is what we will explore tonight. We will talk to Prescott about, while in the Knack, working with producer Don Was and drummer Terry Bozzio and explore some amazing bass playing on the Knack albums. Also we take a look at life after the Knack, his working with George Harrison, Josie Cotton (featured in the movie Valley Girl), Velvet Turner and Randy California and will play some rare clips of some legendary sessions!! And we will talk about his playing bass for Missing Persons! We will be talking tone, basses and Prescott will be bringing some interesting basses in his collection to show us!!

New #BobWeir, #FantasticNegrito, Professor Louis & The Crowmatix, #TromboneShorty, #TheMaserminds + The Jauntee, Brian Jackson, Toots & The Maytalls, Ella Fitzgerald, Wayne Shorter, Tracy Chapman, Lightin' Rod... Birthdays for Walter Becker, J. Geils, Jerry Harrison, Randy California