Podcasts about Record Plant

In this episode of The SOUND Project, Gavin sits down with Jason Carson—former chief tech and VP of operations at Record Plant. Jason shares his path from runner to studio integration expert, what it was like designing Chip Freeman's studio, and advice for those looking to break into the audio world. From wiring diagrams to teaching young engineers, Jason's seen it all.Video By: More Than Media - www.morethan.mediaInstagram: https://www.instagram.com/morethan.media/TikTok: https://www.tiktok.com/@morethan.mediaYouTube: https://www.youtube.com/@morethanmedia_The S.O.U.N.D. Project Podcast:Apple Podcasts: https://podcasts.apple.com/us/podcast/the-sound-project/id1680525959Spotify: https://open.spotify.com/show/6dkk1s642VFjZGsdYGyxBPGoogle: https://podcasts.google.com/feed/aHR0cHM6Ly9hbmNob3IuZm0vcy9kZTBiZGNlOC9wb2RjYXN0L3JzcwFull episodes playlist: https://www.youtube.com/playlist?list=PLghfvh2wd7A9MnVKr44jtPEg0qcZ1esTFKeep up with us on our Socials:- YouTube: https://www.youtube.com/@haverstickdesigns- Instagram: https://www.instagram.com/haverstickdesigns/- Facebook: https://www.facebook.com/HaverstickDesigns- TikTok: https://www.tiktok.com/@haverstickdesigns- LinkedIn: https://www.linkedin.com/company/haverstick-designs/- Linktree: https://linktr.ee/haverstickdesigns- Website: https://www.haverstickdesigns.com/#TheSOUNDProject #StudioIntegration #RecordPlant #Studio333 #AudioEngineering #RecordingStudio #ProAudio #StudioBuild #haverstickdesigns 00:00 – Intro00:20 – Meet Jason Carson01:00 – Breaking into audio through Chip Freeman02:00 – Starting at Record Plant and moving into tech03:00 – Becoming chief tech and VP of operations04:30 – Freelance work and studio integration05:30 – Building Studio 333 with Chip07:00 – Remote integration, wiring plans, and team collaboration08:30 – Tech Awards and Jason's 2007 win10:00 – Lessons from Record Plant projects11:00 – Advice for studio runners and newcomers12:00 – Berklee, LA life, and balancing family13:30 – Planning personal recording projects14:30 – Biggest challenges in integration15:30 – Full circle: revisiting Studio 333 for future recording16:10 – Final thoughts and gratitude

Show Open 06.21.25 

Buzz Me In: Inside The Record Plant Studio chronicles how two men (with a little help from Hendrix) built the go-to recording hub of the decade. Over-the-top partying, tight deadlines, all-night sessions, and egos the size of hotel suites — this is the 1970s music scene in full throttle. *This episode is sponsored by Thames & Hudson - the world's great publisher of illustrated books on Art, Architecture, Design, Photography, Fashion, Lifestyle, Music, History. *Authors David Goggin and Martin Porter created a Spotify playlist to go with every chapter— Listen here *Want the latest in Rock N Roll Book and Documentaries news sent to your inbox? Sign up for the Monthly BLAST!! the newsletter that comes out on the last Friday of the month that features book buzz and doc news, recently released titles, top 5 lists, and more. Just shoot me over an email at the address below and say Big Rick, send me over that Blast!Support the showemail Big Rick at:info@rocktalkstudio.com

It's possible that Aerosmith is the greatest American rock band of all time. And in our opinion, their best album was 1975's Toys In The Attic which is still their biggest selling original record with over 9 million sold in the US. As it turns 50 we decided to dive deep into what makes this album so great and why it endures to this day as a hard rock classic. Yes, it has singles that were popular in their day and are still staples on classic rock radio in Sweet Emotion and Walk This Way. But the title track is a killer way to start a rockin album and is an Aerosmith signature. You See Me Cryin' allows the Bad Boys from Boston to show their tender side (and incorporate strings), Round And Round shows a harder Aerosmith, and Big Ten Inch Record shows off the tongue-in-cheek lyrics that have made the band famous (though that one is a cover, it's classic Steven Tyler). The boys had been touring hard and were really firing on all cylinders. The previous year's Get Your Wings had been well received and had a killer cover of Train Kept A Rollin which was one of their live staples. But what made this album different from the previous two is that when they went to the Record Plant in New York City to record Toys, they didn't have any songs ready. They'd honed the songs from the previous albums live before heading into record them but this time they started from scratch with a few ideas they'd been noodling on. Joe Perry came up with the riff to Walk This Way on stage in Hawaii. Tom Hamilton had the Sweet Emotion bits for years before he worked with Steven Tyler to mold them into an all time classic. Brad Whitford got a co-write on Round And Round and Joe Perry really established himself as one of the killer guitar slingers of his generation. As it turns 50, we celebrate Aerosmith's greatest album - Toys In The Attic! Check out our new website: Ugly American Werewolf in London Website Visit our sponsor RareVinyl.com and use the code UGLY to save 10%! Twitter Threads Instagram YouTube LInkTree www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

It's possible that Aerosmith is the greatest American rock band of all time. And in our opinion, their best album was 1975's Toys In The Attic which is still their biggest selling original record with over 9 million sold in the US. As it turns 50 we decided to dive deep into what makes this album so great and why it endures to this day as a hard rock classic. Yes, it has singles that were popular in their day and are still staples on classic rock radio in Sweet Emotion and Walk This Way. But the title track is a killer way to start a rockin album and is an Aerosmith signature. You See Me Cryin' allows the Bad Boys from Boston to show their tender side (and incorporate strings), Round And Round shows a harder Aerosmith, and Big Ten Inch Record shows off the tongue-in-cheek lyrics that have made the band famous (though that one is a cover, it's classic Steven Tyler). The boys had been touring hard and were really firing on all cylinders. The previous year's Get Your Wings had been well received and had a killer cover of Train Kept A Rollin which was one of their live staples. But what made this album different from the previous two is that when they went to the Record Plant in New York City to record Toys, they didn't have any songs ready. They'd honed the songs from the previous albums live before heading into record them but this time they started from scratch with a few ideas they'd been noodling on. Joe Perry came up with the riff to Walk This Way on stage in Hawaii. Tom Hamilton had the Sweet Emotion bits for years before he worked with Steven Tyler to mold them into an all time classic. Brad Whitford got a co-write on Round And Round and Joe Perry really established himself as one of the killer guitar slingers of his generation. As it turns 50, we celebrate Aerosmith's greatest album - Toys In The Attic! Check out our new website: Ugly American Werewolf in London Website Visit our sponsor RareVinyl.com and use the code UGLY to save 10%! Twitter Threads Instagram YouTube LInkTree www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

The Stylistics announce their first new album in almost two decades titled "Falling in Love with My Girl" to be released on February 21, 2025. Soul legends collaborate with Shania Twain on single "Yes, I Will" which drops on Valentine's Day, February 14th.This new collection to also feature music legends Ronnie Wood, Gene Simmons, Billy F. Gibbons, The Elton John Band, Steve Lukather, Bill Champlin, Tower of Power, and many more. The Stylistics announce their first new album in almost two decades titled "FALLING IN LOVE WITH MY GIRL," which will be released worldwide on February 21, 2025. The soul legends known for their iconic hits, "Stop, Look, Listen (To Your Heart)," "You Are Everything," "You Make Me Feel Brand New," and more, earning them 5 Gold singles and 3 Gold albums, will bring audiences their first new single from the 21-track album "Yes, I Will," featuring Shania Twain, on February 14. "FALLING IN LOVE WITH MY GIRL," produced by Tom Cridland and Executive Produced by Deborah Cridland, will feature a who's who of legendary and noted artists who collaborated on the album alongside Twain: Ronnie Wood of The Rolling Stones, Gene Simmons of KISS, The Elton John Band (including Nigel Olsson and Davey Johnstone), Bill Champlin of Chicago, Billy F. Gibbons of ZZ Top, Steve Lukather of Toto, Tower of Power, Ray Parker, Jr., Jay Graydon, Justin Hawkins of The Darkness, The Real Thing, Nathan East and Carly Paoli. For "Yes, I Will," Twain had been invited to sing on one of the tracks already written, but she had in mind the perfect song for the album that she had co-written with Nathan East, (to which Tom Cridland contributed), that was a soulful fit for The Stylistics. Ray Parker Jr., Steve Lukather and East performed on the track that was the last song recorded for the collection, and is the first new track in 17 years to be released by the legendary group. Says Twain, "I'm so happy that this song I wrote 'Yes, I Will' has found a home on The Stylistics album. That is just so exciting. It's a special song that came together on one special day at my home where I was hanging out with some friends and musicians. So I think it turned out great and I'm just really excited to share it with the whole world." Airrion Love from The Stylistics adds, "I fell in love with Shania Twain the first time I heard 'You're Still the One' - a great song that I still love. When we heard there might be a chance to do something with her we said, "Hell yeah!"" The Stylistics' original members Airrion Love and Herb Murrell, together with Jason Sharp who joined the group in 2011, recorded their vocals at Spice House Sound in Philadelphia, Pennsylvania, and at Wright Way Studios in Baltimore, Maryland. Tom Cridland arranged and recorded the background vocals in the Scottish Highlands and at Fame Studios in Muscle Shoals, Alabama. The Elton John Band including Nigel Olsson and Davey Johnstone laid down the instrumental tracks at the Record Plant in Hollywood, California. "FALLING IN LOVE WITH MY GIRL" was the last album ever made at the legendary recording studio. Most of the songs were written by Tom Cridland together with Anthony King of Blackpool and Anthony's wife, Fiona Shaw. Two tracks were written by Airrion Love, "Sad Tomorrows" and "I Get A Feeling." Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

The Stylistics announce their first new album in almost two decades titled "Falling in Love with My Girl" to be released on February 21, 2025. Soul legends collaborate with Shania Twain on single "Yes, I Will" which drops on Valentine's Day, February 14th.This new collection to also feature music legends Ronnie Wood, Gene Simmons, Billy F. Gibbons, The Elton John Band, Steve Lukather, Bill Champlin, Tower of Power, and many more. The Stylistics announce their first new album in almost two decades titled "FALLING IN LOVE WITH MY GIRL," which will be released worldwide on February 21, 2025. The soul legends known for their iconic hits, "Stop, Look, Listen (To Your Heart)," "You Are Everything," "You Make Me Feel Brand New," and more, earning them 5 Gold singles and 3 Gold albums, will bring audiences their first new single from the 21-track album "Yes, I Will," featuring Shania Twain, on February 14. "FALLING IN LOVE WITH MY GIRL," produced by Tom Cridland and Executive Produced by Deborah Cridland, will feature a who's who of legendary and noted artists who collaborated on the album alongside Twain: Ronnie Wood of The Rolling Stones, Gene Simmons of KISS, The Elton John Band (including Nigel Olsson and Davey Johnstone), Bill Champlin of Chicago, Billy F. Gibbons of ZZ Top, Steve Lukather of Toto, Tower of Power, Ray Parker, Jr., Jay Graydon, Justin Hawkins of The Darkness, The Real Thing, Nathan East and Carly Paoli. For "Yes, I Will," Twain had been invited to sing on one of the tracks already written, but she had in mind the perfect song for the album that she had co-written with Nathan East, (to which Tom Cridland contributed), that was a soulful fit for The Stylistics. Ray Parker Jr., Steve Lukather and East performed on the track that was the last song recorded for the collection, and is the first new track in 17 years to be released by the legendary group. Says Twain, "I'm so happy that this song I wrote 'Yes, I Will' has found a home on The Stylistics album. That is just so exciting. It's a special song that came together on one special day at my home where I was hanging out with some friends and musicians. So I think it turned out great and I'm just really excited to share it with the whole world." Airrion Love from The Stylistics adds, "I fell in love with Shania Twain the first time I heard 'You're Still the One' - a great song that I still love. When we heard there might be a chance to do something with her we said, "Hell yeah!"" The Stylistics' original members Airrion Love and Herb Murrell, together with Jason Sharp who joined the group in 2011, recorded their vocals at Spice House Sound in Philadelphia, Pennsylvania, and at Wright Way Studios in Baltimore, Maryland. Tom Cridland arranged and recorded the background vocals in the Scottish Highlands and at Fame Studios in Muscle Shoals, Alabama. The Elton John Band including Nigel Olsson and Davey Johnstone laid down the instrumental tracks at the Record Plant in Hollywood, California. "FALLING IN LOVE WITH MY GIRL" was the last album ever made at the legendary recording studio. Most of the songs were written by Tom Cridland together with Anthony King of Blackpool and Anthony's wife, Fiona Shaw. Two tracks were written by Airrion Love, "Sad Tomorrows" and "I Get A Feeling." Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

Marv Ross is an American musician, best known as the lead guitarist and primary songwriter for the 1980s rock band Quarterflash. With a distinctive style blending rock, jazz, and blues influences, Ross helped craft the band's signature sound. His work on hits like "Harden My Heart" and "Take Me to Heart" showcased his skillful guitar playing and lyrical depth, earning Quarterflash widespread acclaim. Beyond his success with the band, Ross is also recognized for his contributions as a composer and producer in the music industry. On this episode of Dystopia Tonight, Marv Ross and I dive into a fascinating conversation about his diverse musical career. He shares stories from recording an album at the iconic Jersey Shore, finding inspiration in John Denver, working with renowned producer John Boylan, and recalls touring with major acts like Elton John, Loverboy, Sammy Hagar, Starship, and Night Ranger. We also touch on his experience writing music for Ron Howard's film Night Shift, and Marv tells a memorable story about Burt Bacharach's obsession with Pac-Man. Additionally, he opens up about his time at The Record Plant, with stories of Ron Wood, Rod Stewart, Giorgio Moroder, Randy Newman, Fleetwood Mac, and Dolly Parton come rushing back to memory.

Paul Prestopino was a musician, inventor, and technician with a long and varied career. From 1970 until its closure in 1989, Paul was a technician at the Record Plant in NYC, a venerated studio that helped produce an endless stream of hit records and launched dozens of careers for the engineers and producers that worked there. While working at the studio, Paul, known to everyone as “Presto,” was charged with the maintenance and care of the recording equipment, but he also played on dozens of albums for bands like Aerosmith, The Hooters, Alice Cooper, Slade, and Edgar Winter. He was also an integral member of the bands of Peter, Paul, and Mary, John Denver, and The Chad Mitchell Trio. Paul was part of the lifeblood of the Record Plant, and his passing in 2023 was felt deeply by those who worked with him at the studio. Our very own John Agnello organized this special memorial episode for Paul, where we interview Record Plant alumni and Paul's brother, Greg Prestopino, to pay homage to a man who touched so many lives through his work and music.   

On this episode of Adventures in Vinyl, Adam and I discuss this 2nd studio album named for a color in the year 1994.  That band is Stone Temple Pilots and the album is Purple.Song of The Week!Pennyroyal Tea - Nirvana, In UteroStump The Barron!I'm The One - Descendants - Everything SucksSearching for Tomorrow - Coheed & Cambria - The Father of Make BelieveStone Temple Pilots - PurpleGenre:  Alternative RockRelease Date:  June 7, 1994Studio(s):  Record Plant, Paisley Park, Harptone, Southern TracksProducer(s):  Brandon O'BrienLabel:  AtlanticLength: 46:59Number of Tracks:  11For more information on the band Stone Temple Pilots  you can check out their website at https://stonetemplepilots.com.  If you enjoyed this podcast be sure to check us out at our website at www.adventuresinvinyl.com where you can find links to our episodes and through our support section you can find a place to order you very own adventures in vinyl T Shirt. 

fWotD Episode 2721: New York Dolls (album) Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Wednesday, 16 October 2024 is New York Dolls (album).New York Dolls is the debut studio album by the American rock band New York Dolls, released on July 27, 1973, by Mercury Records. In the years leading up to the album, the Dolls had developed a local fanbase by playing regularly in lower Manhattan after forming in 1971. However, most music producers and record companies were reluctant to work with them because of their vulgarity and onstage fashion as well as homophobia in New York; the group later appeared in exaggerated drag on the album cover for shock value.After signing a contract with Mercury, the Dolls recorded their first album at The Record Plant in New York City with producer Todd Rundgren, who was known for his sophisticated pop tastes and held a lukewarm opinion of the band. Despite stories of conflicts during the recording sessions, lead singer David Johansen and guitarist Sylvain Sylvain later said Rundgren successfully captured how the band sounded live. The resulting music on the album – a mix of carefree rock and roll, influences from Brill Building pop, and campy sensibilities – explores themes of urban youth, teen alienation, adolescent romance, and authenticity, as rendered in Johansen's colloquial and ambiguous lyrics.New York Dolls was met with widespread critical acclaim but sold poorly and polarized listeners. The band proved difficult to market outside their native New York and developed a reputation for rock-star excesses while touring the United States in support of the album. Despite its commercial failure, New York Dolls was an influential precursor to the 1970s punk rock movement as the group's crude musicianship and youthful attitude on the album challenged the prevailing trend of musical sophistication in popular music, particularly progressive rock. Among the most acclaimed albums in history, it has since been named in various publications as one of the best debut records in rock music and one of the greatest albums of all time.This recording reflects the Wikipedia text as of 00:57 UTC on Wednesday, 16 October 2024.For the full current version of the article, see New York Dolls (album) on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Matthew.

fWotD Episode 2674: Segundo Romance Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Friday, 30 August 2024 is Segundo Romance.Segundo Romance (English: Second Romance) is the tenth studio album by Mexican singer Luis Miguel, released on 30 August 1994 through WEA Latina. Like Miguel's 1991 album Romance, Segundo Romance comprises cover versions of boleros (Latin ballads) written between 1934 and 1993. It was produced by Miguel with Juan Carlos Calderón, Kiko Cibrian and Armando Manzanero and recorded in early 1994 at the Record Plant in Los Angeles.Miguel promoted the album with tours in the United States and Latin America from August to December 1994. Four singles were released: "El Día Que Me Quieras", "La Media Vuelta", "Todo y Nada", and "Delirio". The former two reached the top of the Billboard Hot Latin Songs chart in the United States.Segundo Romance received positive reviews from music critics, who praised its production, Miguel's vocals and the choice of songs. It won several awards, including the Grammy Award for Best Latin Pop Performance. By 1995, Segundo Romance had sold over 4.5 million copies and achieved multi-platinum status in many Latin American countries and Spain, and was certified platinum in the United States. Like its predecessor, the album helped continue renewing mainstream interest in bolero music.This recording reflects the Wikipedia text as of 01:06 UTC on Friday, 30 August 2024.For the full current version of the article, see Segundo Romance on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm long-form Ruth.

New research shows the cooling effect trees can have on cities.

A Netflix documentary about Prince is being ‘held hostage' as the Prince estate & Netflix disagree on the length and content of the film, Los Angeles' legendary Record Plant studio is going to be closing after 55 years,  Nirvana settles lawsuit over their smiley face logo with fashion designer Marc Jacobs & more… PLUS this week in Rock & Roll History Trivia, Weekly WTF & so much more!   Everything is up at www.rocknewsweekly.com   Watch us LIVE, chat with us & more… Every Sunday around 2pm PST @ https://www.twitch.tv/rocknewsweekly   Watch all of our videos & interviews on demand at Youtube.com/@rocknewsweekly   Follow us online: Instagram.com/rocknewsweekly Facebook.com/rocknewsweekly Twitter.com/rocknewsweekly     All of our links are up at www.rocknewsweekly.com every Monday, where you can Check it out on 8 different platforms (including Amazon Audible & Apple/Google Podcasts)   #Rock #News #RockNews #RockNewsWeekly #RockNewsWeeklyPodcast #Podcast #Podcasts #Metal #HeavyMetal #Alt #Alternative #ClassicRock #70s #80s #90s #Indie #Prince #Netflix #RecordPlantStudio #RecordPlantLA #Nirvana #MarcJabos #TenaciousD #TheSmile #JohnnyGreenwood -#Radiohead

Mark, Lou and Perry discuss and listen to original versions of songs plus Redbone performing "Come and Get Your Love" from 1974 also music arranger Charles Calello and the Record Plant recording studio closing plus random relish topics and music trivia including song intro trivia and much more.

For this week's episode of the Plural Pod, Gareth and Joel ponder liquid-filled discs and the latest ways of trying to make vinyl records appealing. There are reviews of fresh pressings from Stephen Pastel & Gavin Thomson, The Round Robin Monopoly and Ana Frango Elétrico. We delve into the world of second hand sales and find out some of the highest value titles snapped up recently, including some obscure, clattering garage rock and some bloke called Nick Drake. John-Paul from Record Plant in Farsley, Leeds talks us through how this new business was established and Tom from Cheap Indie Vinyl joins us with top tips for bargain records this week. All that and we hear about your catalogue quests.Get in touch with us via pluralofvinylpod@gmail.com or @PluralVinylPod on Twitter. You can also Whatsapp via 07455680866The Plural Of Playlist, featuring tracks discussed: https://open.spotify.com/playlist/5M566WI1NstJoQcZU0KRMR?si=8h8NUeaXR_acMIrYYQ-rDQ&pi=MBWJA5SvSUewV&nd=1&dlsi=2a5d31635f704542Join the Cheap Indie Vinyl WhatsApp channel:https://whatsapp.com/channel/0029VaWT9tnElagoIHB2ed1GEclipse sale: https://eclipse-records.co.uk/collections/june-saleVinilo sale: https://vinilo.co.uk/collections/summer-sale-24Lost In Vinyl sale: https://www.lostinvinyl.org/saletitles Hosted on Acast. See acast.com/privacy for more information.

fWotD Episode 2592: The Ecstatic Welcome to featured Wiki of the Day where we read the summary of the featured Wikipedia article every day.The featured article for Sunday, 9 June 2024 is The Ecstatic.The Ecstatic is the fourth studio album by American rapper Mos Def, released on June 9, 2009, by the independent record label Downtown Records. After venturing further away from hip hop with an acting career and two poorly received albums, Mos Def signed a recording contract with Downtown and recorded The Ecstatic primarily at the Record Plant in Los Angeles. He worked with producers such as Preservation, Mr. Flash, Oh No, and Madlib, with the latter two reusing instrumentals they had produced on Stones Throw Records. The work of Stones Throw rapper MF Doom was also cited by Mos Def as an influence, while singer Georgia Anne Muldrow, formerly of the record label, performed as one of the album's few guest vocalists, along with rappers Slick Rick and Talib Kweli.Described by music journalists as a conscious and alternative hip hop record, The Ecstatic features an eccentric, internationalist quality. Mos Def's raps about global politics, love, war, spirituality, and social conditions are informed by the zeitgeist of the late 2000s, Black internationalism, and Pan-Islamic ideas, incorporating many Islamic references throughout the album. Its loosely structured, lightly reverbed songs use unconventional time signatures and samples taken from a variety of international musical styles, including Afrobeat, soul, Eurodance, jazz, reggae, Latin, and Middle Eastern music. Mos Def titled the album after one of his favorite novels, Victor LaValle's The Ecstatic (2002), believing its titular phrase evoked his singular musical vision. For the album's front cover, a still from Charles Burnett's 1978 film Killer of Sheep was reproduced in a red tint.The Ecstatic charted at number nine on the Billboard 200 in its first week of release and eventually sold 168,000 copies. Its sales benefited from its presence on Internet blogs and the release of a T-shirt illustrating the record's packaging alongside a label printed with a code redeemable for a free download of the album. To further support the album, Mos Def embarked on an international tour with concerts in North America, Japan, Australia, and the United Kingdom between August 2009 and April 2010. As his DJ on the tour, Preservation began to develop remixes of the album's songs, which he later released on the remix album The REcstatic in 2013.A widespread critical success, The Ecstatic was viewed as a return to form for Mos Def and one of the best albums from 2009, with reviewers applauding its exuberant musical feel, adventurous creative range, and shrewd lyrical performances. Some publications ranked it among the greatest albums of the 2000s decade, including The Times at number 30. However, it struggled to reach mainstream audiences beyond Mos Def's fan base and led the already disillusioned rapper further away from the music industry, resulting in less recorded work from him over subsequent years.This recording reflects the Wikipedia text as of 01:01 UTC on Sunday, 9 June 2024.For the full current version of the article, see The Ecstatic on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm Olivia Neural.

Xavier Valiño escribe libros; el más reciente es sobre el disco "Rumours", el clásico del pop/rock de 1977 de la banda Fleetwood Mac; que este año se destaca por ser el vinilo más comercializado en internet. Lo llama "la tormenta emocional de Fleetwood Mac", que está lleno de canciones confesionales con armonías hermosas grabadas en medio de los conflictos personales con todas las características de un culebrón en el legendario estudio Record Plant en Sausalito, California. Podría decirse que es el primer reality en la historia del pop que queda enmarcado en un disco que contiene canciones preciosas, despechadas y verdaderos himnos del género como "Dreams" o "You Make Loving Fun". En febrero de 2023, "Rumours" ha vendido más de 40 millones de copias en todo el mundo, lo que lo convierte en el disco de vinilo más vendido de todos los tiempos. El álbum fue lanzado en 1977 y fue un éxito comercial inmediato, vendiendo más de 10 millones de copias al mes de su lanzamiento. Ganó el premio a Álbum del Año en los Grammy y ha sido incluido en el Salón de la Fama de la Academia. Este año 2024, "Rumours" superó los 5 mil millones de reproducciones en Spotify, lo que lo convierte en el álbum más reproducido de la década de 1970 en esta plataforma. --- Send in a voice message: https://podcasters.spotify.com/pod/show/gabriel-posada/message

The Aerosmith axeman recounts how he ripped the blazing lead on the Rocks hit, dishing some critical history along the way. Behind Steven Tyler's unhinged howls, Aerosmith's twin-guitar attack with Joe Perry and Brad Whitford cemented them as one of the greatest hard-rock bands of the '70s. “Last Child,” the street-strutting, hard-blues hit off their breakout 1976 record Rocks, is one of the greatest demonstrations of this dangerous duo's interplay. While Perry holds down the funky rhythmic chord stabs, Whitford burns through a volcanic, first-take solo. Did any pedals help snare that screaming tone? Nope. Just a '57 goldtop Les Paul and a 100-watt Marshall. That combo just “makes you play real good,” Whitford says with a grin on this week's episode. Whitford gives Shifty the background story on how Rocks came together between the band's Massachusetts rehearsal space and the Record Plant in New York. They dig deep on Aerosmith's influences and the guitar players that shaped Whitford's lead style, including the shredders that knew when to pause. “Whatever you play, you're still replicating the human voice for the most part, and you have to take a breath,” Whitford notes. Later on, Brad's son Graham—an established player in his own right—joins the episode to talk about raiding his dad's guitar and amp vault, and Brad muses on a big question: Will Aerosmith's upcoming tour be their last? Click below to subscribe to the podcast! Full Video Episodes: http://volume.com/shifty  Apple: https://podcasts.apple.com/podcast/id1690423642 Spotify: https://open.spotify.com/show/4B8BSR0l78qwUKJ5gOGIWb iHeart: https://www.iheart.com/podcast/269-shred-with-shifty-116270551/ Pandora: https://www.pandora.com/podcast/shred-with-shifty/PC:1001071314 Follow Chris Shiflett: Facebook: https://www.facebook.com/chrisshiflettmusic Instagram: https://www.instagram.com/shifty71 TikTok: https://www.tiktok.com/@chris.shiflett Twitter: https://twitter.com/chrisshiflett71 Website: http://www.chrisshiflettmusic.com Spotify: https://open.spotify.com/artist/5tv5SsSRqR7uLtpKZgcRrg?si=26kWS1v2RYaE4sS7KnHpag Producer: Jason Shadrick Executive Producers: Brady Sadler and Jake Brennan for Double Elvis Engineering support by Matt Tahaney and Matt Beaudoin Video Editors: Dan Destefano and Addison Sauvan Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.

Jack Douglas shares memories of the production and recording of John Lennon & Yoko Ono's "Double Fantasy", John Lennon's last day and memorial, unheard studio recordings, the 2010 'Stripped Back' version, Cheap Trick's "Live at Budokan" and more. John Lennon's records Bringing in Cheap Trick for Double Fantasy Rick Nielsen gifts John Lennon a guitar John Lennon wanted to redo “Strawberry Fields Forever” Were there any elements of Double Fantasy John or Yoko wanted to redo? Making “Walking on Thin Ice” John Lennon's last day John wanted to create a musical platform for Yoko Recording the orgasm for “Kiss Kiss Kiss” The plans for a John Lennon / Yoko Ono World Tour The album name “Double Fantasy” The two “Beautiful Boy(s)” songs Records and video from the “Double Fantasy” sessions The recording of John's final day was destroyed The private memorial with John's studio tapes Yoko distanced herself from Jack The “Double Fantasy” royalty lawsuit The 2010 “Double Fantasy” stripped back version Revisiting the Record Plant for transferring “Double Fantasy” tapes Jack's thought watching John on “Get Back” series John was constantly drawing, making art Discovering Cheap Trick, early albums Making “Live at Budokan” – using Osaka tapes The overdub for “Live at Budokan” Making Aerosmith's “Live Bootleg” album The Record Plant radio station for mixdowns Jack produced Silverplanes' LP "Airbus", enjoy it here! Extended, Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

"Tunes of the Season: Phish, Grateful Dead, and Merry Jams"Larry Mishkin   discusses Christmas-themed songs performed by various artists, including The Who and Grateful Dead. Larry delves into The Who's rock opera "Tommy," particularly focusing on the song "Christmas" and its critical reception. He transitions to discussing Grateful Dead's rendition of Chuck Berry's "Run, Rudolph, Run" performed at the Felt Forum in 1971 and analyzes its significance in the band's repertoire.Larry further explores the potential residency of bands like Dead & Company at the Sphere in Las Vegas, following U2's shows there. He touches on Phish's upcoming performances at the same venue and discusses the difficulty in acquiring tickets for these highly anticipated shows.Later, Larry reminisces about New Year's Eve shows by various bands, specifically mentioning Grateful Dead's memorable performances during the countdown. He also features unconventional Christmas renditions by Phish and Jerry Garcia with David Grisman..Produced by PodConx   Theme – Rock n Roll ChristmasIf you were in the Mishkin household earlier this morning, you might have heard this blasting out of the speakers:INTRO:               ChristmasThe WhoFebruary 14, 1970University of Leeds, Leeds, England  aka  “Live At Leeds”The Who - Christmas - Live At Leeds (with Footage) (youtube.com)2:00 – 3:17 "Christmas" is a song written by Pete Townshend and is the seventh song on The Who's rock opera Tommy. On the original LP, it opens the second side of the album.  Tommy is the fourth studio album by the English rock band the Who, first released on 19 May 1969.[2] Primarily written by guitarist Pete Townshend, Tommy is a double album and an early rock opera that tells the story of Tommy Walker and his experiences through life. The song tells how on Christmas morning, Tommy's father is worried about Tommy's future, and soul. His future is jeopardized due to being deaf, dumb, and blind.[2] The lyrics contrast religious themes such as Christmas and Jesus Christ with Tommy's ignorance of such matters. The rhetorical question, "How can he be saved from the eternal grave?" is asked about Tommy's condition and adds speculation as to the nature of original sin and eternal salvation. In the middle of the song, "Tommy can you hear me?" is repeated, with Tommy responding, "See me, feel me, touch me, heal me." "Christmas" was praised by critics. Richie Unterberger of AllMusic called it an "excellent song."[5]Rolling Stone's Mac Randall said it was one of several "prime Pete Townshend songs" on the album.[6] A review in Life by Albert Goldman considered it beautiful and highlighted the song's "croaking chorus".[7] James Perone said it was "perhaps one of the best sleeper tracks of the collection." Townshend came up with the concept of Tommy after being introduced to the work of Meher Baba, and he attempted to translate Baba's teachings into music. Recording on the album began in September 1968, but took six months to complete as material needed to be arranged and re-recorded in the studio. Tommy was acclaimed upon its release by critics, who hailed it as the Who's breakthrough. Its critical standing diminished slightly in later years; nonetheless, several writers view it as an important and influential album in the history of rock music. The Who promoted the album's release with an extensive tour, including a live version of Tommy, which lasted throughout 1969 and 1970. Key gigs from the tour included appearances at Woodstock, the 1969 Isle of Wight Festival, the University of Leeds, the Metropolitan Opera House, and the 1970 Isle of Wight Festival. The live performances of Tommy drew critical praise and revitalised the band's career. Live at Leeds is the first live album by English rock band the Who. It was recorded at the University of Leeds Refectory on 14 February 1970, and is their only live album that was released while the group were still actively recording and performing with their best-known line-up of Roger Daltrey, Pete Townshend, John Entwistle and Keith Moon. The album was released on 11 May 1970 by Decca and MCA in the United States,[2] and by Track and Polydor in the United Kingdom. It has been reissued on several occasions and in several different formats. Since its release, Live at Leeds has been ranked by several music critics as the best live rock recording of all time SHOW No. 1:                   Run Rudolph RunGrateful DeadFelt Forum at MSG, NYCDecember 7, 1971Track No. 10Grateful Dead Live at Felt Forum, Madison Square Garden on 1971-12-07 : Free Borrow & Streaming : Internet Archive0:11 – 1:54 Run Rudolph Run"[2][3][4] is a Christmas song written by Chuck Berry but credited to Johnny Marks and M. Brodie due to Marks' trademark on the character of Rudolph the Red-Nosed Reindeer.[5][note 1] It was published by St. Nicholas Music (ASCAP) and was first recorded by Berry in 1958, released as a single on Chess Records.It has since been covered by numerous other artists, sometimes with the title "Run Run Rudolph".[16] The song is a 12-bar blues, musically similar to Berry's popular and recognizable song "Johnny B. Goode", and melodically similar to his song "Little Queenie", the latter of which was released shortly after, in 1959.During its initial chart run, Berry's 1958 recording peaked at number 69 on the Billboard Hot 100 chart in December 1958.[22] Sixty years later, the single re-entered the Hot 100 chart at number 45 (on the week ending January 5, 2019), reaching an overall peak position of number 10 on the week ending January 2, 2021, following its third chart re-entry, becoming Berry's third top-ten hit and his first since 1972's "My Ding-a-Ling". In doing so, it broke the record for the longest climb to the top 10 since its first entry in December 1958, at 62 years and two weeks.This Ciip:Out of Brokedown Palace and into You Win AgainPlayed a total of 7 times.This was the first timeLast:  December 15, 1971 Hill Auditorium, Ann Arbor, MI  SHOW No. 2:     Little Drummer BoyPhishJuly 3, 1999Coca Cola Lakewood Amphitheatre, Atlanta, GAPhish - The Little Drummer Boy - 7/3/1999 - Atlanta, GA (youtube.com)Start to 1:30 Out of Contact to close the second set.  Played it again as the first encore (into, Won't You Come Home Bill Bailery starring Page's dad, Jack, on vocals and kazoo. "The Little Drummer Boy" (originally known as "Carol of the Drum") is a Czechoslovakian popular Christmas song written by American composer Katherine Kennicott Davis in 1941.[1] First recorded in 1951 by the Austrian Trapp Family, the song was further popularized by a 1958 recording by the Harry Simeone Chorale; the Simeone version was re-released successfully for several years, and the song has been recorded many times since.[2] In the lyrics, the singer relates how, as a poor young boy, he was summoned by the Magi to the Nativity of Jesus. Without a gift for the Infant, the little drummer boy played his drum with approval from Jesus' mother, Mary, recalling, "I played my best for him" and "He smiled at me". Phish has only performed the song three times during the month of December – the debut performance segueing out of “Mike's Song” and into “Whipping Post,” a tease during the 12/28/94 “Weekapaug Groove,” and jammed out of the “YEM” vocal jam (12/2/99) (which melted down until Jon was left singing it to close the set). But the song was jammed out of season during “My Friend, My Friend” (3/18/93) and “Stash” (7/15/93), and teased during “Weekapaug Groove” and “Big Ball Jam” (4/9/94), “Wilson” (8/13/97), “Silent in the Morning” (7/4/99), and "Wilson" (4/16/04). This version is generally considered to be Fishman's most memorable version.  SHOW No. 3:     God Rest Ye Merry GentlemenJerry Garcia and David GrismanNovember 9, 1991Warfield Theater, S.F.God Rest Ye Merry Gentlemen - Jerry Garcia - Bing videoStart – 1:37Out of The Two Sisters to close second set "God Rest You Merry, Gentlemen" is an English traditional Christmas carol. It is in the Roxburghe Collection (iii. 452), and is listed as no. 394 in the Roud Folk Song Index. It is also known as "Tidings of Comfort and Joy", and by other variant incipits. An early version of this carol is found in an anonymous manuscript, dating from the 1650s it appeared in a parody published in 1820 by William Hone.               Story here is the way Jerry and David play so tight, trading off leads and filling in gaps.  A great sound for a traditional tune.  There are many sides of Jerry and we don't get to see all of them.  Nice to take a break from the traditional Dead stuff and take a look in at what else Garcia was doing during that creative period of his life. SHOW No. 4:                   Stagger LeeGrateful DeadDecember 30, 1985Track No. 6Grateful Dead Live at Oakland Coliseum on 1985-12-30 : Free Borrow & Streaming : Internet ArchiveStart – 1:32 As is made clear by the opening lyrics, this is a tale about events that unfolded and played out on Christmas: “1940 Xmas Eve with a full moon over town”.  On some occasions, Jerry was  known to substitute in “Christmas” Eve. "Stagger Lee", also known as "Stagolee" and other variants, is a popular American folk song about the murder of Billy Lyons by "Stag" Lee Shelton, in St. Louis, Missouri, at Christmas 1895. The song was first published in 1911 and first recorded in 1923, by Fred Waring's Pennsylvanians, titled "Stack O' Lee Blues". A version by Lloyd Price reached number one on the Billboard Hot 100 in 1959. The historical Stagger Lee was Lee Shelton, an African-American pimp living in St. Louis, Missouri, in the late 19th century. He was nicknamed Stag Lee or Stack Lee, with a variety of explanations being given: he was given the nickname because he "went stag" (went to social events unaccompanied by a person of the opposite sex); he took the nickname from a well-known riverboat captain called Stack Lee; or, according to John and Alan Lomax, he took the name from a riverboat owned by the Lee family of Memphis called the Stack Lee, which was known for its on-board prostitution.[2] Shelton was well known locally as one of the Macks, a group of pimps who demanded attention through their flashy clothing and appearance.[3] In addition to those activities, he was the captain of a black Four Hundred Club, a social club with a dubious reputation. On Christmas night in 1895, Shelton and his acquaintance William "Billy" Lyons were drinking in the Bill Curtis Saloon. Lyons was also a member of St. Louis' underworld, and may have been a political and business rival to Shelton. Eventually, the two men got into a dispute, during which Lyons took Shelton's Stetson hat.[5]Subsequently, Shelton shot Lyons, recovered his hat, and left.[6] Lyons died of his injuries, and Shelton was charged, tried, and convicted of the murder in 1897. He was paroled in 1909, but returned to prison in 1911 for assault and robbery. He died in incarceration in 1912. The Grateful Dead frequently played and eventually recorded a version of the tale which focuses on the fictionalized hours after the death of "Billy DeLyon", when Billy's wife Delia tracks down Stagger Lee in a local saloon and "she shot him in the balls" in revenge for Billy's death. Based on the traditional song "Stagger Lee", "Stagolee" or "Stack O'Lee." Robert Hunter wrote a version that he performed solo, and Jerry Garcia subsequently re-ordered the lyrics and rewrote the music for the Grateful Dead's version. More recently Bob Weir has also been performing some of the older traditional versions with Ratdog. Dead released it on Shakedown Street, Nov. 8, 1978 Played 146 times by the Dead1st:  August 30, 1978Last:  June 18, 1995 Giants Stadium  OUTRO:              Santa Clause Is Coming To TownBruce Springsteen and the E Street BandCW Post University, Greenvale, NYDecember, 19756Santa Claus Is Comin' to Town (Live at C.W. Post College, Greenvale, NY - December 1975) - Bing video2:15 - 4:00               Santa Claus Is Comin' to Town" is a Christmas song featuring Santa Claus, written by J. Fred Coots and Haven Gillespie and first recorded by Harry Reser and His Band.[1] When it was covered by Eddie Cantor on his radio show in November 1934 it became a hit; within 24 hours, 500,000 copies of sheet music and more than 30,000 records were sold.[2][3] The version for Bluebird Records by George Hall and His Orchestra (vocal by Sonny Schuyler) was very popular in 1934 and reached the various charts of the day.[4] The song has been recorded by over 200 artists including Bing Crosby and the Andrews Sisters, the Crystals, Neil Diamond, Fred Astaire, Bruce Springsteen, Frank Sinatra, Bill Evans, Chris Isaak, the Temptations, The Pointer Sisters, the Carpenters, Michael Bublé, Luis Miguel, and the Jackson 5 A rock version by Bruce Springsteen & the E Street Band was recorded on December 12, 1975, at C. W. Post College in Brookville, New York, by Record Plant engineers Jimmy Iovine and Thom Panunzio.[14][15] This version borrows the chorus refrain from the 1963 recording by the Crystals.[16] It was first released as a track on the 1981 Sesame Street compilation album, In Harmony 2, as well as on a 1981 promotional, radio-only, 7-inch single (Columbia AE7 1332).[17][18] Four years later, it was released as the B-side to "My Hometown," a single off the Born in the U.S.A. album.[19] Springsteen's rendition of the song has received radio airplay perennially at Christmastime for years; it appeared on Billboard magazine's Hot Singles Recurrents chart each year from 2002 to 2009 due to seasonal air play. Live performances of the song often saw the band encouraging the audience to sing some of the lyrics with—or in place of—the band's vocalists (usually the line "you'd better be good for goodness sake", and occasionally the key line "Santa Claus is Comin' to Town" as well). Sometimes, concert crowds would sing along with the entire song, and the band, who were known to encourage this behavior for the song, would do nothing to dissuade those audiences from doing so, instead welcoming the crowds' enthusiasm. This version remains a Springsteen concert favorite during the months of November and December (often concluding the show), and the band is among the few that keep it in their roster of songs during the holidays. Dead & Co at the Sphere?Phish – sold out fast Merry ChristmasHappy Holidays .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

In this episode, we're delighted to talk with industry legend, Thom Panunzio. Getting his start as an assistant at NYC's Record Plant, Thom went on to work in every facet of the music business. He's produced, mixed, and engineered albums for Tom Petty, Bob Dylan, Joan Jett, Ozzy Osbourne, Bruce Springsteen, Patti Smith, Alice Cooper, and Aerosmith just to name a few. He helped design The Hit Factory in NYC, A&M Studios in LA, and the Thom Thom Club in Santa Monica, and was the Executive VP for Universal Music and head of A&R at Geffen Records for many years. Thom talks with John and Stewart about his time on staff at the Record Plant, his favorite mixing desks, his reluctant entrance into the world of A&R,  and how the industry and technology has changed over the course of his almost 50 year career. 

The Deadcast uncovers a most unusual lost studio session by Robert Hunter & the Grateful Dead, recorded at the Record Plant in November 1973, which we listen to in its entirety & annotate with the help of Donna Jean Godchaux-MacKay & others.Guests: Donna Jean Godchaux-MacKay, Bob Matthews, Alan Trist, Nicholas Meriwether, Brian Kehew, Michael Parrish, Mike DolgushkinSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Gutter Ballet es el sexto álbum de estudio de la banda estadounidense de heavy metal Savatage y fue publicado originalmente en formato de disco de vinilo, disco compacto y casete en 1989 por Atlantic Records Este disco fue grabado en los estudios Record Plant en la ciudad de Nueva York, Estados Unidos en 1989.​ Savatage grabó algunas canciones para este álbum, sin embargo, la mayoría fueron eliminadas del trabajo final. De estos demos, solamente se eligieron dos: «The Unholy» —que se llamó originalmente «The Gates of Hell»— y «Thorazine Shuffle». 1 Of Rage And War 4:46 2 Gutter Ballet 6:21 3 Temptation Revelation 3:07 4 When The Crowds Are Gone 5:47 5 Silk And Steel 2:56 6 She's In Love 3:51 7 Hounds 6:11 8 The Unholy 4:38 9 Mentally Yours 5:15 10 Summer's Rain 4:31 11 Thorazine Shuffle Bass – Johnny Lee Middleton Cover – Gary Smith (25) Cymbal, Drums – Steve 'Doc' Wacholz* Engineer – James A. Ball Engineer [Additional Engineering] – Joe Henehan Engineer [Assistant] – Dave Parla, Deek Venarchick, Jay DeVito, Teddy Trewella* Guitar – Christopher Caffery*, Criss Oliva Keyboards – Christopher Caffery* Keyboards [Additional] – Bob Kinkel* Management – Jon Goldwater Mastered By – Jack Skinner Photography By – Dennis Osborne Producer – Paul O'Neill Songwriter – Criss Oliva, Jon Oliva (tracks: 1 to 4, 6 to 11), Paul O'Neill (tracks: 1 to 4, 6 to 11), Paul Silver (tracks: 5) Technician [Studio] – Dan Campbell (2) Vocals, Piano – Jon Oliva Voice [Background Shouts & Laughs] – Dan 'Scrambles' Campbell*, Jerry 'Baaaaaaaad Dealin' Van Deilen*, John 'Studman' Dittmar*, Savatage, Stephen 'Daggmaster' Daggett*, Timmy And The Groundskeepers NUESTRO HOMENAJE A SU DEDICACION A LA BANDA SAVATAGE Y EN SU MENORIA Y SOBRE TODO A SUS FANS DEL MUNDO.

Staci talks with hard rock and metal guitarist Marc Ferrari, who started in the KEEL band and has worked with Gene Simmons, Pantera, and many others. He's in the rock & roll comedies, Wayne's World 1 and 2, and is a music producer, an entrepreneur, and an author—plus, he contributed a cocktail recipe for Rock & Roll Nightmares: RockTails. Marc remembers wild parties at The Record Plant in Hollywood (the only recording studio with its own hot tub?) and gives us info on new music with KEEL and Cold Sweat.

Host Paul Romanuk talks with singer/songwriter/musician Jerry Leger about John Lennon's 1973 album Mind Games.EPISODE NOTES:You can find out about all things Jerry Leger at his official web site jerryleger.com Anything we discuss about his music, album covers and so on is on that site.More information on host Paul Romanuk and The Walrus Was Paul podcast at Paul's official website romycast.com Here's a link to a television commercial that was done in 1973 to promote Mind Games. I believe that's John Lennon you can hear laughing in the background.We talk about John Lennon appearing on a syndicated US talk show - The Mike Douglas Show - where Lennon apparently came up with the idea for the song Only People. I have clear memories of running home from school that week to see John and Yoko on TV.We talk about legendary US session drummer Jim Keltner. Here's a great interview he did with Ross Garfield (aka The Drum Doctor).The album was recorded at The Record Plant in NYC. It's long gone. Here's a photo of Lennon in the control room. The guy with him in the yellow shirt is legendary engineer Roy Cicala.

Effervescent record producer/podcaster John Agnello (Sonic Youth, Dream Syndicate, Dinosaur Jr., Drive-By Truckers) and Tony Award-winning actor/musician Michael Cerveris (The Gilded Age, Fun Home, Tommy) join us in the Feral Zone as we take a break from recording to chat. John has seen a lot since his start in 1979 as an intern at the famed Record Plant recording studios in NYC. We discuss John’s illustrious career as well as his work with Michael and the band on the next Loose Cattle record. Forced ping pong with Meat Loaf, Gene Simmons’ book of groupies, boudin balls…all that and more. Topics include Dockside Studio, a first single, Americana music, a traumatic memory, a magical experience, 10,000 hours, the bayou, isolation, Jay Gonzalez, mutual admiration, an analog mindset, creative solutions, a Redd Kross track, trusting the process, Mark Lanegan, picking takes, a subtle method, mentors, Jack Douglas, nightmare sessions, a legendary brother, going AWOL, being lucky, Cindy Lauper, William Wittman, Zebra, Randy Jackson, Jimmy Iovine, Louie Michot, the Red Rockers, moving faders, Shelley Yakus, forensic audio, Horsegirl, young bands, Wet Leg, Michael Imperioli, and much more. Intro music: "Trucker Takes A Wife" by Styler/Coman Break and Outro Music: "Antiversary" and "Eating Birthday Cake" rough mixes from the new Loose Cattle record in progress Support the podcast: Paypal or Venmo Join the Patreon page here. Shop for Troubled Men’s Shirts here. Subscribe, review, and rate (5 stars) on Apple Podcasts or any podcast source. Follow on social media, share with friends, and spread the Troubled Word. Troubled Men Podcast Facebook Troubled Men Podcast Instagram Iguanas Tour Dates René Coman Facebook Michael Cerveris Homepage Michael Cerveris Facebook Michael Cerveris Instagram John Agnello Homepage John Agnello Facebook Loose Cattle Homepage

On Part 2 of R&B Money's Omarion Episode, the eponymous artist delves into his resplendent history as a multifaceted innovator. Audiences can expect to gain insight on Omarion's illustrious career trajectory; including details concerning transformative dance battles with Chris Brown at Los Angeles' iconic musical mecca, The Record Plant, divulging an admirable shift from B2K to Unbothered Man, seasoned R&B veterans Tank and J Valentine's tutelage illuminate the way.  Additionally, enthusiasts will hear firsthand about his most impressive advance check while charting out initiatives in endeavoring business opportunities through Young Money Records and Maybach Music, all culminating towards unveiling impending plans which include captivating film projects striving for full articulation within Dance Culture itself - not neglecting mention of his revered Versus Battle alongside Mario. Enjoy Omarion Part 2 on The R&B Money Podcast. Follow The Podcast: Tank: @therealtank   J Valentine: @JValentine Podcast: @RnbMoneyPodcast  https://www.youtube.com/RnBMoneyPodcastSee omnystudio.com/listener for privacy information.

Episode 248: In New York City on the 8th of December, 1980, the world was rocked by the murder of influential rock and roll icon, artist, sometimes controversial activist and dad John Lennon. After an evening recording session at the Record Plant, John Lennon and his wife, artist Yoko Ono returned to their Central Park West apartment building, The Dakota. As John and Yoko approached the entrance to the building, they passed a man for whom, only hours earlier, Lennon had signed an autograph. The man, Mark David Chapman, 25, watched the couple walk by and then pulled a .38 special from his coat and unloaded on John Lennon, shooting him in the back four times. The deadly hollow point bullets tore through the former Beatle, mortally wounding him. He was pronounced dead at Roosevelt Hospital later. When police arrived, they found Chapman patiently reading his book, Catcher in the Rye.  Sources: JOHN LENNON. GIMME SOME TRUTH. The Beatles This Is: The Beatles | Spotify Playlist This is: John Lennon | Spotify Playlist John Lennon's “bigger than Jesus” quote | Slate 23 December 1969: John Lennon and Yoko Ono meet Canadian prime minister Pierre Trudeau | The Beatles Bible The Catcher in the Rye | Summary, Analysis, Reception, & Facts | Britannica Two Marks — Mark David Chapman, the man who killed John Lennon — Crime Library BBC NEWS | Entertainment | John Lennon killer ‘wanted fame' BBC ON THIS DAY | 8 | 1980: John Lennon shot dead Learn more about your ad choices. Visit megaphone.fm/adchoices

Bob interviews famed music engineer and producer Ken Caillat and Shane Westhoelter of Gateway Financial Advisors on the preservation campaign for the Record Plant in Sausalito, CA where Fleetwood Mac's Rumours and other rock classics were recorded. Ken also talks about his memoir, “Making Rumours: The Inside Story of the Classic Fleetwood Mac Album.” on News Radio KKOBSee omnystudio.com/listener for privacy information.

Recorded at the Record Plant in late 1972 for an intended 1973 release, before ultimately being shelved, ‘A Kick In The Head Is Worth Eight In The Pants' is the holy grail of any Bee Gees collection. Stuart and Cristiano try to make sense of the story surrounding this album and its fate. Was it cancelled because of 'Wouldn't I Be Someone's' poor performance? And was it RSO or the Bee Gees themselves who pulled the plug? And, most pressingly, do the songs follow the narrative concept set up in 'Life In A Tin Can'? There's a lot to unpack… Find us on Instagram and Facebook @wordsbeegeespodcast, and on Twitter @wordsbeegeespod. Email us: wordsbeegeespodcast@gmail.com Hosted on Acast. See acast.com/privacy for more information.

Ever ask yourself how Bach and Fleetwood Mac are connected? No...just us? Bach makes an appearance in this episode, well his likeness and name make it into the conversation, and you'll be surprised to know that Shawn wasn't the one to bring it up. Stevie Nicks gets credit for this song, but nearly refused to lay down her vocal tracks due to a difference of opinion. Strong opinions, fueled by drugs and alcohol, flew freely in Studio B at Record Plant in Sausalito California. (Here's a great article to read more about the current status of this historic studio.) Is our version of this song perfect, no. Did we have fun trying, oh yeah!

In this episode, John & Stewart chat with GRAMMY award-winning engineer and producer, Steve Marcantonio. Steve is a staple of the Nashville music scene but got his start in New York at The Record Plant under the instruction of the likes of Roy Cicala and Jay Messina. Listen in as Steve discusses his journey through the ranks at The Record Plant, his move to Nashville, and shares some insights on how to get a leg up as an engineer.

www.iconsandoutlaws.com   The band Journey came together in San Francisco in 1973 under the auspices of former Santana manager Herbie Herbert who also managed The Steve Miller band, Roxette, and Europe. They were initially called the Golden Gate Rhythm Section and were backup players for established Bay Area bands. Originally, it included Santana alumni Neal Schon on lead guitar and Gregg Rolie on keyboards and lead vocals. Completing the band were bassist Ross Valory and rhythm guitarist George Tickner, both from the band Frumious Bandersnatch. Prairie Prince of The Tubes served as drummer. After one particular performance in Hawaii, the crew quickly abandoned the "backup band" idea and began developing their own distinctive jazz fusion style. After an unsuccessful radio contest to name the group, roadie John Villanueva suggested the name "Journey."   The band's first public gig was at the Winterland Ballroom on New Year's Eve 1973 to an audience of 10,000, and the following day, they flew to Hawaii to perform at the Diamond Head Crater to an even bigger audience. Prairie Prince returned to The Tubes shortly after. On February 1, 1974, the band hired British drummer Aynsley Dunbar, who had recently worked with the one and only David Bowie and was also a member of the second version of Frank Zappa's Mothers of Invention. On February 5, 1974, the new lineup debuted at the Great American Music Hall, showcasing in front of Columbia Records executives. They signed a recording contract with the label following the performance and later performed at venues around the Bay Area.   Journey went into CBS Studios in November 1974 with grammy award-winning producer Roy Halee to record their debut album "Journey." It was released in April 1975, entering the Billboard charts at number 138. This record was a jazzy progressive rock album focused mainly on the band's instrumental talents. It featured songs like "Of A Lifetime" and the instrumental, "Kahoutek,"; both songs pushing the 7-minute mark. Rhythm guitarist Tickner left the band shortly after due to the heavy touring the band was promoting the album, allowing Schon to take on the complete guitar duties.    Journey entered the studio again in late 1975 to record "Look into the Future," released in January 1976 and hit the Billboard Top 200 charts at number 100. The band promoted the album with a two-hour performance at the Paramount Theatre in Seattle, which later aired on the radio as touring continued to promote their second album. For this second album, the members of Journey toned down the overt progressiveness of their first release in favor of a more straightforward sound. The album also features a cover version of The Beatles' "It's All Too Much" from the 1968 Yellow Submarine film and 1969 soundtrack. The title track, "Look Into The Future," was the longest recorded Journey song at 8:10 until 1980, when "Destiny" from Dream, After Dream would claim that honor.   From May to October 1976, the band went to "His Master's Wheels" Studios to record their third studio album, "Next," which, just like the previous album, was produced by the band. However, they brought a much more commercial sound while keeping their jazz fusion and progressive rock roots. The album was released in February and charted on the Billboard Top 200 at 85. It would be the last album to feature Gregg Rolie as the lead singer. "Spaceman" with the instrumental "Nickel and Dime" was the single, and, unfortunately, sales did not improve, which led Columbia Records to almost dropping the band.   About these times in the band's career, lead guitarist Neal Schon has said: "I still think some of the stuff we did then was great. Some of it was self-indulgent, just jamming for ourselves, but I also think a lot of other things hurt us in the early days. It took a while for the politics to sort of shape up."   Journey's album sales did not improve, so Columbia Records requested they change their musical style and add a lead singer who would share lead vocals with Rolie. In comes Steve Perry, right? Nope! The band hired Robert Fleischman from the Los Angeles-based band "Staggerwing" and began transitioning toward a more popular style, similar to that of Foreigner and Boston. Journey went on tour with Fleischman in 1977, opening for bands like Black Sabbath, Judas Priest, and Emerson, Lake & Palmer. Fleischman and the rest of the band began writing and rehearsing new songs, including the hit "Wheel in the Sky." However, this new lineup would be short-lived because the band was introduced to that guy I mentioned earlier, Steve Perry, during a performance before approximately 100,000 at Soldier Field in Chicago. This chance encounter was significant because differences between Fleischman and manager Herbie Herbert resulted in Fleischman's departure from the band within the year.   Steve made his live debut with the band at the Old Waldorf in October 1977, stepping into His Master's Studios and Cherokee Studios from October to December. Herbie hired Roy Thomas Baker as the new record's producer to add a layered sound approach similar to a band Baker had previously worked with, a little English band called "Queen." With a new lead singer and new producer in tow, the band's fourth studio album, Infinity, was released in January 1978, and peaked at number 21 on Billboard. "Lights", "Anytime," and "Wheel In The Sky" were the album's singles, and it has sold over 3 million copies. Journey then set out on tour supporting the album and headlined a full tour for the first time.   According to Herbie, tensions were high between Aynsley Dunbar and the rest of the band due to the change in music direction from the jazz-fusion sound. Guitarist Neal Schon said: "We would talk about it, and he'd say he'd be willing to simplify things. But we'd get out there, and after five shows he wasn't doing that at all." Finally, Dunbar's resistance came to a head when he started playing erratically and talking crap about the other members, which later resulted in Herbie axing Dunbar after their headline tour. He was replaced by Berklee-trained drummer and Montrose member Steve Smith.   Perry, Schon, Rolie, Smith, and Valory returned to the studio at Cherokee Studios in late 1978 to record their fifth album, Evolution, which was later released in March 1979, peaking at number 20 on Billboard and selling another 3 million copies. This album, which would be a milestone for the band, gave the band their first Billboard Hot 100 Top 20 single, "Lovin', Touchin', Squeezin'," peaking at number 16, and was all over the radio. Following the tour in support of Evolution, the band expanded its operation to include a lighting and trucking operation for future gigs. The tour had grossed more than $5 million, making the band as popular as it had been in five years. Journey later entered Automatt Studios to record their sixth studio album, Departure, released in March 1980, peaking at number 8 on Billboard. The first single, "Any Way You Want It," peaked at number 23 on the Billboard Hot 100 in 1980. The album featured an edgier sound, thanks partly to the "live in studio" way the songs were recorded. They initially went into the studio with 19 tracks, eventually trimming down to 12. This record would also go on to sell over 3 million copies!   Founding member and keyboardist Gregg Rolie left the band following the Departure tour to start a family and undertake various solo projects. It was the second time he had departed from a successful act in his career. Yep, he left Journey and Santana. Keyboardist Stevie "Keys" Roseman was then brought in to record the lone studio track, "The Party's Over (Hopelessly in Love)," on the band's live album "Captured." Rolie suggested pianist Jonathan Cain of The Babys as his permanent replacement so, with Cain's synthesizers replacing Rolie's organ, Cain had become the band's newest member. With Cain joining as the new keyboard player, the band entered Fantasy Studios in Berkeley, California, in late 1980, releasing their seventh studio album, "Escape," in July 1981. Escape became their most successful album, charting at number one in the United States. In addition, the album had a ton of hit singles, including: "Who's Crying Now," "Still They Ride," "Open Arms," and the iconic "Don't Stop Believin'." In July of 2021, it was certified diamond, selling over 10 million copies!!   Oh, and "Escape" had its own video game! Journey Escape was a video game developed and manufactured by Data Age for the Atari 2600 console and released in 1982.    Want to hear the plot of the game?   You're on the road with Journey, one of the world's hottest rock groups. A spectacular performance has just ended. Now it's up to you to guide each Journey Band Member past hordes of Love-Crazed Groupies, Sneaky Photographers, and Shifty-Eyed Promoters to the safety of the Journey Escape Vehicle in time to make the next concert. Your mighty manager and loyal roadies are there to help, but the escape is up to you!   These other bands may have been successful, but not Atari 2600 successful.   Journey began another lengthy yet successful tour on June 12, 1981, supported by opening acts Billy Squier, (My Kind of Lover) Greg Kihn Band, Point Blank, and Loverboy. They then opened for one and only The Rolling Stones on September 25 of the same year. MTV videotaped one of their two sold-out shows in Houston on November 6, 1981, in front of over 20,000 fans, later released on DVD, which for 1981 was HUGE.   Following the success of the 1981 tour, the band's entire establishment as a corporation, and the formation of a fan club called "Journey Force," the band released "Only Solutions" and "1990s Theme" for the 1982 Disney film Tron.    At this point, Journey was absolutely killing it, so they entered Fantasy Studios again in the middle of their 1982 tour to record their eighth studio album, Frontiers. Released in February 1983, "Frontiers" was the band's second-biggest selling album, selling over six million copies. Peaking at number 2 on the Billboard charts, it spawned the hit singles "Separate Ways (Worlds Apart)," "Send Her My Love," "After the Fall," and of course, "Faithfully," and you can hear our version of Faithfully wherever you listen to new music and at the end of this episode.   Journey began the tour supporting "Frontiers" in Japan and continued in North America alongside the Canadian Crooner, Bryan Adams, as the opening act. During the tour, NFL Films recorded a video documentary of their life on the road called "Frontiers and Beyond," shooting scenes at JFK Stadium in Philadelphia, Pennsylvania with more than 80,000 fans in attendance.   After the success of the Frontiers tour, the band decided to take some well-deserved time off. Steve and Neal both tried their hands at solo projects, and in 1984 Steve Perry, with the help of band manager Herbie, recorded and released his first solo album, Street Talk. Street Talk released Perry's biggest hit as a solo artist, "Oh Sherrie," written for his then-girlfriend Sherrie Swafford. The song hit #3 on the billboard hot 100 and #1 on Billboard's Rock chart, and the accompanying music video (also featuring Swafford) was a hit on MTV.   Neal Schon toured briefly in 1984 with his supergroup HSAS, supporting their sole album, "Through the Fire, released that year on Geffen.    Sidenote, what does "HSAS" stands for? Any guesses?   Hagar Schon Aaronson Shrieve featured lead vocalist Sammy Hagar (Van Halen), lead guitarist Neal Schon, bassist Kenny Aaronson (The Yard birds), and drummer Michael Shrieve. (Santana). The group reportedly rehearsed for less than a month before playing in concert.   Who are the Yardbirds? (For Your Love) Well, they were an English rock band formed in 1963 and launched the careers of a few notable guitarists like Eric Clapton, Jimmy Page, and Jeff Beck   Also, At age 20, drummer Michael Shrieve was the second youngest musician to perform at Woodstock while playing for Santana. His drum solo during "Soul Sacrifice" in the Woodstock film has been described as "electrifying."   When asked by the press if Journey was finished after selling their properties at the end of 1984, guitarist Neal commented, "No way Journey's ending. We're all too committed to this band to ever let that happen. In fact, one of the reasons we decided to go off in separate directions for a while was to keep the band as strong as ever."   After a productive phone call between Cain and Perry, the band returned to Fantasy Studios in late 1985 to record their ninth studio album "Raised on Radio," but with Steve Perry acting as the album's producer. Unfortunately, things were pretty tense within the band leading Herbie and Steve to fire both bass player Ross Valory and drummer Steve Smith for musical and professional differences. This booting took place only a few months into the recording sessions for the album, though Valory later admitted he left the band on his terms.    Bassist and future American Idol judge Randy Jackson, bassist Bob Glaub, and established drummer Larrie Londin were brought in to continue the album's recordings. If you're not familiar with Larrie Londin, check out his credentials. He's done session work with everyone from the Supremes and Marvin Gaye to Elvis and Dolly Parton. He is an absolute legend in the business—an "icon" for sure.   "Raised on Radio" was released in May 1986, peaking at number four on Billboard's album chart but underperforming compared to the band's previous two albums. It featured five singles: The top ten hit "Be Good to Yourself" along with "Suzanne," "Girl Can't Help It," "I'll Be Alright Without You," and "Why Can't This Night Go On Forever?".   The Raised on Radio support tour began at Angels Camp, California, in August 1986. The band performed sold-out shows throughout the United States before concluding with two shows in Anchorage, Alaska, in early 1987, with selected dates supported by Honeymoon Suite (New Girl Now), The Outfield (Your Love), and Glass Tiger (Don't Forget Me When I'm Gone.) The tour featured Randy Jackson on bass and Mike Baird on drums, and was videotaped by MTV for a documentary that included interviews with the band members called Raised on Radio, just like the album. MTV apparently loved themselves some Journey!   With tensions between Perry, the band, and manager Herbie at an all-time high following the tour's conclusion, Perry was unable or unwilling to remain actively involved and was tired of touring as it affected his health and his vocals.   Steve said: "I called Jon and Neal together. We met in San Rafael, we sat on the edge of the marina, and I just told them, 'I can't do this anymore. I've got to get out for a while.' And they said: 'Well, what do you mean?' And I said: 'That's exactly what I mean, is what I'm saying. I just don't want to be in the band anymore. I want to get out; I want to stop.' And I think Jon said: 'Well, just take some time off, and we'll think,' and I said: 'OK, fine.' And I just sort of fell back into my life. I looked around and realized that my whole life had become everything I'd worked so hard to be, and when I came back to have a regular life, I had to go find one."   He also stated: "The truth is, that I thought music had run its course in my heart," Perry explains in a statement on his website. "I'd had an amazing time in an amazing band, and then the chance to express myself as a solo artist too. But I had to be honest with myself, and in my heart, I knew I just wasn't feeling it anymore." "For a long time, I could barely even listen to music. My last show with Journey was February of 1987. Then one day, it hit me that I couldn't do this anymore. I felt as if I had to jump off this merry-go-round — this big beautiful mothership that we had all worked so hard together to build."   Following the "Raised on Radio" tour, the band went into a hiatus. However, Columbia Records released the Greatest Hits compilation in November 1988, which became one of the biggest selling greatest hits albums, selling over 15 million copies and continuing to sell half a million to a million copies per year. The compilation spent 750 weeks on the Billboard album charts until 2008. To date, their greatest hits album has sold almost 21 million copies worldwide.   Here's something else I wasn't aware of. While Steve Perry had retreated from the public eye, Schon and Cain spent the rest of 1987 collaborating with other profound artists. They worked with artists like Jimmy Barnes and Michael Bolton before teaming up with Cain's ex-Babys bandmates John Waite and Ricky Phillips. They, in turn, formed the supergroup Bad English (When I See You Smile, Price of Love) with drummer Deen Castronovo in 1988, releasing two albums in 1989 and 1991.    Steve Smith, however, devoted his time to his jazz bands, Vital Information and Steps Ahead, and teamed up with former bassist Ross Valory and original Journey keyboardist Gregg Rolie. They formed the band "The Storm" with singer Kevin Chalfant and guitarist Josh Ramos, and guess who their manager was? Herbie, of course!!   On November 3, 1991, Neal Schon, Jonathan Cain, and Steve Perry reunited to perform "Faithfully" and "Lights" at the Bill Graham tribute concert 'Laughter, Love & Music' at Golden Gate Park in San Francisco, California, following the concert promoter's death in an unfortunate helicopter accident.    In October 1993, Schon, Rolie, Valory, Dunbar, Smith, and Cain reunited and performed at a private dinner for manager extraordinaire Herbie Herbert at Bimbo's in San Francisco, with Kevin Chalfant (Allen Parsons Project live singer) on lead vocals.   After the breakup of Bad English in 1991, Neal Schon and Deen Castronovo formed the glam metal band Hardline (Takin Me Down) with brothers Johnny and Joey Gioeli, releasing only one studio album before his departure. Neal later joined Paul Rodgers (Bad Company vocalist) in 1993 for live performances, alongside Castronovo. In 1994, Steve Perry had released his second solo album, "For the Love of Strange Medicine," and toured North America in support of the album, though his voice had changed since the last time he had performed. Those high notes weren't as easy to hit anymore. Steve Perry ultimately decided to reunite with Journey under one condition. He demanded that there be a bowl of peanut M&Ms backstage at all times and that they HAD to be all brown with one, just one, green NON-peanut M&M on top.    Yeah, that's not true. Steve's one condition was that Herbie Herbert would no longer be the band's manager. Instead, the band hired Irving Azoff, longtime Eagles manager, as the new manager for the band in October 1995. Steve Smith and Ross Valory reunited with the band and started writing material for their next album, with rehearsals beginning that same month.   The band began recording their tenth studio album, "Trial by Fire" in early 1996 at The Site and Wildhorse Studio in Marin County and Ocean Way Recorders where they recorded under producer "The Caveman" Kevin Shirley (Mr. Big, Iron Maiden, Dream Theater.) This album was released in late October that year, peaking at number three on the Billboard album charts. The album's hit single "When You Love a Woman" reached number 12 on the Billboard charts and was nominated in 1997 for a Grammy Award for Best Pop Performance by a Duo or Group with Vocal. The album also produced three top 40 mainstream rock tracks, "Message of Love," reaching number 18, "Can't Tame the Lion," hitting number 33, and "If He Should Break Your Heart," reaching number 38. It sold roughly 1.5 million units.   Plans for a support tour failed when Steve Perry, while hiking in Hawaii on a ten-day break in August 1996, discovered he had a degenerative bone condition and could not perform without hip replacement surgery. The accident resulted in the album's release date being delayed.   Upon its release, "Trial By Fire" was considered the band's worst-selling album and failed to match the originality and playability of the band's previous work. Neal Schon later admitted that the album had too many ballads and fans just wanted to hear that sweet, sweet rock and roll saying: "Even on our last record, the Trial By Fire record, a lot of the rock stuff just got shelved and ended up being like twenty ballads, I don't know how many ballads."  The band took another break following the album's dismal release to work on more solo projects, waiting for Perry to decide if he was able to or wanted to tour. Schon released his solo album Electric World in 1997, later creating Abraxas Pool with former Journey member Gregg Rolie, drummer Michael Shrieve and a few former Santana members. Jonathan Cain released his two solo albums, Body Language and For A Lifetime in 1997 and 1998 respectively. Following the reunion album's long-awaited release, Journey was becoming restless and tired of waiting for an answer from Steve Perry and touring. Following a phone call between Cain and Perry, Steve announced that he would again depart from Journey, releasing himself from the band's contracts and deciding to semi-retire from the music business. Steve Smith later quit the band, saying that Journey would not be the same without Perry and returning to his jazz career and his project "Vital Information."   The band hired the familiar drummer Deen Castronovo, Schon's and Cain's Bad English bandmate, to replace Steve Smith. After auditioning several high-profile candidates, including Geoff Tate (Queensryche), Kevin Chalfant, and John West (Royal Hunt), Journey replaced Perry with Steve Augeri, formerly of Tyketto and Tall Stories.  The band later recorded the song "Remember Me," featured on the soundtrack for the 1998 film Armageddon. Upon the song's release, the song showed fans that the band made the right decision in hiring Augeri. That soundtrack has sold over 5,392,500 copies.   Following a rehearsal with Augeri and Castronovo, the band went to Japan to perform four gigs, where they had still held an enormous fanbase. When asked how he felt about touring again in over a decade, Neal Schon commented: "It's a little like we are reborn again." Next, Journey embarked on a tour in the United States titled "Vacation's Over" which began in October and concluded at the end of December in Reno. They continued the tour with another leg in 1999, starting in Minnesota in June and finishing in Michigan in September.   From March to August 2000, the band entered Avatar Studios to record yet another studio album, "Arrival" with producer Kevin Shirley. The album was released in Japan later in the year, with a North American release in April 2001. The album had peaked at number 56 on the Billboard charts. However, the single "All the Way" failed to boost sales for the album. It was considered a disappointment with mixed opinions regarding the album, resulting in Sony dropping the band from the label. Upon the album's completion, the band set off on tour supporting the album in Latin America, the United States, and Europe.   In response to the attacks in New York City on September 11, 2001, Journey joined various bands at a major fundraising event on October 20 and 21 at the Smirnoff Music Centre in Dallas, Texas, to raise money for the victims and families of the tragedy. The event raised around one million dollars.   The Journey camp was quiet in 2002 as Neal Schon formed ANOTHER band, "Planet Us," with Castronovo, Sammy Hagar, and former Van Halen bassist Michael Anthony until 2004, when they disbanded. Schon also co-wrote songs alongside the band Bad Company, while keyboardist Jonathan Cain released another solo album.  Recording a few songs between 2001 and 2002, Journey released a four-track EP titled "Red 13" in November under their new label "Journey Music." The band chose the album cover design through a fan contest with the online cover designed by fan Kelly McDonald. However, the retail cover was only made available at the band's shows and was designed by Christopher Payne. Journey only performed one club gig in support of the EP but later began another tour of the United States from May to August 2003.  They continued touring the following year with another summer tour titled "Summer Detour" which began in June and concluded in September 2004. In November of that year, Journey joined REO Speedwagon and Styx for a tour around the Caribbean aboard the Triumph cruise ship. Sounds miserable. I'm not too fond of boats.   In 2005, the members of Journey were inducted into the Hollywood Walk of Fame alongside former members Steve Perry, Dunbar, George Tickner, Steve Smith, and Fleischmann. Rolie was the only member who did not appear at the ceremony. Surprised to see Perry joining them to accept the induction with the band, Valory commented that it was a pleasant surprise to see him.   Following their addition to the Hollywood Walk of Fame, the band began recording at the Record Plant in Sausalito, California, for their twelfth studio album, "Generations," which featured producer Kevin Elson who had collaborated with the band before. The album was released on August 29 in Europe, with a North American release following on October 4. The album peaked at number 170 on the Billboard charts. To promote the album and celebrate the band's 30th anniversary, the band embarked on a tour starting in Irvine, California, in June and concluding in Phoenix in October. Each concert on tour was three hours long with an intermission and featured many of their classic hits and included the new songs from the album. "Generations" sold less than 100,000 copies.   In 2006, the band toured Europe and joined Def Leppard on a North American tour. During the tours however, there was talk that Augeri was not singing but instead using backing tracks to cover up his deteriorating vocals. Those allegations resulted in him getting attacked by the fans. Augeri had suffered from vocal attrition problems before the band began the tour with Def Leppard. In addition, Journey had been accused of using pre-recorded lead vocals before, an accusation that former manager Herbie Herbert insists was true. SHOCKER. Valory denied the allegations, stating that it was a myth, a lie, an all-out fabrication, and that Augeri's vocals did not give out!    In a later press statement, the band announced that Augeri had to step down as Journey's lead singer and leave the tour to recover. Augeri performed his last show with Journey on July 4 in Raleigh.   With the tour still happening and successful, the band quickly hired Jeff Scott Soto from Talisman as their lead vocalist for the tour. He performed as Journey's vocalist on July 7 in Bristow for the first time. Because of its success and popularity, The band later extended the tour to November. Soto was officially announced as the band's new vocalist in December 2006. If you're keeping track, that's five lead singers.   Following tours of Europe and the United States in 2007, the band announced on June 12 that Scott Soto was no longer with them. In a statement, Neal Schon stated: "He did a tremendous job for us, and we wish him the best. We've just decided to go our separate ways, no pun intended. We're plotting our next move now." Cheeky. I love it.   Following Soto's exit from the group, the band was without a lead vocalist again. So Neal Schon began searching YouTube for a new lead vocalist, with Jeremey Hunsicker of the Journey tribute band "Frontiers" auditioning and spending a week with the band writing material. Hunsicker claims to have been formally offered the position, but it fell through shortly following tension with Schon. However, one of the tracks co-written with Hunsicker, "Never Walk Away," later appeared on the Revelation album. Neal Schon later found Filipino singer Arnel Pineda of the cover band The Zoo, covering the song "Faithfully." (Our version is arguably better, just saying.) Schon was so impressed that he contacted Pineda to set up two days of auditions with him. The auditions went well, and they later named him the official lead vocalist of Journey on December 5, 2007. In 2007, the hit song "Don't Stop Believin'" gained coverage and sharp growth in popularity when it was used in The Sopranos television series final episode, prompting digital downloads of the song to skyrocket. But, unfortunately, the Soprano's finale also pissed a lot of people off.   In November 2007, Journey entered the studio with Pineda to record the studio album "Revelation." The album was released on June 3, 2008. It debuted at number five on the Billboard charts, selling more than 196,000 units in its first two weeks and staying in the top 20 for six weeks. As a multi-disc set (2-CD), each unit within that set counts as one sale, which I didn't know. Journey also found success on Billboard's Adult Contemporary chart, where the single "After All These Years" spent over 23 weeks, peaking at number 9. "Revelation" has sold over 1 million copies.   On February 21, 2008, Pineda performed for the first time with Journey in front of 20,000 fans in Chile. The band began the "Revelation" tour in the United Kingdom in June, continuing the tour into North America, Asia, Europe, and South America, concluding in October. Receipts from the 2008 tour made Journey one of the top-grossing concert tours of the year, bringing in over $35,000,000. On December 18, 2008, Revelation was certified platinum by RIAA.   The band performed at the Super Bowl 43 pre-game show in Tampa, Florida, on February 1, 2009. The band continued their Revelation tour in May and concluded it in October 2009. They also performed in Manila in front of 30,000 fans, recorded for a live release, "Live in Manila."   In 2009, "Don't Stop Believin'" became the top-selling song on iTunes among those released before 2000, with over 500,000 downloads.   Journey then entered Fantasy Studios in Berkeley, California, in 2010 with Pineda to record their next studio album, "Eclipse." The album was released on May 24, 2011, and debuted at number 13 on the Billboard 200 charts with the singles "City of Hope" and "Human Feel." Unfortunately, "Eclipse" could not match the success of Revelation, barely selling 100,000 copies—an 1/8th of the previous album's sales. They later toured the United Kingdom in June 2011 with Foreigner and Styx. Journey was awarded the "Legend of Live Award" at the Billboard Touring Awards in October. The band later released Greatest Hits 2 in November of 2011.   In June 2015, drummer Deen Castronovo was arrested following a domestic altercation. Journey fired him in August and was replaced by Omar Hakim on the band's 2015 tour. He was sentenced to four years probation after pleading guilty to domestic violence charges.    In 2016, Steve Smith again returned as Journey's drummer, reuniting all of the Escape-Frontiers-Trial by Fire lineup members except lead singer Steve Perry. In 2018, during the North American tour with Def Leppard, Journey topped the Billboard Hot Tours List for grossing more than $30 million over 17 shows.   On March 3, 2020, Schon and Cain announced that they had fired Smith and Valory and were suing them for an alleged "attempted corporate coup d'état," seeking damages over $10 million. The lawsuit alleged Smith and Valory tried to "assume control of Nightmare Productions because they incorrectly believe that Nightmare Productions controls the Journey name and Mark" to "hold the Journey name hostage and set themselves up with a guaranteed income stream after they stop performing." Valory and Smith contested the firings with the support of former manager Herbie Herbert and former lead singer Steve Perry. Court filings revealed that Steve Perry had been paid as a band member for years despite not performing. In an open letter dated that same day, Schon and Cain stated Smith and Valory "are no longer members of Journey; and that Schon and Cain have lost confidence in both of them and are not willing to perform with them again." Valory counter-sued Schon and Cain for their partnership's claim of owning the Journey trademark and service mark.   In June 2020, Neal Schon announced via his social media page that a new album with Jackson and Walden was "starting to take shape." The following month, he confirmed the album's progress and that they would release new music in early 2021. In January 2021, he announced that the album's first single would be released later that year, with the possibility of a worldwide tour to follow. In April 2021, the band reached an "amicable settlement" with former members Valory and Smith, confirming they were no longer a part of Journey. The single "The Way We Used to Be" was released on June 24, 2021.   In July 2021, Neal Schon confirmed that Deen Castronovo, had rejoined as a second drummer.   On February 16, 2022, the band announced the title and track listing of their upcoming fifteenth studio album "Freedom," which is set to be released on July 8, 2022. On March 1, 2022, Cain confirmed that neither Walden nor Randy Jackson remained in the lineup, with Walden's dipping out following a minor heart attack following a live show in Pennsylvania. Nevertheless, they both still played on Freedom, as they had completed their parts on the album before departing. The second single, "You Got the Best of Me," was released on April 26, 2022. The third single, "Let It Rain," was released just recently, on May 17, 2022. So be on the lookout for Journey's new album!   According to the Recording Industry Association of America (RIAA) Journey has sold 48 million albums in the U.S., making them the 25th best-selling band. In addition, their worldwide sales have reached over 80 million records globally, making them one of the world's best-selling bands of all time.

Í yfir 50 ár hefur Eddie Kramer sett fingraför sín á sögu rokksins sem um munar, enda unnið með nokkrum af stærstu nöfnum þessarar sögu. Má þar nefna; The Rolling Stones, Eric Clapton, David Bowie, Bad Company, The Beatles og svo miklu, miklu fleiri. Kramer er þó hvað þekktastur fyrir þrjú langtímasambönd sín hvað upptökur varðar. Langtímasambönd við Jimi Hendrix, Led Zeppelin og okkar menn í KISS. Eddie Kramer fæddist í Cape Town í Suður-Afríku þann 19.apríl árið 1942 og er hann því nýorðinn 80 ára gamall. Eftir að Eddie flutti til London frá heimalandinu snemma á sjöunda áratugnum hóf hann sinn afar farsæla upptökuferil og starfaði hann fljótlega í nokkrum af þekktustu hljóðverum borgarinnar þar sem hann tók upp fjöldan allan af hljómsveitum sem við þekkjum svo vel, eins og t.d Jimi Hendrix. Það var svo árið 1968 að Kramer færði sig vestur um haf og til Bandaríkjanna þar sem hann hóf störf hjá Record Plant hljóðverinu í New York og hélt áfram að vinna með Jimi Hendrix o.fl. Árið 1969 tók Eddie svo að sér að velja inn tækjabúnað í hljóðverinu sem Hendrix vinur hans var að setja upp, Electric Lady, og starfaði hann þar sem upptöku og tæknistjóri næstu árin, en það var einmitt þar sem okkar menn í KISS koma inn í myndina. Eddie hefur tekið upp mikið af lifandi tónlist á ferlinum og ber þar helst að nefna ALIVE plötur KISS auk sjálfrar Woodstock hátíðina, en hana tók hann nánast alla upp, grunlaus um söguna sem hann var þá að hljóðrita. Við fögnum afmælinu með Eddie f#$%ing Kramer í þessum þætti og kíkjum saman á viðburðaríkan og frekar flottan feril hans. See acast.com/privacy for privacy and opt-out information.

“The nature of the relationship changes over time. It becomes deeper and more collaborative. It goes from engineer/artist relationship to a very personal relationship to more of a collaborative relationship.” GRAMMY winning Engineer, Producer & Songwriter Benjamin Rice joins us on One and Dunn!! Ben is such a humble guy, we discuss creating new goals after winning a Grammy, building relationships with artists, experience in the military, working at Record Plant, evolving collaboration with Lady Gaga and community. --- Support this podcast: https://anchor.fm/one-and-dunn/support

Diving into two older episodes concerning Jimmy Buffett's Live at the Record Plant recordings. Hungry Hard Luck Heroes: Hungry Hard Luck Heroes-a tribute to Jimmy Buffett - YouTube Patreon: www.patreon.com/patreonaville Twitter: @zombiebeach Instagram: aparrotheaddad Podcasts: The Audible Extacy Podcast and Nightlight Tales Podcast Poetry Blog: apoetryjourney.wordpress.com Playlist on YouTube Music and Apple Music: Song Lines and Tan Lines Books and Short Stories: Amazon US Amazon UK Barnes and Noble Apple --- Send in a voice message: https://anchor.fm/thedeepcuts/message

Steve hates banter! So here's a full episode of it. Links Undercover Rubicon (Spotify) Hers (Spotify) Class Of 1999 (IMDB) tags: banter episode, Selena, Danny Elfman, Netflix, Hers, LTO tape, demos, Cubase, Dongles, Win 98, pawn shop regret, synths, Paula Abdul, Corona, quarantine, podcasting, studio attire, ENFP, Tommy Bahama, school conformity, high school, control constructs, GED's, independent study, recurring nightmares, auditing classes, masterclass, St. Vincent, Alicia Keys, Timbaland, Tom Morello, Dave Grohl, Chris Hadfield, Brad Pitt, Bradgelina, Mr. and Mrs. Smith, interviewing, Pierce Brosnan, movie skills, Universal Studios Tour, Jannet Jackson, fish bowl, Universal backlot, stunt doubles, music videos, social distancing, personal space, LA traffic, gas station bathrooms, peeing in public, muckbang, cat-pee smell, The Record Plant, indoor smoking, Vegas, The Sahara Casino, north The Strip, the Killers, Vegas locals, Waze, big city, small world, Thomas Guides, beepers, payphones, quarters, parking meters, parking meter apps, Pasadena, tow yard, social media, Facebook, Myspace, small town, AIM, Private school versus public school, Class Of 1999, Jacuzzi podcast, being a dad, the book was better, Lonely Girl 15, Amanda Bynes, Drake Bell, pierogi, Denny's, Coco's, IHOP, vaping, True Crime, Forensic Files, X-Files, Coast to Coast AM, Art Bell, George Noori, Twilight Zone, Hillary Duff, Cher, AutoTune, T-Pain, Everybody was kung-fu fighting

In this episode Brian and Jason discuss sports, specifically Jason's Cincinnati Bengals being in the Super Bowl. Then the guys discuss the next shows they will be at and drop some huge news pertaining to the Mississippi Hill Country Blues scene. Next the guys welcome their guest Damon Johnson. Damon chats with the boys about coming up in the scene in Birmingham, Alabama, forming Brother Cane, making the first album, going solo, subbing for Gary Rossington in Skynyrd, and finally how do you respond when using the bathroom at The Record Plant and strolling up to the urinal next to you, is Mick Jagger.

In this week's episode of Living in the Sprawl: Southern California's Most Adventurous Podcast, host Jon Steinberg shares his list of top ten most important, still functioning, music recording studios in Southern California. His list includes: Jim Henson Lot Recording Studio in Hollywood, Conway Recording Studios in Hollywood, Studio City Sound in Studio City, The Village Recording Studios in Westwood, Westlake Recording Studio in West Hollywood, Record Plant in Hollywood, Shangri La in Malibu, Sunset Sound in Hollywood, Capitol Records in Hollywood and Sound City Recording in Van Nuys. Instagram: @livinginthesprawlpodcastEmail: livinginthesprawlpodcast@gmail.comWebsite: www.livinginthesprawlpodcast.comCheck out our favorite CBD gummy company...it helps us get better sleep and stay chill. Use code "SPRAWL" for 20% off.  https://www.justcbdstore.com?aff=645Check out Goldbelly for all your favorite US foods to satisfy those cravings or bring back some nostalgia. Our favorites include Junior's Chessecakes from New York, Lou Malnati's deep dish pizza from Chicago and a philly cheesesteak from Pat's. Use the link https://goldbelly.pxf.io/c/2974077/1032087/13451 to check out all of the options and let them know we sent you.Use code "SPRAWL" for (2) free meals and free delivery on your first Everytable subscription.Support the podcast and future exploration adventures. We are working on unique perks and will give you a shout out on the podcast to thank you for your contribution!Living in the Sprawl: Southern California's Most Adventurous Podcast is on Podfanhttps://www.buymeacoffee.com/sprawl  Looking to start a podcast? Buzzsprout is the best and easiest way to launch, promote and track your podcast...trust me, I did a lot of research beforehand. Let Buzzsprout know we sent you, support the show and get a $20 Amazon gift card when you sign up.  https://www.buzzsprout.com/?referrer_id=1735110Support the show (https://www.patreon.com/livinginthesprawlpodcast)

In this part two of Les' interview with Mike Clink we travel to the land of rock and roll royalty at The Record Plant studios where history was made throughout the mid to late 70's and early 80's. And Mike Clink was there for it all. See acast.com/privacy for privacy and opt-out information.

In this first episode we speak with Simon Philips (Drums) and Michael Thompson (Guitars) regarding their time working with the band and the producer David Foster on the recording of The Corrs' first album Forgiven, not Forgotten. This episode also includes a bonus comment from Neil Stubenhaus (Bass).I'm incredibly indebted to those who helped inspire and encourage me in this project. This episode has very special thanks to Laurent Biehly, Julien Treguer and Miguel Castillo.The CorrsCast logo uses the font 'Bodhran' and was created by the very talented @guillaumelechelon.design and used with kind permission. (Font design based on the original work of Sung Lee Crawforth).At the beginning of this episode I mention JC'sMusicology. John Cameron's amazing work can be listened to here: #JCsMusicologyAt 00:07:16 you can hear a clip of Simon Phillips recording the drum fill for 'Toss the Feathers' as recorded in the Record Plant L.A. studio using handy-cam by David Reitzas. At 00:08:58 you can hear Simon Phillips recording his drum part for the unreleased track 'I Don't Know'. This was also recorded the same day in the same session at Record Plant.At 00:13:02 you can hear Simon Philips testing the drum mics and getting ready for takes.At 00:23:03 you can hear more from the 'I Don't Know' recording session. At 00:36:59 you can hear an early mix of 'Someday' before Michael Thompson recorded guitar for the track (This is followed by the album version for comparison). At 00:40:08 'Closer' can be heard sung live at Lansdowne Road on 17th July 1999. At 00:43:56 a clip of the B-Side 'Rainy Day' can be heard.Simon Philips mentions 'Bob' being asked to come in and record his drum sessions. 'Bob' is none other than Grammy award winning recording engineer and mixer Bob Clearmountain.This work is licensed under a Creative Commons Attribution 4.0 International License.Original photography shot by and copyright to Guzman.Connect with CorrsCastInstagramTwitterFacebook#CorrsCast on social media.Please subscribe, rate and review CorrsCast on iTunes or a platform of your choosing. Hosted on Acast. See acast.com/privacy for more information.

Prior to the forming of Mötley Crüe Tony Pacheco (drummer for The Claws) hung out in the same circles as Tom Bass (aka Tommy Lee), Nikki Sixx, and Vince Neil. He ran into them again years later when recording at The Record Plant, and members of his band ended up contributing background vocals to "Fight for Your Rights." Tony shares with us some fascinating memories of his interactions with the Crüe. --- Support this podcast: https://anchor.fm/david-blake-lucarelli/support

In the Season 1 Finale, Lynne Earls joins Sierra to talk about Career Longevity! Lynne is a music producer, songwriter, and sound engineer. 1. In addition to owning her own label, custom music production shop and recording studio in Los Angeles, Lynne also produces and engineers regularly at studios across LA including Capitol, The Village, Henson, East West, Paramount, Glenwood Place & The Record Plant. Currently the Vice President of the LA Chapter Board of the Recording Academy, Lynne has served as co-chair on the Producer & Engineer Wing as well as a Governor on the La Chapter Board. She is an active mentor and on the creative board for She Is The Music, and an Ambassador for Imogen Heap's Creative Passport community. Follow us on socials! Sierra's Instagram: https://www.instagram.com/sierradudas/ Sierra Spills Tik Tok: https://www.tiktok.com/@sierraspillspod Lynne's website: http://www.lynneearls.com

Most casual Prince fans know Purple Rain was partially filmed at First Avenue. But did you know the title song is a live recording, taped at First Ave a few months before filming started? In this episode, we meet Prince and the Revolution at a benefit show for Minnesota Dance Theatre, where they debuted "Purple Rain" in support of dance and community. This is the fourth episode of The Current Rewind's "10 Pivotal Days at First Avenue" season. If you missed the first three episodes, catch up below. • April 3, 1970 (The day it all began)• Nov. 28-29, 1979 (The days that told the future)• Sept. 27, 1982 (Bad Brains/Sweet Taste of Afrika/Hüsker Dü) Transcript of The Current Rewind season 2, episode 4: "Aug. 3, 1983" ["Purple Rain" chords, but trembly and slowed-down. After several seconds, the music snaps into the original version, and we hear the lyrics, "I never meant to cause you any sorrow/ I never meant to cause you any pain."] Mark Wheat VO: After three episodes and 13 years of First Avenue's history, we've arrived at the song. The song that evokes an artist, a movie, and to some, a period of mourning: "Purple Rain." ["Purple rain, purple rain" fades into "Hive Sound" by Icetep] Mark Wheat VO: [over theme] I'm Mark Wheat. This is The Current Rewind, the show putting music's unsung stories on the map. For our second season, we're exploring the history of First Avenue, the downtown Minneapolis venue that has become one of the Twin Cities' – and the country's – greatest clubs. Most casual Prince fans know that scenes from the 1984 movie Purple Rain were filmed at First Avenue. The version of "Purple Rain" that you hear in the movie and the soundtrack was recorded live at First Avenue, but not at the same time the movie was filmed. Just a few months before the cameras rolled, Prince hadn't yet written the song. He first performed it on August 3, 1983 at First Avenue, during a benefit show for the Minnesota Dance Theatre. He had the show recorded, and when we listen to "Purple Rain" today, we're hearing him and the Revolution play it live for the very first time. In this episode, we'll explore the story of that song and that amazingly unique one-off performance, along with Prince's relationship to Minnesota Dance Theatre – a tale that captures Prince's ethos as a musician and a community member. So far this season, guest hosts have lent their voices to each episode of Rewind. But by this point, the coronavirus pandemic has complicated our production. So we here at The Current will step in to host a few episodes, including this one, which I was quite fond of from the beginning. It takes place when I had just moved to the United States, for good, in 1983. [rewind noise] Mark Wheat VO: The early 1980s were a transition moment in Minnesota music. Artists from two different local scenes were breaking out. On the indie rock side, the Replacements and Hüsker Dü were stirring up mosh pits all across the country. And Prince had just become a national star through the success of his fifth album, 1999. David Z: I mean, it was exciting, because Prince was our local star, and he had the beginning of success before this. I mean, he did do Dirty Mind. Mark Wheat VO: This is David Z, Prince's longtime producer – and brother of The Revolution drummer Bobby Z. David Z: So I mean, he wasn't a nobody, but he wasn't internationally famous at all. It was kind of a local thing, and we were all happy because we always wanted somebody from Minneapolis to make it. Mark Wheat VO: And before the world knew Prince's music – along with his slides, splits, spins and pelvic thrusts, he studied ballet with Minnesota Dance Theatre. [audio of a Minnesota Dance Theatre rehearsal] Mark Wheat VO: Renowned choreographer Loyce Houlton founded Minnesota Dance Theatre in 1962. They still teach classical and contemporary dance, and over the last 50 years, they've presented one of the best-attended performances of The Nutcracker in the country. In the '70s, the theater participated in Minneapolis Public Schools' Urban Arts Program, which Prince joined as a high school student. After Loyce's passing in 1995, her daughter Lise Houlton took over as artistic director. Lise Houlton: My mother and Wally Kennedy were developing this program in the Twin Cities for those us of who didn't fit in the traditional academic life. That's how my mother met Prince, through the urban arts program. And I think that she saw immediately that he had a special spark, that there was something – she used to talk about the combination of this insatiable appetite and this sadness that came together in some sort of combustion of energy, and I think because she had a similar quality that they had this common ground. Mark Wheat VO: You can catch the dance moves he mastered in Minnesota in some of his music videos. Lise Houlton: In the ballet world there's a step that's challenging and that we all have to do, and it's called an entrechat six, and it's where you do three beats in the air. You jump up, you do three beats and you land. Prince could do an entrechat six, and you learn that in a ballet class. That's not an instinctive move, because you do it with turnout, which is unnatural to the human body. He did tour en l'airs, where you jump in the air. Tour en l'airs. He did pirouettes with excellent placement, and that was combined with his jazz aesthetic and already his own personal grind. Mark Wheat VO: A few years after Prince graduated, Minnesota Dance Theatre needed financial help, and Loyce decided to get back in touch. As the Star Tribune reported at the time, she found out where Prince was staying in town and stood outside, waiting to ask if he could do a benefit show. Lise Houlton: But that was her style. If she believed in somebody, if she wanted to have a connection with an extraordinary talent, she did that sort of thing. That was her reputation as being a little bit crazy. But I think once again, that's where Prince and my mother saw their connection. Mark Wheat VO: Prince said yes, and First Avenue hosted the concert. Right after Prince played "Little Red Corvette," his biggest hit to date, Loyce Houlton took the mic to thank him for his support. It was guitarist Wendy Melvoin's first time on stage with Prince – and therefore, the first time the Revolution's classic line-up performed together, even though they weren't billed as such. Along with Prince and Wendy, there was drummer Bobby Z, bassist Brown Mark, keyboardists Lisa Coleman and Matt Fink, aka Dr. Fink. It was also the night Prince recorded "Baby I'm A Star," "I Would Die 4 U," and "Purple Rain" – right there at First Avenue, live. David Z: And you'll see that there's not very much added or changed to the original performance, especially with the song "Purple Rain." Mark Wheat VO: It was normal for Prince to have David record his performances, so no one expected anything unusual to happen. David Z: Nobody really knew there was a movie coming out. We just thought it was gonna be a live record, or whatever. Mark Wheat VO: And as Dr. Fink recalls, it wasn't the most comfortable environment. Matt Fink: We all knew it was a hot, muggy summer night and that First Avenue would be packed, and it would be very uncomfortable for older people to be standing in there. And we were right, 'cause we were all drenched with sweat within two minutes of taking the stage, because that's how hot it was in there. The air conditioning wasn't keeping up. It was back when people smoked cigarettes in clubs. So not only did you have [Dr. Fink laughs] all the heat and humidity and bodies and cigarette smoke, but it was just very difficult to be comfortable. Mark Wheat VO: According to First Avenue's records, about 1200 people bought tickets to the show. On an average night in 1983, a Mainroom show would run about five bucks, but tickets to this benefit were $25 – the equivalent of about $60 today. Including staff and an extensive guest list, about 1,500 people were in the club that night. First Avenue manager Steve McClellan was just trying not to overpack the place. Steve McClellan: I had to go and tell people, except for the really important VIP list, it's not good for you tonight. Because my goal was to keep my list under 100, Prince's was supposed to be under 100, Minnesota Dance Theatre was supposed to be under 100. That night that all went blowin' in the wind. The guest lists poured in, and that's why that night, everybody says, "Well, why didn't you watch the show?" I remember between having to get the numbers together – because I thought I would have to pay the Minnesota Dance Theatre that night, so I had to get all my costs together. Because it was a $25 ticket. We'd never done a $25 ticket before. And so I knew that the money was gonna be big. Mark Wheat VO: When we had Steve and veteran doorperson Richard Luka in for an interview, we asked Richard what he was up to that night. Richard Luka: I was at the back door, and I could see everything from behind. "Why isn't he playing anything familiar here? What the hell's this stuff?" And but then there also this people going in and out through the garage to this truck that was out there. Turns out they were recording everything. Nobody knew that there was gonna be a movie within a year or so of that. None of us knew. That's why when you come back to a night like that – well, you know, it had sort of a cultural impact further down the line. But when you're in those moments you don't know that. So it's like, "This jerk just wants to get inside right now." No. You're Prince's cousin. Aren't we all. No, you can't come in. And we're dealing with things on an interpersonal level like that, whereas up there they're doing this thing that's gonna be here, and then it's gonna go out all over the world later. Steve McClellan: I do remember hearing "When Doves Cry" the first time. There were certain times when I was able to stand and go, "Oh, pretty good." But, you know, life goes on. Mark Wheat VO: Maybe Steve and Richard didn't get to experience the full show, but Prince fan Heidi Vader couldn't tear herself away. Heidi Vader: It was so hot, so hot and so crowded. Mark Wheat VO: When the band played "Purple Rain," the crowd didn't know what to make of it. Heidi Vader: The song seemed to go on forever. So the audience was – you know – listening. They were paying attention, but nobody was freaking out and excited. And it was nothing like the movie, and nobody had all their costumes on, like in the movie. [Heidi laughs] Mark Wheat VO: According to Dr. Fink, Prince and his band had just started practicing "Purple Rain" a couple of weeks before the show. Matt Fink: Prince didn't write that one 'til the very end, which is more about like mid-to-late July of '83. He brought that song to the group. He hadn't finished the lyrics. He hadn't finished the melody. All he had was the chord structure and he came to us and said, "Ok, let's try this; let's just start jamming on this chord progression I've got for this song." And then we all coalesced into what you hear live. And even at that live show, he improvised his guitar solo somewhat. [about 10 seconds of the "Purple Rain" guitar solo] Matt Fink: He wasn't playing it exactly like he did it every time at rehearsal. Nor was I playing my piano parts exactly the same at rehearsal that evening. It just did what it did. Mark Wheat VO: Kevin Cole, a former First Avenue DJ who now hosts the afternoon show at KEXP in Seattle, remembers there being cameras that night. Kevin Cole: At that point in time, we were experimenting with filming sessions, or, filming performances at the club, that we would then give to the band. So there's footage floating around out there of that very first performance from a different perspective. [cheers from the live bootleg fade up] Kevin Cole: One of the cameras is to the left of the stage and above the stage, looking down, kinda right where Prince was playing from. And it's remarkable, but you're also seeing the audience. People are just stunned watching that song. Mark Wheat VO: In fact, the crowd was so quiet, David Z had to tweak the recording. David Z: When it came time for the movie, I cheated and put a crowd from the Minnesota Vikings in the audience track. Mark Wheat VO: Because technology at the time couldn't record wireless bass well, Prince added in some bass overdubs. Heidi remembers the song being long because it was. Prince cut five minutes and still ended up with a nine-minute song. David Z recorded the show in a truck from the New York-based Record Plant, which was considered the best in the industry at the time. Meanwhile, director Albert Magnoli was working with Prince on the early stages of a movie, which didn't have a name yet. He and Prince had gone through about a hundred songs that could go into the movie, but Magnoli felt they were still missing a piece. Al Magnoli: Interestingly enough, there was no "Purple Rain" in that 100 songs. Mark Wheat VO: During a recent trip to Minnesota, he elaborated in an interview with The Current host Jill Riley. Al Magnoli: So I went to him, after I lined up what I thought was the storyline and lined up the songs...and said, we're missing the song – that catalyst, in all of this journey – that song that releases you finally to become the person you should become. And he said, ok, I got another song to write. Mark Wheat VO: The director came to town to scout out locations for the movie and hear new songs from the band that night. When he heard "Purple Rain," he knew it was the one song he needed. Our producer Jackie Renzetti called him up and asked him why "Purple Rain" worked. Al Magnoli: Well, it had the right pacing and it had the right lyric content. It had the right soulfulness and emotion. And it wasn't like anything he had done before. To me, it was a unique sounding piece, and that's what I was looking for. He obviously knew he had that song when I said we didn't have the song. So he didn't immediately say, "Oh, I've got a song that would fit the bill." He didn't say that. He performed it, not realizing that I would approach and then say that could be the song. I said, "What's it called," and he says, "'Purple Rain,'" and then there's a pause, and he says, "Could we call the movie Purple Rain?" and I go, "Yes." Mark Wheat VO: By the end of the night, Prince had raised $23,000 for Minnesota Dance Theatre. That's the equivalent of about $60,000 today. Although Prince would go on to perform dozens of philanthropic acts – giving to music education and coding programs; buying houses for his band members; and paying medical bills for loved ones – few of them would be so public. David Z: He would give money to people without trying to use it as publicity. Nothing! And then he would do charity, but in his own way of the true meaning of charity, which is not get all these people recognizing you for it. He just did it and didn't want the recognition. He just wanted to do a good thing and pay it back. Mark Wheat VO: Our producer, Cecilia Johnson, asked The Current host and Prince expert Andrea Swensson to put his giving in perspective. Andrea Swensson: Prince was raised in a really pivotal time just in history, during the civil rights movement and during the political uprising that was happening in North Minneapolis in the 1960s. His mother was a social worker. He was also partly raised by Bernadette Anderson, who was a huge community figure. [She] worked at the YWCA and was just really admired as a leader. I mean, Prince's philanthropy goes back to the very beginning of his career. I remember his bandmates telling me stories of, even on their first couple of tours, they would squeeze in shows to play at community centers or play for the Deaf or do something out of their way to give back to the community. It was clearly something that Prince really valued. And that went all the way up until the end of his life, when he was funding projects like Yes We Code, and sending money to Baltimore, and honoring Freddie Gray in his music. He just had that spirit in him. I think it really goes back to coming up in North Minneapolis and being so involved in the community there and being raised by community leaders like Bernadette Anderson and like his mother, Mattie Shaw. It was just part of who he was. Cecilia Johnson:: So what else was going on in the early '80s when Prince was starting to have this huge rise, in terms of philanthropy or giving or like celebrity? Andrea Swensson: Yeah, well there's "We Are The World," which was a huge moment culturally, as all of these stars came together to record this song. There was Live Aid. U2 coming up – that was something that they really preached, and I think it just became part of the pop music culture, that in order to be, like, a good citizen, that if you were successful, that you should use some of your power and your money to give back. But also, Prince was very discreet about his generosity. He did not do it for his own name or reputation or personal brand. It was just something that he valued, and especially later on as he became more religious, explicitly, with converting to Jehovah's Witness, it was a huge part of his faith as well, that that was not something that you were supposed to advertise. That's not why you give. That's not why you give money or help people in the community. You do it because it's important and because you value it. Mark Wheat VO: We might not ever really know who all Prince helped. But we know he donated to a lot of programs centered on youth and community. At the Circle of Discipline in South Minneapolis, Sankara Frazier wrote a letter to Prince asking for funding to help keep his community boxing program going. Prince ended up making multiple contributions over the years. Our producer Jackie visited Circle of Discipline to ask how Sankara felt when he got the checks. Sankara Frazier: I wasn't surprised. I wasn't surprised. Prince helped a lot of people. He saw what we were doing, with all of the young people and our older people. We have – you know, the community comes in here. And he saw what we were doing, community-wise, we're putting a lot of people together, people that wouldn't be together, you know? This right here, the boxing, was something that they grew up around. He didn't box – as far as I know, he didn't didn't box – but they know the importance, and how it develops a lot of the youth into better people. Worthy cause. We're working with the community. Mark Wheat VO: Sankara was part of Prince's community from a young age. As kids, he lived with Prince and André Cymone, one of Prince's best friends and earliest bandmates. Speaking with Jackie, Sankara used the phrase "behind the scenes" to describe Prince as a community member. But although his actions may have been discreet, they were full of love for his cities. Sankara Frazier: Oh, Prince was, he was down for Minneapolis. He was down. All of the people that had opportunities and stuff that were with him, they got him here. You know, so he decided to put this on the map. That's why, you know, even making Purple Rain, he's putting Minnesota on the map. Yeah, I give him credit for that. Mark Wheat VO: To Lise, Prince's support of Minnesota Dance Theatre has been about more than just the money. Lise Houlton: He's continuing to have an impact on Minnesota Dance Theatre, because every time this subject is brought up, Minnesota Dance Theatre is right there in the story, and once again, for me, having been so surprised with this event that happened in the '80s when I was far away, to feel those repercussions still is such a gift. Mark Wheat VO: His legacy continues to inspire community work, especially among his longtime fans. Heidi Vader, who saw the August '83 show, told Cecilia that she sensed a vacuum in the fan community after Prince's death. She wanted to unite people behind something healing. So in 2017, she started a music education program called Purple Playground. Each summer, Purple Playground runs a two-week music camp where young students write their own music and record it. They also hear from guest speakers about Prince's legacy and what it's like to be a professional musician. [Purple Playground's song "Purple Playground" plays for several seconds] Heidi Vader: They write, like, five or eight songs, and then we record them. And we put them out, and they're on our website. And we ended up with these inspiring songs about supporting each other and loving yourself and believing in yourself, and all this stuff. That's what we were hoping but we didn't know it would happen – you know. They come in, these kids who – a couple of them knew each other, but a lot of them don't know each other. And then they're, immediately, like within an hour, they're like "Let's do this," back and forth, and yeah. So some of the songs will make you cry. ["Purple Rain" "twinkling" arpeggios and cymbal washes from the end of the song, with cheers from the audience. Prince tells the crowd, "We love you very, very much. Good night!" "Hive Sound" by Icetep fades up and plays under the credits.] Cecilia Johnson VO: And there you have it. Mark Wheat's final contribution to The Current and The Current Rewind. This episode of The Current Rewind was hosted by Mark Wheat. It was produced by me, Cecilia Johnson, and Jackie Renzetti. Marisa Morseth is our research assistant, and Jay Gabler is our editor. Our theme music is "Hive Sound" by Icetep. This episode was mixed by Johnny Vince Evans. Thanks to Brett Baldwin, Rick Carlson, Shelby Sachs, and David Safar for additional support. If you liked this episode, check out the series Prince: Official Podcast, which is produced by The Current and the Prince Estate. It's available on Spotify, Apple Podcasts, and beyond. We work really hard on all these music history podcasts, and if you'd like to give back or say thanks, we'd really appreciate reviews on Apple Podcasts or a donation via support.mpr.org. If you have any comments or stories you'd like to share directly with us, send them to rewind@thecurrent.org. The Current Rewind is made possible in part by the Minnesota Legacy Amendment's Arts and Cultural Heritage Fund. It is a production of Minnesota Public Radio's The Current. The Current Rewind goes to First Avenue

BANG! KISS returns to New York City with producer Eddie Kramer to record at the Record Plant and mix at Electric Lady to produce the last of the "classic" KISS studio albums. With Ebows, keyboards, & backup singers KISS marry the immediacy of Rock and Roll Over with a touch of the production sheen of Destroyer. In three weeks the band captures such signature songs as Ace's vocal debut "Shock Me," and the concert staple title track! --- Support this podcast: https://anchor.fm/david-blake-lucarelli/support

Que serait devenu Bob Marley sans les Wailers ? Et réciproquement bien sûr. Réponse dans Very Good Trip avec aussi quelques mots essentiels sur la foi des Rastas. Imaginez que nous partons quarante-sept ans en arrière. Nous voilà un soir du printemps 1973, à minuit passé, dans une boîte située au cœur de Londres, le Speakeasy, pas loin de Piccadilly, où les professionnels de la musique aiment venir prendre un verre et danser. Les Beatles et Jimi Hendrix, naguère, avaient l'habitude d'y débarquer. Sur une petite scène étroite, à peine surélevée, vous voyez s'installer une étrange bande de Jamaïcains portant des vêtements aux couleurs de leur pays, rouge, jaune et vert. Au milieu, un type armé d'une guitare, tout maigre, pas très grand, aux traits fins, émacié comme un Christ peint par Le Greco. Il porte une chemise en jean, il a la peau plus claire que les autres, il est coiffé d'un casque de cheveux frisés, pas encore des dreadlocks, et chante les yeux fermés, sautillant sur place de temps à autre, comme secoué par un esprit surnaturel. Impossible de détacher votre regard de lui."One bright morning when my work is over, man will fly away home, un beau matin quand j'aurai accompli ma tâche, je m'envolerai jusqu'à chez moi".C'est par ces mots que se clôt ce Rastaman Chant, interprété par Bob Marley avec les Wailers en 1973. Un chant dérivé d'un cantique intitulé Babylon You Throne Gone Down, entonné dans cette langue proche de l'anglais, quoique différente, que les linguistes appellent le créole jamaïcain. Et que ses pratiquants désignent tout simplement comme patwa. "J'entends le rastaman dire : Babylone, ton trône va s'effondrer". C'est le chant par lequel les Wailers avaient alors l'habitude d'entamer leurs concerts. Un chant dont les paroles dérivent de ces cantiques chrétiens jadis diffusés par les missionnaires baptistes et autres, aux thèmes parfois tirés de l'Apocalypse selon Saint-Jean, à l'exemple, justement, de ce Rastaman Chant qui fait allusion à l'ange avec les sept sceaux, lors des cérémonies rasta qui avaient lieu en Jamaïque, dites Nyabinghi, ces hymnes, soutenus par des tambours, se faisaient incantations qui se greffaient à d'anciens cultes africains interdits par les esclavagistes. On en appelait à la manifestation d'autres esprits, d'autres divinités. À l'origine, Nyabinghi était une antique reine d'Afrique ayant régné dans la région du grand Lac Victoria. Cette femme puissante avait eu, dit-on, la bravoure de défier les colons venus d'Europe. Son esprit visitait celles et ceux qui l'invoquaient par la transe. Au point que ce nom, Nyabinghi, a fini par tout désigner : un appel à la résistance contre les colons blancs, un genre de commémoration propre aux Rastas et un style même de chant collectif accompagné par des percussions, à trois tambours, faisant naître la transe, devenu une des composantes du reggae.PlaylistThe Wailers : « Rastaman Chant » extrait de l'album « Burnin' (Deluxe Édition) » « Get Up, Stand Up (Unreleased Single Version) » extrait de l'album « Burnin' (Deluxe Édition) » « Put It On » extrait de l'album « Burnin' (Deluxe Édition) » « I Shot the Sheriff » extrait de l'album « Burnin' (Deluxe Édition) » « Burnin' and Lootin' » (live at the Record Plant, Sausalito, CA, 1973) « Kinky Reggae - Live at Leeds Polytechnic, 1973 » extrait de l'album « Burnin' (Deluxe Édition) » « Bend Down Low » (live at the Record Plant, Sausalito, CA, 1973)   « Lively Up Yourself - Live at Leeds Polytechnic, 1973 » extrait de l'album « Burnin' (Deluxe Édition) ».    

Segundo romance —conocido también como Romance II— es el décimo álbum de estudio del cantante mexicano Luis Miguel, lanzado el 30 de agosto de 1994 por el sello WEA Latina. Se trata de la continuación de Romance, su disco lanzado en 1991, y cuenta con once versiones de baladas latinas que fueron publicadas entre 1934 y 1993. Además del artista, en la producción se involucraron Juan Carlos Calderón, Kiko Cibrian y Armando Manzanero —coproductor de Romance—. Grabado a mediados de 1994 en los estudios Record Plant en Los Ángeles, California, el intérprete promocionó el álbum con una gira por Estados Unidos y Latinoamérica.

THE MINDFUL MUSICIAN PODCAST HOMEPAGE: http://www.mattoestreicher.com/themindfulmusician/   TODAYS GUEST:  Jeffrey Lee Campbell LINKS: www.jeffreyleecampbell.com BUY HIS BOOK HERE: https://www.amazon.com/Stand-Close-Improbable-Adventure-Guitarist/dp/1947309331 BIO:      Originally from North Carolina, Jeffrey Lee Campbell was raised on a steady diet of rock 'n' roll, soul, and Top 40 music. Playing his first PAYING gig at age 13, Jeffrey is a lifer.    Jeffrey picked up the guitar at the tender age of 8, spending his formative years gigging in bands “anywhere and everywhere” (school dances, frat parties, night clubs, etc). After graduating high school, Jeffrey was accepted into the prestigious "Studio Music and Jazz" program at the University of Miami.     Ultimately chasing his dream North, Jeffrey Lee relocated to New York City and quickly established himself as one of the city's top musicians. His performance experiences range from iconic intimate venues such as CBGB, The Bottom Line, The Bitter End, MTV and NBC's Saturday Night Live . . . to huge concert stages including NYC's Madison Square Garden, London's Wembley Stadium, and Japan's Tokyo Dome.     Jeffrey Lee strummed his way around the world on Sting's "Nothing Like the Sun" World Tour ("blazing guitar work" - Rolling Stone, "soaring guitar" - USA Today), proudly sharing the stage with musical heavyweights Branford Marsalis, Mino Cinelu, and Kenny Kirkland in twenty-five countriesacross six different continents.     In addition to Sting's World Tour, Jeffrey Lee was also a part of Amnesty International's "Human Rights Now!" World Tour (featuring Sting, Peter Gabriel, Bruce Springsteen, Tracy Chapman, and Youssou N'Dour). Playing 20 concerts worldwide (including extraordinary shows in Africa and India), the Amnesty tour was truly a once in a lifetime experience. One of Jeffrey's top Amnesty highlights was sitting in with Bruce Springsteen and the E Street Bandat the tour's concert in Buenos Aires, Argentina.     Back at home in NYC, Jeffrey Lee had the extreme pleasure of playing guitar with Aretha Franklin (for "VH-1 Divas Live" - an all-star tribute to the Queen of Soul at Radio City Music Hall). The "Divas" concert climaxed with a finale that found Jeffrey jamming with Ms. Franklin, Mary J Blige, Nelly Furtado and surprise special guest Mr. Stevie Wonder. Other performance credits include Jon Bon Jovi, Michael Bublé, Bob James, and singer/songwriter Sam Phillips.      As a studio musician, Jeffrey has worked with some of the industry's top producers such as T Bone Burnett, Phil Ramone, Rob Cavallo, and David Foster —as well as legendary engineers Bob Clearmountain and Elliot Scheiner. Jeffrey has recorded at The Record Plant, Hit Factory, Avatar (aka The Power Station), Quad, Unique, Sear . . . and many more.        Jeffrey's extensive Broadway credits include Saturday Night Fever, Seussical, Mamma Mia, and School of Rock - the Musical.       Most recently, Jeffrey has added "published author" to his list of accomplishments, releasing his "insightful and engaging," coming-of-age memoir "Do Stand So Close: my improbable adventure as Sting's guitarist" (from Deeds Publishing).