Podcast appearances and mentions of Richie Unterberger

We recently covered the topic of "all killer, no filler" albums, but what about the perfect single side of a record? If the physical time and space limitations of a vinyl LP or a cassette must exist, why not do something compelling? Is it all poppycock...or cockypop?!? You make the call! Our Third Lad for this exploration is frontman/saxophonist/multi-instrumentalist Dan Voznick, aka Alec Tension from underground '80s post-punk band Afterimage. Referred to in the Los Angeles Times as "LA's Joy Division" back in the day, Afterimage created a sound that was hypnotic, skittery and chilly, but is also adventurous, playful and complex. The original lineup of the band (Alec Tension, A Produce, Rich Evac and Holland DeNuzzio) only stayed together for a couple of years and released a scant discography of one single ("Strange Confession"/"The Long Walk") and an EP (Fade In), both in 1981. Those original recordings, plus a generous helping of unreleased demos and live tracks, are now available from Independent Project Records on the new retrospective compilation Faces to Hide. Out now on double LP (available in both black and opaque white), special edition CD and digital formats, Faces to Hide proves as scathing, urgent, taut, angular and gripping as Afterimage's scarce but unforgettable output must have sounded more than forty years ago. Packaged with extensive, career-spanning liner notes by noted journalist Richie Unterberger and previously unseen band photos, Faces to Hide also features Independent Project Records' signature hand letterpress-printed custom design for the vinyl and CD packaging.  Thanks to Josh Mills from It's Alive Media for the introduction and coordination! Proud members of the Pantheon Podcasts network. Learn more about your ad choices. Visit megaphone.fm/adchoices

EPYSODE 35: "Underground". Guest: Electric Prunes bandleader James Lowe. In this epysode we dive deep into the psychedelic/garage-rock masterpiece "Underground" by The Electric Prunes. Join us as we explore the innovative sounds that defined an era, with exclusive commentary from band leader James Lowe, who shares behind-the-scenes insights and stories from the making of the album. From its bold musical experimentation to its cultural impact, this epysode offers a unique look at one of the most influential albums of the 1960s. I hope you dig "Underground" as much as I do. -Farmer John ===CONNECT & SUPPORT=== Transport yourself into the realm of grooviness by supporting us on Patreon using this link --> patreon.com/FarmerJohnMusic Use this link to follow us on Facebook --> https://www.facebook.com/farmerjohnmusic/ Use this link to follow us on Instagram --> https://www.instagram.com/vinyl.relics.podcast/ Use this link to follow us on TikTok --> https://www.tiktok.com/@vinylrelicspodcast Use this link to follow us on BlueSky --> https://bsky.app/profile/farmerjohnmusic.bsky.social And find us on X here --> @VinylRelicsPod Email me here --> farmerjohnmusic@gmail.com ===LINKS=== Buy some of Richie Unterberger's amazing books ‘n' stuff here: http://www.richieunterberger.com My band is Newport Electric. Check out our music here: https://open.spotify.com/artist/5y6kGmYnS4SWvqAfijhDdp?si=5gUMW013TPGCBI2yiaJA7w ===THE MUSIC=== Songs used in this Epysode, in order of appearance. Here's a link to a Spotify playlist for all the tracks featured ( *denotes track is not available on Spotify): https://open.spotify.com/playlist/1wpu3KQTp1fbpbbekFCOQV?si=cb7b3792bf354fb4 ALVIN LEE & MYLON LEFEVRE "On The Road To Freedom" DICK DALE "Miserlou" *THE SANCTIONS "What'd I Say" JIM & THE LORDS "I'm Free" JIM & THE LORDS "I'm Down" THE CHIPMUNKS "Hard Day's Night" THE GYPSY TRIPS "Ain't It Hard" THE ELECTRIC PRUNES "Ain't It Hard" THE ELECTRIC PRUNES "Little Olive" THE ELECTRIC PRUNES "I Had Too Much To Dream (Last Night)" THE ELECTRIC PRUNES "Get Me To The World On Time" THE ELECTRIC PRUNES "The Great Banana Hoax" THE ELECTRIC PRUNES "Children Of Rain" THE ELECTRIC PRUNES "Wind-Up Toys" THE ELECTRIC PRUNES "Antique Doll" THE ELECTRIC PRUNES "It's Not Fair" THE ELECTRIC PRUNES "I Happen To Love You" THE ELECTRIC PRUNES "Dr. Do-Good" THE ELECTRIC PRUNES "I" THE ELECTRIC PRUNES "Hideaway" THE ELECTRIC PRUNES "Big City" THE ELECTRIC PRUNES "Captain Glory" THE ELECTRIC PRUNES "Long Day's Flight" THE ELECTRIC PRUNES "You Never Had It Better" (Live) THE ELECTRIC PRUNES "Try Me On For Size" (Live) THE ELECTRIC PRUNES "Kyrie Eleison" THE ELECTRIC PRUNES "Holy Are You" THE ELECTRIC PRUNES "14 Year Old Funk" SPARKS "Girl From Germany" TODD RUNDGREN "Hello It's Me" THE ELECTRIC PRUNES "Lost Dream" *THE ELECTRIC PRUNES "The Dream I Had Last Night" *THE ELECTRIC PRUNES "Pacific Ocean Blues" ??MYSTERY ARTIST?? tune in next week to find out... NEWPORT ELECTRIC "Devil's Bargain" (Shameless self-promotion...Newport Electric is my band!) Learn more about your ad choices. Visit megaphone.fm/adchoices

From impoverished roots on an island struggling to leave behind its colonial past, Bob Marley emerged; creating music that spoke with a universality, and which was beloved by people all over the world. His love of music was the backbone of his life, and his commitment to the Rastafari faith shone a spotlight on its ideals. But how did Bob Marley go from Kingston's most impoverished area, to becoming a global star? Why was his life so tragically cut short? And why does his music still inspire young musicians and activists today? This is a short history of Bob Marley. Written by Kate Harrison. With thanks to Richie Unterberger, a music journalist and author of Bob Marley and the Wailers, the Ultimate Illustrated History.  Get every episode of Short History Of a week early with Noiser+. You'll also get ad-free listening, bonus material, and early access to shows across the Noiser network. Click the Noiser+ banner to get started. Or, if you're on Spotify or Android, go to noisier.com/subscriptions. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Richie Unterberger talks about The Beatles, The Stones, and his latest book Bob Marley & The Wailers: The Ultimate Illustrated History.

Rock history author and professor Richie Unterberger discusses his book Bob Marley and the Wailers: The Ultimate Illustrated History. Learn details rarely heard before about the music and the message of Bob Marley and the Wailers! Bob Marley and the Wailers: The Ultimate Illustrated History is available at your favorite bookseller now! Learn about Richie's other books at http://www.richieunterberger.com/ For more info on Streetlevel Uprising:streetleveluprising.comfacebook.com/streetleveluprisinginstagram.com/streetleveljay --- Support this podcast: https://podcasters.spotify.com/pod/show/talkinreggae/support

"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

THE ROLLING STONES – BEGGAR'S BANQUET with special guest Paul Sexton. This interview took place before and after we listened to the vinyl album. In 1968 the Stones forsook psychedelic experimentation to return to their blues roots on this celebrated album, which was immediately acclaimed as one of their landmark achievements. A strong acoustic Delta blues flavour colours much of the material, particularly “Salt of the Earth” and “No Expectations,” which features some beautiful slide guitar work. Basic rock & roll was not forgotten, however: “Street Fighting Man,” a reflection of the political turbulence of 1968, was one of their most innovative tracks, and “Sympathy for the Devil,” with its fire-dancing guitar licks, leering Jagger vocals, African rhythms, and explicitly satanic lyrics, was an image-defining epic. On “Stray Cat Blues,” Jagger and crew began to explore the kind of decadent sexual sleaze that they would take to the point of self-parody by the mid-'70s. At the time, though, the approach was still fresh, and the lyrical bite of most of the material ensured Beggars Banquet's place as one of the top blues-based rock records of all time. (Richie Unterberger, Allmusic).  With special guest PAUL SEXTON.We were absolutely delighted to welcome Paul Sexton as our special guest to The CAT Club. Paul's book, Charlie's Good Tonight is the acclaimed authorised biography of the truly wonderful Charlie Watts. In the interviewer's chair was IAN CLAYTON. This event took place on 12th January 2023 in the Pigeon Loft at The Robin Hood, Pontefract, West Yorkshire. To find out more about the CAT Club please visit: www.thecatclub.co.uk This podcast has been edited for content and for copyright reasons. Happy Trails.

In this episode we welcome the legendary Billy James, all the way from the Bay Area, and tap him for his memories of working with Bob Dylan, the Doors and more.We start with Dylan and the interview the young Minnesotan gave to Billy in October 1961 in the latter's capacity as a Columbia Records publicist. Billy reminisces about his early interactions with the kid born Zimmerman; we hear a snatch of that 1961 audio, plus two clips from Eric Von Schmidt talking to Larry Jaffee about his friendship with Bob in that same period. In passing, we mention two great Dylan pieces by the week's featured scribe Greil Marcus, author of a new Bob "biography in seven songs" entitled Folk Music.From the early Bob years we switch coasts to California, where Billy worked in Columbia's Hollywood office and fell in with the Byrds between arranging press conferences for Patti Page, Percy Faith and his beloved Tony Bennett (pictured in the photo Billy is holding above). Finally, he talks about Terry Melcher, Elektra Records, the Doors, and the significant part he played in putting Laurel Canyon on L.A.'s pop map after moving up there from Beverly Hills in 1965...Many thanks to special guest Billy James; you can book his Airbnb in Redwood City here.Pieces discussed: Bob Dylan, Bob Dylan audio, Dylan #2, Eric Von Schmidt, The Billy James Underground, Billy James interviewed by Richie Unterberger, Time Out of Mind, Preemptive Obituaries and Prince's Dirty Mind.

In this episode we welcome the legendary Billy James, all the way from the Bay Area, and tap him for his memories of working with Bob Dylan, the Doors and more.We start with Dylan and the interview the young Minnesotan gave to Billy in October 1961 in the latter's capacity as a Columbia Records publicist. Billy reminisces about his early interactions with the kid born Zimmerman; we hear a snatch of that 1961 audio, plus two clips from Eric Von Schmidt talking to Larry Jaffee about his friendship with Bob in that same period. In passing, we mention two great Dylan pieces by the week's featured scribe Greil Marcus, author of a new Bob "biography in seven songs" entitled Folk Music.From the early Bob years we switch coasts to California, where Billy worked in Columbia's Hollywood office and fell in with the Byrds between arranging press conferences for Patti Page, Percy Faith and his beloved Tony Bennett (pictured in the photo Billy is holding above). Finally, he talks about Terry Melcher, Elektra Records, the Doors, and the significant part he played in putting Laurel Canyon on L.A.'s pop map after moving up there from Beverly Hills in 1965...Many thanks to special guest Billy James; you can book his Airbnb in Redwood City here.Pieces discussed: Bob Dylan, Bob Dylan audio, Dylan #2, Eric Von Schmidt, The Billy James Underground, Billy James interviewed by Richie Unterberger, Time Out of Mind, Preemptive Obituaries and Prince's Dirty Mind.

Lucas and Cail take a trip back to 1970 when Loaded, the fourth studio album by The Velvet Underground, is released. Find out if it's "loaded with hits" as Atlantic Records said, and hear their shock in learning just how much Doug Yule contributed to this record.We made a Spotify playlist for you here. Give it a follow.White Light/White Heat: The Velvet Underground Day-by-Day by Richie Unterberger is a key book we reference throughout the episode. Very in-depth, check it out if you're a VU fan. 

L Ron Hubbard (Amanda Ambrose) - The Worried Being (1986) Excerpt from “Scientology” Talk by L Ron Hubbard (1967) L Ron Hubbard/Yvonne Giliham Jentzch - The Golden Dawn (1972) The Church of Scientology - We Stand Tall (1990) Excerpt from “Scientology” Talk by L Ron Hubbard (1967) The Golden Era Musicians (Edgar Winter on vocals) - Drum Drummer Drum (1998) The Golden Era Musicians (Billy Sheehan on bass) - A Clever Man (1998) Soundtrack from “Battlefield Earth” - Windsplitter (1982) The Apollo Stars - We’re Movin’ In (1974) Excerpt from “Scientology” Talk by L Ron Hubbard (1967) Edgar Winter - Just A Kid (1986) L Ron Hubbard (Michael Roberts, Pam Roberts, Margie Nelson) - Laugh A Little (1986) Excerpt from “Scientology” Talk by L Ron Hubbard (1967) L Ron Hubbard (John Travolta, Leif Garrett, Frank Stallone, Lee Purcell) - The Road To Freedom (1986) L Ron Hubbard (John Travolta, Karen Black, Jeff Pomerantz, Frank Stallone, Lee Purcell, Gloria Rusch) - The ARC Song (1986)   Excerpt from “Scientology” Talk by L Ron Hubbard (1967) L Ron Hubbard - L’envoi, Thank You For Listening (1986)   American Iron & Steel Institute (?) Armageddon Experience - People In Motion (1970) Armageddon was one of the music ministries from Campus Crusade For Christ during the late 1960s into the 1970s. Sometimes incorrectly referred to as "The Armageddon Experience" because of the title of their album, the album was produced by a new, young arrival to Hollywood, Michael Omartian, who wrote many of the songs for the group. He went on to produce records for Christopher Cross, Michael Bolton, Whitney Houston, Rod Stewart, Donna Summer and many more. As I type this, I can just hear the cheesy synths.  Avon - Music To Order Inches By (?) Balsara & His Singing Sitars - Strawberry Fields Forever (1969) Bobby Jameson - Please Little Girl Take This Lollipop (1963)  Bobby Jameson - Gotta Find My Roogalator (1966) Arranged by Frank Zappa.  Bobby Jameson - Know Yourself (1967) Songs of Protest and Anti-Protest Jameson was approached by Mira Records... They had recorded an album, Songs of Protest and Anti-Protest, with another singer-songwriter, Chris Ducey, for release on their mid-price subsidiary Surrey label. The album sleeves had already been printed, with Ducey's name and the track titles, but with a photo showing Brian Jones. However, in the meantime Ducey had entered into another contract with a different company, which meant that Mira were unable to release Ducey's record. The label asked Jameson — who at the time was "broke, homeless, and sleeping on people's couches" — to write and record new songs to match Ducey's song titles, and arranged to have the record sleeves overprinted so that the name "Ducey" would appear as "Lucey". Within two weeks, Jameson wrote the songs, and recorded them with producer Marshall Leib (previously a member of The Teddy Bears with his friend Phil Spector). The record was released without fanfare, with Jameson credited as songwriter, but without any agreement over his legal rights to the recordings. It was later issued on the Joy label in the UK under Jameson's own name, and the title Too Many Mornings. Although Songs of Protest and Anti-Protest was not promoted commercially, and was ignored when first released in late 1965, over the years it acquired a strong reputation. According to Dean McFarlane at Allmusic: This sought after psychedelic pop gem... [is] often compared to Love's Forever Changes, in that it is an intricate exploration of sophisticated arrangements and bleak and twisted lyricism... [It] may have been a little too courageous for its time, tackling blues, exotic - almost lounge arrangements and pure pop psychedelia. Its beauty is in its absolute fracture and collage of a million and one ideas. Richie Unterberger wrote: There aren't many albums of the time that bear an unmistakable Love similarity, but Songs of Protest and Anti-Protest is one of them. Both the vocals and songwriting bear strong recollections of early Arthur Lee, with the melodic but wistful folk-rock chord changes, occasional Latin jazz tempos, occasional gruff folk-blues downbeat atmosphere, probing yet vague lyrics, and oddball production. Part of its appeal to record collectors was its obscurity and that little was known about its creator. Jameson himself commented: "[The album] was a throw away album when it was created. Like it or not, that is a fact. It has, in recent years, taken on a life of its own and for that I am grateful, but it needs to be viewed in real context, to see how it has risen on its own merit to a position it never held when it was created." Bobby Jameson and Jesse Ed Davis - Junkie Jesus (1971) Scritti Politti - Skank Bloc Bologna (1978) Scritti Politti - P.A.s (1979) Scritti Politti - The Sweetest Girl (1982) Scritti Politti - Wood Beez (1985)   Ray Conniff - Theme From “Midnight Cowboy” (1970)

The final album with Jim Morrison in the lineup is by far their most blues-oriented, and the singer's poetic ardor is undiminished, though his voice sounds increasingly worn and craggy on some numbers.  The seven-minute title track was a car-cruising classic that celebrated both the glamour and seediness of Los Angeles; the other long cut, the brooding, jazzy "Riders on the Storm," was the group at its most melodic and ominous. -AllMusic Review by Richie Unterberger

It was a ground-breaking, game-changing, mold-shattering album, and it was released 50 years ago this month. Popular music has never been the same since. The Who's 'Tommy' was one of the best-selling rock albums of its day; hailed universally as a creative breakthrough. What led to 'Tommy' is a remarkable story. What happened following it is even more fascinating. On this episode, we examine a pace-setting period in the history of one of rock music’s most storied, and most ambitious bands: The Who. The years between 1969 and 1971 were simultaneously the most sensationally triumphant, and abjectly unsuccessful that any rock n’ roll band has ever seen. Music journalist and author Richie Unterberger, author of Won’t Get Fooled Again: The Who from Lifehouse to Quadrophenia takes us through the story on this week's Hidden Track. (Photo by By Jim Summaria CC BY-SA 3.0)  

2019: Today we’re going to deep-dive into the Queen catalogue of 15 original studio releases. Our guide is rock critic and historian Martin Popoff, author of "Queen: Album By Album." In the book, he engages a number of experienced fellow writers, including Stephen Dalton and former Mr. Media guest Richie Unterberger, plus musicians Darius Rocker of Hootie and the Blowfish, Dee Snider of Twisted Sister, and Sir Paul McCartney of The Beatles and Wings. It’s quite a conversation.

Richie Unterberger is a music and travel writer and editor who lives in San Francisco. He is author of Unknown Legends of Rock'n'Roll (Miller Freeman), which profiles 60 of the most interesting cult rock acts of all time; its sequel, Urban Spacemen & Wayfaring Strangers: Overlooked Innovators & Eccentric Visionaries of '60s Rock (Miller Freeman);…

Richie Unterberger is a music and travel writer and editor who lives in San Francisco. He is author of Unknown Legends of Rock'n'Roll (Miller Freeman), which profiles 60 of the most interesting cult rock acts of all time; its sequel, Urban Spacemen & Wayfaring Strangers: Overlooked Innovators & Eccentric Visionaries of '60s Rock (Miller Freeman);…

2017: I knew Bob Marley's hits – “I Shot The Sheriff, “No Woman No Cry,” “Buffalo Soldier,” “Get Up, Stand Up,” “One Love/People Get Ready” and “Jamming” – most of which have since been co-opted by Madison Avenue for commercials. That said, it made me quite eager to learn more about what I didn’t know, which, thanks to author Richie Unterberger and his new book, Bob Marley and The Wailers: The Ultimate Illustrated History, is quite a lot.

Between 1969 and 1973, the Who hit their commercial and creative peak. The legendary English quartet produced three Billboard Top Ten albums, including two double LP “rock operas,” Tommy (1969) and Quadrophenia (1973). Sandwiched between them was the triumphant Who’s Next (1971),an album universally proclaimed as one of the greatest in pop music history. But as Richie Unterberger shows in his engrossing Won’t Get Fooled Again: The Who from Lifehouse to Quadrophenia(Jawbone, 2011), this period in the band’s history was equally rife with turmoil and conflict. Guitarist Pete Townsend confronted failure in the form of the band’s aborted multimedia rock opera Lifehouse, which collapsed in a very public fashion in 1971. Two years later, the band broke ties with its longtime creative partner, producer and former manager Kit Lambert over missing publishing royalties. Finally, shows on the Who’s 1973 Quadrophenia tour were rife with jarring technical difficulties as the band attempted to replicate the album’s dense soundscapes in a live setting. Thanks to his exhaustive research efforts and sparking prose, Unterberger gives the reader a first-hand look into the inner workings of this greatest of rock bands. This is the definitive book on the Who’s most important era and one of the best books ever written on these rock legends. I give it my highest recommendation. Richie Unterberger is an acclaimed author and music historian, renowned for his meticulous research. A regular contributor to the All Music website, Mojo, Record Collector and many other publications, he has also written dozens of liner notes for CD reissues of classic 60s and 70s albums. His previous books include Unknown Legends of Rock ‘n’ Roll, Eight Miles High and Turn! Turn! Turn! He can be contacted through his website. Learn more about your ad choices. Visit megaphone.fm/adchoices

Between 1969 and 1973, the Who hit their commercial and creative peak. The legendary English quartet produced three Billboard Top Ten albums, including two double LP “rock operas,” Tommy (1969) and Quadrophenia (1973). Sandwiched between them was the triumphant Who’s Next (1971),an album universally proclaimed as one of the greatest in pop music history. But as Richie Unterberger shows in his engrossing Won’t Get Fooled Again: The Who from Lifehouse to Quadrophenia(Jawbone, 2011), this period in the band’s history was equally rife with turmoil and conflict. Guitarist Pete Townsend confronted failure in the form of the band’s aborted multimedia rock opera Lifehouse, which collapsed in a very public fashion in 1971. Two years later, the band broke ties with its longtime creative partner, producer and former manager Kit Lambert over missing publishing royalties. Finally, shows on the Who’s 1973 Quadrophenia tour were rife with jarring technical difficulties as the band attempted to replicate the album’s dense soundscapes in a live setting. Thanks to his exhaustive research efforts and sparking prose, Unterberger gives the reader a first-hand look into the inner workings of this greatest of rock bands. This is the definitive book on the Who’s most important era and one of the best books ever written on these rock legends. I give it my highest recommendation. Richie Unterberger is an acclaimed author and music historian, renowned for his meticulous research. A regular contributor to the All Music website, Mojo, Record Collector and many other publications, he has also written dozens of liner notes for CD reissues of classic 60s and 70s albums. His previous books include Unknown Legends of Rock ‘n’ Roll, Eight Miles High and Turn! Turn! Turn! He can be contacted through his website. Learn more about your ad choices. Visit megaphone.fm/adchoices

Between 1969 and 1973, the Who hit their commercial and creative peak. The legendary English quartet produced three Billboard Top Ten albums, including two double LP “rock operas,” Tommy (1969) and Quadrophenia (1973). Sandwiched between them was the triumphant Who’s Next (1971),an album universally proclaimed as one of the greatest in pop music history. But as Richie Unterberger shows in his engrossing Won’t Get Fooled Again: The Who from Lifehouse to Quadrophenia(Jawbone, 2011), this period in the band’s history was equally rife with turmoil and conflict. Guitarist Pete Townsend confronted failure in the form of the band’s aborted multimedia rock opera Lifehouse, which collapsed in a very public fashion in 1971. Two years later, the band broke ties with its longtime creative partner, producer and former manager Kit Lambert over missing publishing royalties. Finally, shows on the Who’s 1973 Quadrophenia tour were rife with jarring technical difficulties as the band attempted to replicate the album’s dense soundscapes in a live setting. Thanks to his exhaustive research efforts and sparking prose, Unterberger gives the reader a first-hand look into the inner workings of this greatest of rock bands. This is the definitive book on the Who’s most important era and one of the best books ever written on these rock legends. I give it my highest recommendation. Richie Unterberger is an acclaimed author and music historian, renowned for his meticulous research. A regular contributor to the All Music website, Mojo, Record Collector and many other publications, he has also written dozens of liner notes for CD reissues of classic 60s and 70s albums. His previous books include Unknown Legends of Rock ‘n’ Roll, Eight Miles High and Turn! Turn! Turn! He can be contacted through his website. Learn more about your ad choices. Visit megaphone.fm/adchoices

Recorded November 29, 2009Photos of the evening can be seen here.http://www.richieunterberger.com/ http://www.jawbonepress.com/