Podcasts about roll star

Ever wonder how someone becomes a rock and roll star? Well, today you're going to find out. Steph Paynes, founder and lead guitarist of the all-girl powerhouse quartet Lez Zeppelin, shares her journey from rock journalist to leader of a band that captures the essence, spirit, power and seductiveness of Led Zeppelin.  Steph started the group in 2004, after touring as a “Ronette” with the “first bad girl of rock and roll,” Ronnie Spector. Before donning the white satin dragon suit, she worked as a freelance writer, novelist and music journalist. Her stories and reviews have appeared in Rolling Stone, The NME, Musician, Guitar Player and Playboy among many other publications. She has shared the stage with Joey Ramone, Keith Richards and Chuck Berry.  So much gold in this episode. We go deep on: How boldly walking into the offices of The NME as a young 20-something propelled her early career as a music journalist The story of how she dined on ham sandwiches with Frank Zappa at the Waldorf Astoria and discussed the censorship happening in music Dealing with disappointment  The importance of practicing, persisting and being a master at your craft How Ronnie Spector restored her spirit and what she learned about giving everything to your performances When Steph knew she was onto something big with her new band Lez Zeppelin You've got to love what you're doing because the audience can tell Navigating the art and challenge of a group playing in communion Channeling emotion and pulling your own essence out of your art < CONNECT WITH LEZ ZEPPELIN > https://lezzeppelin.com/  < LET'S RISE > Energy Queen Mastermind: June - December 2025 Applications Open Soon What You Came Here For Retreat | Cape Cod | September 2025 https://www.oceanedge.com/wellness-retreats/What-You-Came-Here-For  Iceland Retreat: Worldly Women Traveling in the Land of Fire + Ice | November 2025 Applications Open Soon

Empezamos felicitando a Robe, que hoy es su cumpleaños, hablamos de Oasis y de las declaraciones de su manager, que dice que no habrá nueva música, a lo que Noel Gallagher ha respondido que solo él y su hermano pueden hacer esas declaraciones y escuchamos un montón de novedades que acaban de salir de parte de Nation Of Language, Carlos Ares, De'Wayne, Little Simz, Wolf Alice, Billy Nomates y todo esto.EXTREMODURO - Ama, Ama, Ama (Y ensancha el alma)LEIVA - GiganteOASIS - Rock'n'Roll StarBEADY EYE - Face The CrowdCARLOS ARES - La Boca del LoboYARD ACT - Dream JobDE’WAYNE - JuneBIZNAGA - El Futuro Sobre PlanoMEDALLA - MecheroLITTLE SIMZ -YoungPARCELS - YougotmefeelingCOLECTIVO DA SILVA - Dar DosJAMIROQUAI - DynamiteNATION OF LANGUAGE - Inept ApolloBILLY NOMATES - OverrideWOLF ALICE - Bloom Baby BloomEscuchar audio

The Sound Chaser Progressive Podcast is on the air. The show this time is Part 2 of The Great Engineers sequence, music to showcase the work of some of the producers and engineers who contributed to the progressive rock sound. As with Part 1, most of the music will be from the classic prog era, which was a kind of heyday for the music producers. We will also be listening to music from some latter-day producers. There is plenty of great sounds ahead on Sound Chaser. Playlist[Paul Samwell-Smith]1. Illusion - Madonna Blue, from Illusion2. Amazing Blondel - Safety in God Alone, from Fantasia Lindum3. Jethro Tull - Seal Driver, from The Broadsword and the Beast[Jean Ristori]4. Patrick Moraz - Kabala, from Out in the Sun5. Shylock - Himogène, from Ile de Fièvre6. Terpandre - Histoire d'un Pêcheur, from Terpandre[Gary Martin]7. Isotope - Honkey Donkey, from Isotope8. Soft Machine - 1983, from Six9. Gentle Giant - In a Glass House, from In a Glass House[Conrad "Conny" Plank]10. Jane - Rock 'n' Roll Star, from Jane III11. Kraan - Stars, from Andy Nogger12. SBB - Rain, from Welcome[David Hitchcock]13. East of Eden  - Gum Arabic / Confucius, from Snafu14. Caravan - Songs and Signs, from Waterloo Lily15. Curved Air - Everdance, from Live[Beppe Crovella]16. Il Castello di Atlante - Chrysalis, from L'ippogriffo17. Calliope - Non Ci Credo Più, from La Terra dei Grandi Occhi18. Tower - There Is Music Left To Be ... Write!, from Tales from a Book of Yestermorrow[Bob Drake]17. Knifeworld - I'm Hiding Behind My Eyes, from The Unravelling18. Hamster Theatre - Vermillion Hue Over Lake Lausanne, from Carnival Detournement19. Miriodor - Mme X, from Live at NEARfest 2002[Steven Wilson]20. Ange - Cadavres Exquis, from Culinaire Lingus21. Paatos - Reality, from Kallocain22. Tim Bowness - Dark Nevada Dream, from Butterfly Mind[Anton Matthews]23. The Neutrons - Dance of the Psychedelic Lounge Lizards, form Black Hole Star24. Gracious - C.B.S., from This Is ... Gracious!!25. The Graeme Edge Band - Human, from Paradise Ballroom[Rupert Hine]26. Camel - Eye of the Storm, from I Can See Your House From Here27. Anthony Phillips - Regrets, from Wise After the Event28. Rush - Heresy, from Roll the Bones[John Anthony]29. Van der Graaf Generator - Afterwards, from The Aerosol Grey Machine30. Roxy Music - For Your Pleasure, from For Your Pleasure31. Genesis - The Knife, from Trespass

(S4-Ep 5) The Byrds- Younger Than Yesterday (Columbia)  Released February 6, 1967, Recorded between November 28-December 8, 1966  Younger Than Yesterday marks pivotal in The Byrds' evolution, blending folk-rock, psychedelia, and early country influences. While not as commercially successful as their earlier albums, it received critical acclaim for its musical innovation and experimental approach. The album features standout tracks like "So You Want to Be a Rock 'n' Roll Star," which critiques the commercialization of rock music, and "My Back Pages," a reworking of Bob Dylan's classic. The band's experimentation with studio techniques, intricate guitar work, and contributions from Chris Hillman and David Crosby pushed boundaries within the folk-rock genre. The Byrds also explored jazz and country influences. Despite internal tensions and lineup changes, Younger Than Yesterday remains a key work, influencing the development of psychedelic rock and paving the way for future musical experimentation in the 1960s. Signature Tracks "So You Want To Be a Rock and Roll Star," "Have You Seen Her Face," "My Back Pages" Playlists   YouTube Playlist  Spotify Playlist Full Albums Full Album on YouTube , Full Album on Spotify

Estás a punto de escuchar otro programa de música alternativa más. ¿Y qué tiene este que no tienen los demás? Nada. Bueno, algo tendrá. “Los Ideales” te ofrece 180 minutos de buenos temas del panorama independiente internacional, cosidos a mano. Una selección hecha por y para mentes abiertas. Dale al play. Han sonado: 1) Bullion; Charlotte Adigéry - World_train 2) The Cleaners From Venus - Summer in a Small Town 3) Dream Sitch; Michael Nau; Floating Action - Now On 4) Bnny - Take That Back 5) Summer Camp - Love of My Life 6) Gustaf; Beck - Design - Beck Remix 7) GHOSTWOMAN - The End of a Gun - Edit 8) The Cool Greenhouse - Alexa! 9) The Mystery Lights - Mighty Fine & All Mine 10) Bona Dish - Fractured Heart 11) Suburban Lawns - Janitor 12) The Make-Up - White Belts 13) The Yummy Fur - Plastic Cowboy 14) Being Dead - Van Goes 15) Gustaf - I Trusted You 16) Blake Babies - Shakin' Street 17) Le Tigre - Gone B4 Yr Home 18) Suburban Lawns - Flavor Crystals 19) Mt Fog - Drifting 20) The Essex Green - Don't Leave It in Our Hands 21) Allo Darlin' - Kiss Your Lips 22) God Help The Girl - God Help The Girl 23) The School - I Will See You Soon 24) Veronica Falls - Broken Toy 25) Belle and Sebastian - When You're Not With Me - Edit 26) The 6ths - Falling Out Of Love (With You) 27) Patio - Gold II 28) Holiday Ghosts - Vulture 29) plantoid - Dog's Life 30) Belbury Poly - The Path 31) Nice Biscuit - Fade Away 32) Sunfruits - Better Off Dead 33) Too Easy; Kyle Krone - Sound&Fury 34) Finom - Haircut 35) Hot Joy - Fingers on my Side 36) Lionlimb - Hurricane 37) Mol Sullivan - Cannonball 38) Lucy McWilliams - Follow Me 39) Sorry - Rock 'n' Roll Star 40) youbet - Peel 41) Peel Dream Magazine - Oblast 42) Inhaler - Love Will Get You There 43) Sleater-Kinney; Courtney Barnett - Words and Guitar 44) The Nude Party - Cherry Red Boots 45) Mr. Elevator - My Purple I 46) Los Tiki Phantoms - Phantom's Theme 47) The Spyrals - Disguise 48) The Frowning Clouds - All Night Long 49) Century III - Tied in Knots 50) Miracle Worker - Leave Me Alone 51) Lightheaded - Bright Happy Girls 52) Tine Hill - Sound of the Morning 53) Kindsight - Acid Island 45 54) Beans - Groove 55) Beak> - Oh Know 56) Jane Weaver - H>A>K 57) The Make-Up - Pow! To the People 58) Half Hexagon - The Method 59) exmagician - Sharpen These 60) abracadabra - the hand that feeds 61) Chinese American Bear - Bear Day (熊的日子)

EPISODE 84 It's come to be expected at this point, right? These bitches come out when they come out. But the “August” pod is a good one with reaction to the big Oasis tour news, new jams from some quite fetching ladies, a peek into Toby's stable of College Station artists, and a mystery band with curious Britpop origins.   THE TUNES Oasis – “Supersonic” (intro) Suki Waterhouse – “Supersad” Heel – “Honeycomb” Magdalena Bay – “Image” Spoon Speaker Man – “Drove Me Sane” Oasis – “Rock n Roll Star” (outro) THE DRINKS (sponsored by Goodfriend Package) Delta Cannabis Water - OG Kush Blueberry Acai   www.oldwaver.com htwowpod@gmail.com www.patreon.com/htwow  

SEN SENRA - Un Cielo AzulGANGES - Igual Hemos Roto y No Me He EnteradoHINDS ft BECK - Boom Boom BackFRANKIE BEETLESTONE - My HouseKARAVANA - El FinalKURT VILE - Sins of My Youth (Bad Monkey Soundtrack)INDOCHINE - Le Chant des CygnesTERRA TWIN - The RecogniserLEON BRIDGES - LaredoMXMTOON - The Situation (feat. Kero Kero Bonito)THE DARE - All NightGUT HEALTH - Cool ModeratorFRANZ FERDINAND - The Dark Of The MatinéeMEDIAPUNTA - Porrito con D10SBIZNAGA - Espejos de CaosOASIS - Rock'n'Roll StarJET - Hurry HurryEscuchar audio

Selección musical de María Taosa, directora de En bucle; repasamos grandes inicios de algunos de nuestros discos favoritos de los últimos tiempos. - OASIS - ROCK'N'ROLL STAR- BLUR - SHE'S SO HIGH- RADIOHEAD - EVERYTHING IN ITS RIGHT PLACE- COLDPLAY - DON'T PANIC- BJORK - ARMY OF ME- NAJWAJEAN - DEAD FOR YOU- MALA RODRIGUEZ - TENGO UN TRATO- ROSALÍA - MALAMENTE- MARÍA ARNAL I MARCEL BAGES - MILAGRO- BOMBA ESTÉREO - AMANECER- BEYONCE - CRAZY IN LOVE (FEAT. JAY Z)- DAFT PUNK - ONE MORE TIME- TAYLOR SWIFT - FORTNIGHT (FEAT. POST MALONE)- ROMY - LOVEHER- CHARLI XCX - 360Escuchar audio

¡Regresa Oasis! Al calor de la noticia de la década en lo musical vamos a echar la vista atrás y profundizar en uno de los discos que definieron la década de los noventa: Definitely Maybe, su álbum debut, publicado en agosto de 1994. Ricardo Portman nos cuenta su historia. Escucharemos Rock 'n' Roll Star, Shakermaker, Live Forever, Up In The Sky, Columbia, Supersonic, Bring It On Down, Cigarettes & Alcohol, Digsy's Dinner, Slide Away y Married With Children + Bonus tracks (Whatever, Cloudburst, I Am the Walrus). Recuerden que nuestros programas los pueden escuchar también en: Nuestra web https://ecosdelvinilo.com/ Radio M7 (Córdoba) lunes 18:00 y sábados 17:00. Distancia Radio (Córdoba) jueves y sábados 19:00 Radio Free Rock (Cartagena) viernes 18:00. Radio Hierbabuena (Lima, Perú) jueves 20:00 (hora Perú)

Angeführt von den beiden Brüdern Liam und Noel Gallagher etablierten sich Oasis als eine der führenden Bands der Britpop-Bewegung in den 90er Jahren. "Definitely Maybe" wurde zum bestverkauftesten Debütalbum in Großbritannien. Fünf Jungs aus Manchesters Arbeiterklasse nehmen sich vor Rockstars zu werden. Der Opener ihres ersten Albums "Definitely Maybe" trägt passend dazu den Titel "Rock 'n' Roll Star" – der Gegenentwurf von dem Leben, in dem sie sich tatsächlich befunden haben. Doch die selbsterfüllende Prophezeiung funktioniert, "Definitely Maybe" ist weltweit über 6,9 Millionen Mal über die Ladentheke gegangen, es hagelte Gold und Platin. Im August feiert "Definitely Maybe" von Oasis 30-jähriges Jubiläum. Ihre Singles "Supersonic", "Live Forever" und "Cigarettes And Alcohol" klingen heute noch so frisch und aktuell wie im Jahr 1994. Zur Feier des Jubiläums erscheint am 30. August 2024 eine limitierte Deluxe 4LP- und 2CD-Edition mit Bonusmaterial. Bei der ersten Session zu ihrem Debütalbum "Definitely Maybe" hatten Oasis mit David Batchelor einen Produzent an ihrer Seite, der sehr klar produziert hat. Er hat die die Musiker in Einzelkabinen aufgenommen, um die Sounds zu trennen. Doch das war nicht der Sound, den die Band wollte. Noel hatte eine klare Vorstellung von dem Album, er wollte, "dass das Ding klingt wie ein abhebender Düsenjet". Daher haben sie das Album tatsächlich ein zweites Mal aufgenommen, mit Produzent Mark Coyle. Er war mit ihnen bereits als Live-Tontechniker unterwegs und verstand, wie die Band klingen wollte. Warum SWR1 Musikredakteur Stephan Fahrig das Oasis-Konzert verlassen hat und das Album "Definitely Maybe" dennoch großartig findet, warum die Orientierung an bestehenden musikalischen Stilen für dieses Album absolut prägend ist und noch vieles mehr, erfahren Sie im Meilensteine Podcast zu "Definitely Maybe" von Oasis. __________ Über diese Songs vom Album "Definitely Maybe" wird im Podcast gesprochen (15:15) – "Rock 'n' Roll Star"(25:24) – "Cigarettes & Alcohol"(31:15) – "Shakermaker"(38:33) – "Live Forever"(1:00:00)– "Supersonic"(1:10:33)– "Slide Away" Über diese Songs wird außerdem im Podcast gesprochen (31:58) – "I'd Like To Teach The World To Sing" von den The New Seekers__________ Alle Shownotes und weiterführenden Links zur Folge "Definitely Maybe" findet ihr hier: https://www.swr.de/swr1/rp/meilensteine/swr1-meilensteine-definitely-maybe-oasis-100.html __________ Ihr wollt mehr Podcasts wie diesen? Abonniert die SWR1 Meilensteine! Fragen, Kritik, Anregungen? Meldet euch gerne per WhatsApp-Sprachnachricht an die (06131) 92 93 94 95 oder schreibt uns an meilensteine@swr.de __________

Britpop, as a term landed in the spring of 1993 but it was a full year later, that everything changed over the course of just twenty days. In Episode 2 of The Rise and Fall of Britpop, Steve Lamacq and Jo Whiley revisit the key moments on the road to Britpop's explosion. Including on air resignations at Radio 1, a band of rowdy Mancunians and a tragic death, which caused shockwaves around the world. 30 years later Steve and Jo are taking advantage of their contacts, going through old note books, photo albums, DATs, Mini Discs and the BBC archives, to chart the Rise and Fall of one of the biggest musical movements ever to hit the UK… Britpop. Warning: this episode contains strong language, adult themes and descriptions of self-harm and suicide, which some listeners may find distressing. Details of help and support are available at bbc.co.uk/actionlineListen only on BBC Sounds.Presented by Jo Whiley and Steve Lamacq Written by Steve Lamacq and Paul Sheehan Produced by Paul Sheehan with additional production by Phil Smith Technical Production by Tim Heffer Editor for BBC Audio Helen Hobday Commissioning Producer Jonathan O'Sullivan Commissioner for BBC Music Will Wilkin A BBC Audio Production

Tony opens the show by talking about a rough day for the Nats, and he also gives his thoughts on reliever Robert Garcia, and he also talks about watching the Olympics. Michael Wilbon calls in to talk about what he's been watching in the Olympics so far, and how the men's basketball team looks so far. Chuck Culpepper calls in from Paris to talk about what he's seeing over there and how it's all going, and Tony closes out the show by opening up the Mailbag. Songs : Gregory Lush “Rock ‘n Roll Star” ; “Sleep” To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

W/C 24th June 2024I wonder if I should change the logo for TFM. I have looked at it a couple of times, and even had somebody mock me up some alternatives but never settled on anything I like.The existing one is supposed to be a typewrite style font on some serious grade writing paper, and if you look at it closely it does look like that. It's simple and it's clean. it just doesn't really talk to the styler content of the podcast - but then does that matter?I like the uncluttered nature of it, and the fact it isn't too busy. But then you could say that is exactly the opposite of what I am often discussing.Of course now I have said this, I can probably move on and forget all about it for a year or so. Stay safe.Rock 'n' Roll Star - OasisPress Preview with Kevin MaguireTherapy For Me (or TFM as I now refer to it) is a bit of an audio curiosity. It started out as a mechanism for me to clear my head, with the hope that by saying stuff out loud it would act as a little bit of self-help. It's remains loose in style, fluid in terms of content and raw - it's a one take, press record and see what happens, affair.If you want to keep in touch with TFM and the other stuff I do then please follow me on Facebook, Insta, Twitter or Patreon. Thanks for getting this far.

En el programa de hoy charlamos con Emma (14) y Ruth (15) sobre sus gustos musicales, su forma de entender la música y de como descubren nuevas bandas. Nos acompañan también sus padres, Rachael y Fernando quienes junto a Carlos, vivieron en primera persona los años 90. + info - https://linktr.ee/b90podcast Suenan: 01. Nirvana - Smells Like Teen Spirit (01:54) 02. Sonic Youth - Teen Age Riot (28:08) 03. Zayn - What I Am (49:52) 04. Pearl Jam - Won't Tell (64:35) 05. Surfin' Bichos - Fuerte (82:15) 06. Oasis - Rock 'N' Roll Star (99:12) 07. The Smashing Pumpkins - 1979 (137:15) Bandas recomendadas por Ruth: Colisión, Finale, Viuda, Fontaines DC, Amyl and the Sniffers, Shame, Viagra Boys Espacio patrocinado por: Juan Carlos Acero Linares - Jaime Cruz Flórez - davicin blackmetal - DOMINGO SANTABÁRBARA - bcn_music_fan -faeminoandtired - Pablo Garrido - Jose Manuel Valera - Ivan Castro - Nerdo IsMe - Javi Portas - Belén - Ana FM - tueresgeorge - boldano - Eduardo Mayordomo Muñoz - kharhan - Barrax de Pump - PDR - Fernando - QUIROGEA - Jorge - J. Gutiérrez - Gabriel Vicente - Carlos Conseglieri - Miguel - faeminoandtired - Isabel Luengo - Franc Puerto - screaming - HugoBR - angelmedano - Vicente DC - VICTORGB - Alvaro Gomez Marin - Achtungivoox - Alvaro Perez - Sergio Serrano - Antuan Clamarán - Mario Sosa - Isranet - Paco Gandia - ok_pablopg - Eduardo Vaquerizo - Crisele - David Reig - Wasabi Segovia - Dani RM - Fernando Masero - María Garrido - RafaGP - Macu Chaleka - laura - Infestos - Öki Þeodoroson - davidgonsan - Juan Carlos Mazas - 61garage - JJM - Rosa Rivas - Bassman Mugre - SrLara - Próxima Estación Okinawa - Barullo - Megamazinger - Francisco Javier Indignado Hin - Unai Elordui - carmenlimbostar - Piri - Miguel Ángel Tinte - Miquel CH - Jon Perez Nubla - agui102 - Raul Sánchez - Nuria Sonabé - Spinda Records - Pere Pasqual - Juanmi - JulMorGon - blinddogs - JM MORENTE - Alfonso Moya - Rubio Carbón - LaRubiaProducciones - cesmunsal - Mr.Kaffe - Marcos - jocio - Norberto Blanquer Solar - Tolo Sent - LIP -Carmen Ventura - Jordi y varias personas anónimas.

The Rise And Fall of Ziggy Stardust And The Spiders From Mars uit 1972 wordt wel gezien als een van de beste albums van David Bowie. Op 14 juni kwam de box Rock ‘n' Roll Star uit, vijf cd's met outtakes, demo's en liveversies dei allemaal met Ziggy Stardust te maken hebben. Een ferme duik in de box, deze podcast gaat over Ziggy Stardust. 

A hair-raising cry and shout out from World's End as the Hot Plough Summer finally hits! Join Rahul and Yanni as they celebrate a milestone for a Plough rock star, review the action for the weekend, and bask in another piece of Ollie Tenant rallying brilliance. The red inkers among you will be heavily rewarded for listening till the very end… You'll find us on most social media platforms - including TikTok - just search for Ploughmans Cricket Club and look for the blue and gold crest. Get in touch, and say hello@ploughmanscc.com

ROGER McGUINN LOST INTERVIEWS EPISODE 1 The Byrds become Roger McGuinn (lead guitars and vocals), Gene Clark (tambourine, vocals), David Crosby (rhythm guitars and vocals), Chris Hillman (bass guitar and vocals) and Michael Clarke (drums). Columbia Records signed The Byrds in 1965 and they recorded their first number one hit, a Bob Dylan penned song, “Mr. Tambourine Man.” The Byrds continued to score big commercially with their 1965 classic that was adapted from the book of Ecclesiastes in the Bible, “Turn! Turn! Turn!” “I'll Feel a Whole Lot Better,” was another huge hit for the group in 1965 featuring McGuinn's trademark jangling 12-string Rickenbacker. “Eight Miles High” was The Byrds 1966 Top 20 Psychedelic classic and “Mr. Spaceman” reached #36 on Billboard's Top 100, both were featured on their Fifth Dimension album.” Dylan's penned, “My Back Pages” released in 1967 #30 and “So You Want To Be A Rock ‘N' Roll Star,” also released in 1967 was a #29 Billboard Top 100 hit. Gene Clark left the band in 1966. David Crosby and Michael Clarke departed in late 1967. In 1968, Gram Parsons was hired and The Byrds recorded their critically acclaimed release, “Sweetheart of the Rodeo.” Later in 1968, Hillman and Parsons left. In 1969, The Byrds recorded “Ballad of Easy Rider” for a film starring Peter Fonda and Dennis Hopper. McGuinn also co-wrote, “Chestnut Mare” with Jacques Levy in 1969, a song intended to be featured in a musical inspired by Henrik Ibsen's Peer Gynt. McGuinn led several Byrds lineups until 1973 when the original quintet reunited and then disbanded after the release of their 12th and final album Byrds. Roger McGuinn rejoined Gene Clark and Chris Hillman in 1978 and recorded three successful albums for Capitol Records. In 1981, McGuinn returned to his folk roots and began to tour acoustically as a solo artist. McGuinn, Crosby and Hillman performed as The Byrds in 1989 and 1990 and recorded four new songs for their box set released in 1991. The Byrds were also inducted into the Rock and Roll Hall of Fame in 1991. PURCHASE THE ROCK STAR CHRONICLES Series one By RAY SHASHO Available At Bookbaby.com And amazon.com CHAPTER ONE SPOTLIGHTS INTERVIEWS WITH MANY OF THE MUSIC LEGENDS WHO ARE NO LONGER WITH US THE HARDCOVER EDITION IS A BONAFIDE COLLECTORS ITEM! …Order yours today on (Collector edition) Hardcover or E-book at bookbaby.com and amazon.com   Featuring over 45 intimate conversations with some of the greatest rock legends the world will ever know.   CHRIS SQUIRE... DR. JOHN... GREG LAKE... HENRY MCCULLOUGH... JACK BRUCE … JOE LALA…  JOHNNY WINTER... KEITH EMERSON... PAUL KANTNER...  RAY THOMAS... RONNIE MONTROSE... TONY JOE WHITE... DAVID CLAYTON-THOMAS… MIKE LOVE... TOMMY ROE... BARRY HAY... CHRIS THOMPSON... JESSE COLIN YOUNG... JOHN KAY... JULIAN LENNON... MARK LINDSAY... MICKY DOLENZ… PETER RIVERA ...TOMMY JAMES… TODD RUNDGREN... DAVE MASON... EDGAR WINTER... FRANK MARINO... GREGG ROLIE... IAN ANDERSON... JIM “DANDY” MANGRUM... JON ANDERSON... LOU GRAMM... MICK BOX... RANDY BACHMAN… ROBIN TROWER...  ROGER FISHER... STEVE HACKETT... ANNIE HASLAM… ‘MELANIE' SAFKA... PETULA CLARK... SUZI QUATRO... COLIN BLUNSTONE… DAVE DAVIES... JIM McCARTY... PETE BEST WHERE HAVE ALL THE ROCK STARS GONE? Rock and Roll, the Blues, and Jazz are America's contribution to the arts, so why are we not fighting to preserve our own musical legacy and culture? Rooted from the early blues pioneers, the longevity of rock and roll is second to none. But strangely enough those legendary rock heroes that we were so accustomed to hearing every time we turned on our radios had mysteriously vanished from the mainstream. The music of the 1960's, 70's and even the 80's was an important juncture in all of our lives. So many of us timeline life's precious moments with the music we remember, when the music was so great, when the music mattered. The baby-boomer generation is financially imperative yet many of its entertainment standards have been renounced. One day, the plug was pulled on those legendary music artists. Hackers began stealing music across the internet. Online music stores popularized cheap digital singles and neglected to promote full-length albums. Radio stations changed formats to accommodate talk show radio jocks while rappers and electronic dance music menaced the airwaves. Notorious record companies began folding in droves. Record companies and radio stations that were once owned and operated by visionaries were now run by accountants and lawyers and the music world began promoting untalented wannabes. The economy plummeted, and radio stations became more concerned about how many consecutive commercials they could run instead of providing quality radio programming and entertainment value. Radio stations became corporate machines leaving no room for innovation. Throughout the 2000s, recording studios and live performances began using an audio processor called "Auto-Tune" to disguise off-key inaccuracies in vocal tracks. The device allowed virtually anyone without music skills to become a singer and new waves of mainstream radio stars were instantly fabricated. The business of music became stronger and more important than the art of music. For more than a decade, I've been on a rock and roll pilgrimage to help promote and save the greatest music the world has ever known. Before the internet and Napster, virtuoso musicians traditionally introduced their music by way of mainstream radio stations while anxious music enthusiasts hurried to their favorite record stores and purchased a copy of the artist's latest release. Talk radio wasn't popular because there was way too much great music to play over the airwaves. Advertisers didn't rule the airwaves, the music did. Rock legends toured the world to promote their latest albums and prices of concert tickets were extremely affordable. Proficient musicians, singers, and songwriters are what made the music so great. Support us on PayPal!

Matt Forde is back! He joins Alice Levine to delve into one of the rockiest relationships in music history. The story of two brothers who went from sharing a bedroom at their mum's house to becoming one of the world's most successful bands. But their feud was almost as famous as their talent. Welcome to Manchester in the rock 'n' roll 1990s, where a music manager is just trying to keep his latest band from self-imploding.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This week on Echoes of Indiana Avenue, explore the music of Bobby Lewis, Indianapolis' biggest rock and roll star. His 1961 single “Tossin' and Turnin'” topped the Billboard Hot 100 chart for 7 straight weeks.  Bobby Lewis was 36 years old when “Tossin' and Turnin'” hit the charts. Success had not come easy for the singer. Lewis was born in Indianapolis in 1925 and spent his early years in an orphanage. At age 12 Lewis was adopted and moved to Detroit with his foster parents. But by age 18, he was back in Indianapolis.  Lewis became a star on Indiana Avenue during the early 1950s, appearing at venues including George's Bar and the Walker Casino. In 1952, Lewis was nominated as “best male singer” in the Indianapolis Recorder's entertainment poll. That was also the year he issued his debut single for Chicago's Chess Records.

quando dopo aver scavato nei magici cassetti di Disma ci addentriamo nelle Manifatture Sonore nella nuova parte di Voeia de Laurà lanciata da un JeanJacques dal dubbio dosaggio assunto, discutiamo del vestiario consono al posto di lavoro e infine ci colleghiamo con Carlo ed Enzo in collegamento dalla radio cugina di Radio Pop in Argentina

On this week's show, we'll explore the music of Thurston Harris, Indianapolis' first rock and roll star. He's best known for his recording of “Little Bitty Pretty One,” a Top 10 hit in 1957.  Thurston Harris was born in Indianapolis in July of 1931. He grew up in the Avenue neighborhood, and began singing gospel music in local churches, at age 9. In 1949, the R&B star Jimmy Liggins heard Harris performing in a nightclub, and invited Harris to Los Angeles. While in Los Angeles, Harris joined the Lamplighters, an exciting R&B act that scored over a dozen hits from 1953 to 1956.  In 1957, Harris had the chance to cut his first solo recordings. His debut single, “Little Bitty Pretty One” became the biggest record of his career. The song was issued by Aladdin Records. Harris cut over 20 songs for the label during the late 1950s.

For those who haven't heard the announcement I just posted , songs from this point on will sometimes be split among multiple episodes, so this is the first part of a multi-episode look at the Byrds in 1966-69 and the birth of country rock. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode on "My World Fell Down" by Sagittarius. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud at this time as there are too many Byrds songs in this chunk, but I will try to put together a multi-part Mixcloud when all the episodes for this song are up. My main source for the Byrds is Timeless Flight Revisited by Johnny Rogan, I also used Chris Hillman's autobiography, the 331/3 books on The Notorious Byrd Brothers and The Gilded Palace of Sin, For future parts of this multi-episode story I used Barney Hoskyns' Hotel California and John Einarson's Desperadoes as general background on Californian country-rock, Calling Me Hone, Gram Parsons and the Roots of Country Rock by Bob Kealing for information on Parsons, and Requiem For The Timeless Vol 2 by Johnny Rogan for information about the post-Byrds careers of many members. Information on Gary Usher comes from The California Sound by Stephen McParland. And this three-CD set is a reasonable way of getting most of the Byrds' important recordings. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript When we left the Byrds at the end of the episode on "Eight Miles High", they had just released that single, which combined folk-rock with their new influences from John Coltrane and Ravi Shankar, and which was a group composition but mostly written by the group's lead singer, Gene Clark. And also, as we mentioned right at the end of the episode, Clark had left the group. There had been many, many factors leading to Clark's departure. Clark was writing *far* more material than the other band members, of whom only Roger McGuinn had been a writer when the group started, and as a result was making far more money than them, especially with songs like "She Don't Care About Time", which had been the B-side to their number one single "Turn! Turn! Turn!" [Excerpt: The Byrds, "She Don't Care About Time"] Clark's extra income was making the rest of the group jealous, and they also didn't think his songs were particularly good, though many of his songs on the early Byrds albums are now considered classics. Jim Dickson, the group's co-manager, said "Gene would write fifteen to twenty songs a week and you had to find a good one whenever it came along because there were lots of them that you couldn't make head or tail of.  They didn't mean anything. We all knew that. Gene would write a good one at a rate of just about one per girlfriend." Chris Hillman meanwhile later said more simply "Gene didn't really add that much." That is, frankly, hard to square with the facts. There are ten original songs on the group's first two albums, plus one original non-album B-side. Of those eleven songs, Clark wrote seven on his own and co-wrote two with McGuinn. But as the other band members were starting to realise that they had the possibility of extra royalties -- and at least to some extent were starting to get artistic ambitions as far as writing goes -- they were starting to disparage Clark's work as a result, calling it immature. Clark had, of course, been the principal writer for "Eight Miles High", the group's most experimental record to date: [Excerpt: The Byrds, "Eight Miles High"] But there he'd shared co-writing credit with David Crosby and Roger McGuinn, in part because that was the only way he could be sure they would agree to release it as a single. There were also internal rivalries within the band unrelated to songwriting -- as we've touched on, Crosby had already essentially bullied Clark off the guitar and into just playing tambourine (and McGuinn would be dismissive even of Clark's tambourine abilities). Crosby's inability to get on with any other member of any band he was in would later become legendary, but at this point Clark was the major victim of his bullying. According to Dickson "David understood when Gene left that ninety-five percent of why Gene left could be brought back to him." The other five percent, though, came from Clark's fear of flying. Clark had apparently witnessed a plane crash in his youth and been traumatised by it, and he had a general terror of flying and planes -- something McGuinn would mock him for a little, as McGuinn was an aviation buff. Eventually, Clark had a near-breakdown boarding a plane from California to New York for a promotional appearance with Murray the K, and ended up getting off the plane. McGuinn and Michael Clarke almost did the same, but in the end they decided to stay on, and the other four Byrds did the press conference without Gene. When asked where Gene was, they said he'd "broken a wing". He was also increasingly having mental health and substance abuse problems, which were exacerbated by his fear, and in the end he decided he just couldn't be a Byrd any more. Oddly, of all the band members, it was David Crosby who was most concerned about Clark's departure, and who did the most to try to persuade him to stay, but he still didn't do much, and the group decided to carry on as a four-piece and not even make a proper announcement of Clark's departure -- they just started putting out photos with four people instead of five. The main change as far as the group were concerned was that Hillman was now covering Clark's old vocal parts, and so Crosby moved to Clark's old centre mic while Hillman moved from his position at the back of the stage with Michael Clarke to take over Crosby's mic. The group now had three singer-instrumentalists in front, two of whom, Crosby and McGuinn, now thought of themselves as songwriters. So despite the loss of their singer/songwriter/frontman, they moved on to their new single, the guaranteed hit follow-up to "Eight Miles High": [Excerpt: The Byrds, "5D (Fifth Dimension)"] "5D" was written by McGuinn, inspired by a book of cartoons called 1-2-3-4 More More More More by Don Landis, which I haven't been able to track down a copy of, but which seems to have been an attempt to explain the mathematical concept of higher dimensions in cartoon form. McGuinn was inspired by this and by Einstein's theory of relativity -- or at least by his understanding of relativity, which does not seem to have been the most informed take on the topic. McGuinn has said in the past that the single should really have come with a copy of Landis' booklet, so people could understand it. Sadly, without the benefit of the booklet we only have the lyrics plus McGuinn's interviews to go on to try to figure out what he means. As far as I'm able to understand, McGuinn believed -- completely erroneously -- that Einstein had proved that along with the four dimensions of spacetime there is also a fifth dimension which McGuinn refers to as a "mesh", and that "the reason for the speed of light being what it is is because of that mesh." McGuinn then went on to identify this mesh with his own conception of God, influenced by his belief in Subud, and with a Bergsonian idea of a life force. He would talk about how most people are stuck in a materialist scientific paradigm which only admits to  the existence of three dimensions, and how there are people out there advocating for a five-dimensional view of the world. To go along with this mystic view of the universe, McGuinn wanted some music inspired by the greatest composer of sacred music, and he asked Van Dyke Parks, who was brought in to add keyboards on the session, to play something influenced by Bach -- and Parks obliged, having been thinking along the same lines himself: [Excerpt: The Byrds, "5D (Fifth Dimension)"] Unfortunately for the group, McGuinn's lyrical intention wasn't clear enough and the song was assumed to be about drugs, and was banned by many radio stations. That plus the track's basically uncommercial nature meant that it reached no higher than number forty-four in the charts. Jim Dickson, the group's co-manager, pointed to a simpler factor in the record's failure, saying that if the organ outro to the track had instead been the intro, to set a mood for the track rather than starting with a cold vocal open, it would have had more success. The single was followed by an album, called Fifth Dimension, which was not particularly successful. Of the album's eleven songs, two were traditional folk songs, one was an instrumental -- a jam called "Captain Soul" which was a version of Lee Dorsey's "Get Out My Life Woman" credited to the four remaining Byrds, though Gene Clark is very audible on it playing harmonica -- and one more was a jam whose only lyrics were "gonna ride a Lear jet, baby", repeated over and over. There was also "Eight Miles High" and the group's inept and slightly-too-late take on "Hey Joe". It also included a third single, a country track titled "Mr. Spaceman": [Excerpt: The Byrds, "Mr. Spaceman"] McGuinn and, particularly, Hillman, had some country music background, and both were starting to think about incorporating country sounds into the group's style, as after Clark's departure from the group they were moving away from the style that had characterised their first two albums. But the interest in "Mr. Spaceman" was less about the musical style than about the lyrics. McGuinn had written the song in the hopes of contacting extraterrestrial life -- sending them a message in his lyrics so that any aliens listening to Earth radio would come and visit, though he was later disappointed to realise that the inverse-square law means that the signals would be too faint to make out after a relatively short distance: [Excerpt: The Byrds, "Mr. Spaceman"] "Mr. Spaceman" did better on the charts than its predecessor, scraping the lower reaches of the top forty, but it hardly set the world alight, and neither did the album -- a typical review was the one by Jon Landau, which said in part "This album then cannot be considered up to the standards set by the Byrds' first two and basically demonstrates that they should be thinking in terms of replacing Gene Clark, instead of just carrying on without him." Fifth Dimension would be the only album that Allen Stanton would produce for the Byrds, and his replacement had actually just produced an album that was a Byrds record by any other name: [Excerpt: Gene Clark, "So You Say You've Lost Your Baby"] We've looked at Gary Usher before, but not for some time, and not in much detail. Usher was one of several people who were involved in the scene loosely centred on the Beach Boys and Jan and Dean, though he never had much time for Jan Berry and he had got his own start in the music business slightly before the Beach Boys. As a songwriter, his first big successes had come with his collaborations with Brian Wilson -- he had co-written "409" for the Beach Boys, and had also collaborated with Wilson on some of his earliest more introspective songs, like "The Lonely Sea" and "In My Room", for which Usher had written the lyrics: [Excerpt: The Beach Boys, "In My Room"] Usher had built a career as a producer and writer for hire, often in collaboration with Roger Christian, who also wrote with Brian Wilson and Jan Berry. Usher, usually with Christian, and very occasionally Wilson wrote the songs for several of American International Pictures' Beach Party films: [Excerpt: Donna Loren, "Muscle Bustle"] And Usher and Christian had also had bit parts in some of the films, like Bikini Beach, and Usher had produced records for Annette Funicello, the star of the films, often with the Honeys (a group consisting of Brian Wilson's future wife Marilyn plus her sister and cousin) on backing vocals. He had also produced records for the Surfaris, as well as a whole host of studio-only groups like the Four Speeds, the Super Stocks, and Mr. Gasser and the Weirdoes, most of whom were Usher and the same small group of vocalist friends along with various selections of Wrecking Crew musicians making quick themed albums. One of these studio groups, the Hondells, went on to be a real group of sorts, after Usher and the Beach Boys worked together on a film, The Girls on the Beach. Usher liked a song that Wilson and Mike Love had written for the Beach Boys to perform in the film, "Little Honda", and after discovering that the Beach Boys weren't going to release their version as a single, he put together a group to record a soundalike version: [Excerpt: The Hondells, "Little Honda"] "Little Honda" made the top ten, and Usher produced two albums for the Hondells, who had one other minor hit with a cover version of the Lovin' Spoonful's "Younger Girl". Oddly, Usher's friend Terry Melcher, who would shortly produce the Byrds' first few hits, had also latched on to "Little Honda", and produced his own version of the track, sung by Pat Boone of all people, with future Beach Boy Bruce Johnston on backing vocals: [Excerpt: Pat Boone, "Little Honda"] But when Usher had got his version out first, Boone's was relegated to a B-side. When the Byrds had hit, and folk-rock had started to take over from surf rock, Usher had gone with the flow and produced records like the Surfaris' album It Ain't Me Babe, with Usher and his usual gang of backing vocalists augmenting the Surfaris as they covered hits by Dylan, the Turtles, the Beach Boys and the Byrds: [Excerpt: The Surfaris, "All I Really Want to Do"] Usher was also responsible for the Surfaris being the first group to release a version of "Hey Joe" on a major label, as we heard in the episode on that song: [Excerpt: The Surfaris, "Hey Joe"] After moving between Capitol, Mercury, and Decca Records, Usher had left Decca after a round of corporate restructuring and been recommended for a job at Columbia by his friend Melcher, who at that point was producing Paul Revere and the Raiders and the Rip Chords and had just finished his time as the Byrds' producer. Usher's first work at Columbia was actually to prepare new stereo mixes of some Byrds tracks that had up to that point only been issued in mono, but his first interaction with the Byrds themselves came via Gene Clark: [Excerpt: Gene Clark, "So You Say You've Lost Your Baby"] On leaving the Byrds, Clark had briefly tried to make a success of himself as a songwriter-for-hire in much the same mould as Usher, attempting to write and produce a single for two Byrds fans using the group name The Cookie Fairies, while spending much of his time romancing Michelle Phillips, as we talked about in the episode on "San Francisco". When the Cookie Fairies single didn't get picked up by a label, Clark had put together a group with Bill Rinehart from the Leaves, Chip Douglas of the Modern Folk Quartet, and Joel Larson of the Grass Roots. Just called Gene Clark & The Group, they'd played around the clubs in LA and cut about half an album's worth of demos produced by Jim Dickson and Ed Tickner, the Byrds' management team, before Clark had fired first Douglas and then the rest of the group. Clark's association with Douglas did go on to benefit him though -- Douglas went on, as we've seen in other episodes, to produce hits for the Turtles and the Monkees, and he later remembered an old song by Clark and McGuinn that the Byrds had demoed but never released, "You Showed Me", and produced a top ten hit version of it for the Turtles: [Excerpt: The Turtles, "You Showed Me"] Clark had instead started working with two country singers, Vern and Rex Gosdin, who had previously been with Chris Hillman in the country band The Hillmen. When that band had split up, the Gosdin Brothers had started to perform together as a duo, and in 1967 they would have a major country hit with "Hangin' On": [Excerpt: The Gosdin Brothers, "Hangin' On"] At this point though, they were just Gene Clark's backing vocalists, on an album that had been started with producer Larry Marks, who left Columbia half way through the sessions, at which point Usher took over. The album, titled Gene Clark with the Gosdin Brothers, featured a mix of musicians from different backgrounds. There were Larson and Rinehart from Gene Clark and the Group, there were country musicians -- a guitarist named Clarence White and the banjo player Doug Dillard. Hillman and Michael Clarke, the Byrds' rhythm section, played on much of the album as a way of keeping a united front, Glen Campbell, Jerry Cole, Leon Russell and Jim Gordon of the Wrecking Crew contributed, and Van Dyke Parks played most of the keyboards. The lead-off single for Gene Clark with the Gosdin Brothers, "Echoes", is one of the tracks produced by Marks, but in truth the real producer of that track is Leon Russell, who wrote the orchestral arrangement that turned Clark's rough demo into a baroque pop masterpiece: [Excerpt: Gene Clark, "Echoes"] Despite Clark having quit the band, relations between him and the rest were still good enough that in September 1966 he temporarily rejoined the band after Crosby lost his voice, though he was gone again as soon as Crosby was well. But that didn't stop the next Byrds album, which Usher went on to produce straight after finishing work on Clark's record, coming out almost simultaneously with Clark's and, according to Clark, killing its commercial potential. Upon starting to work with the group, Usher quickly came to the conclusion that Chris Hillman was in many ways the most important member of the band. According to Usher "There was also quite a divisive element within the band at that stage which often prevented them working well together. Sometimes everything would go smoothly, but other times it was a hard road. McGuinn and Hillman were often more together on musical ideas. This left Crosby to fend for himself, which I might add he did very well." Usher also said "I quickly came to understand that Hillman was a good stabilising force within the Byrds (when he wanted to be). It was around the time that I began working with them that Chris also became more involved in the songwriting. I think part of that was the fact that he realised how much more money was involved if you actually wrote the songs yourself. And he was a good songwriter." The first single to be released from the new sessions was one that was largely Hillman's work. Hillman and Crosby had been invited by the great South African jazz trumpeter Hugh Masekela to play on some demos for another South African jazzer, singer Letta Mbulu. Details are sparse, but one presumes this was for what became her 1967 album Letta Mbulu Sings, produced by David Axelrod: [Excerpt: Letta Mbulu, "Zola (MRA)"] According to Hillman, that session was an epiphany for him, and he went home and started writing his own songs for the first time. He took one of the riffs he came up with to McGuinn, who came up with a bridge inspired by a song by yet another South African musician, Miriam Makeba, who at the time was married to Masekela, and the two wrote a lyric inspired by what they saw as the cynical manipulation of the music industry in creating manufactured bands like the Monkees -- though they have both been very eager to say that they were criticising the industry, not the Monkees themselves, with whom they were friendly. As Hillman says in his autobiography, "Some people interpreted it as a jab at The Monkees. In reality, we had immense respect for all of them as singers and musicians. We weren't skewering the members of the Monkees, but we were taking a shot at the cynical nature of the entertainment business that will try to manufacture a group like The Monkees as a marketing strategy. For us, it was all about the music, and we were commenting on the pitfalls of the industry rather than on any of our fellow musicians." [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star?"] The track continued the experimentation with sound effects that they had started with the Lear jet song on the previous album. That had featured recordings of a Lear jet, and "So You Want to be a Rock 'n' Roll Star?" featured recordings of audience screams. Those screams were, according to most sources, recorded by Derek Taylor at a Byrds gig in Bournemouth in 1965, but given reports of the tepid response the group got on that tour, that doesn't seem to make sense. Other sources say they're recordings of a *Beatles* audience in Bournemouth in *1963*, the shows that had been shown in the first US broadcast of Beatles footage, and the author of a book on links between the Beatles and Bournemouth says on his blog "In the course of researching Yeah Yeah Yeah: The Beatles & Bournemouth I spoke to two people who saw The Byrds at the Gaumont that August and neither recalled any screaming at all, let alone the wall of noise that can be heard on So You Want To Be A Rock 'n' Roll Star." So it seems likely that screaming isn't for the Byrds, but of course Taylor had also worked for the Beatles. According to Usher "The crowd sound effects were from a live concert that Derek Taylor had taped with a little tape recorder in London. It was some outrageous crowd, something like 20,000 to 30,000 people. He brought the tape in, ran it off onto a big tape, re- EQ'd it, echoed it, cleaned it up and looped it." So my guess is that the audience screams in the Byrds song about the Monkees are for the Beatles, but we'll probably never know for sure: [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star?"] The track also featured an appearance by Hugh Masekela, the jazz trumpeter whose invitation to take part in a session had inspired the song: [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star?"] While Hillman was starting to lean more towards folk and country music -- he had always been the member of the band least interested in rock music -- and McGuinn was most interested in exploring electronic sounds, Crosby was still pushing the band more in the direction of the jazz experimentation they'd tried on "Eight Miles High", and one of the tracks they started working on soon after "So You Want to be a Rock 'n' Roll Star?" was inspired by another jazz trumpet great. Miles Davis had been partly responsible for getting the Byrds signed to Columbia, as we talked about in the episode on "Mr. Tambourine Man", and so the group wanted to pay him tribute, and they started working on a version of his classic instrumental "Milestones": [Excerpt: Miles Davis, "Milestones"] Sadly, while the group worked on their version for several days -- spurred on primarily by Crosby -- they eventually chose to drop the track, and it has never seen release or even been bootlegged, though there is a tiny clip of it that was used in a contemporaneous documentary, with a commentator talking over it: [Excerpt: The Byrds, "Milestones (TV)"] It was apparently Crosby who decided to stop work on the track, just as working on it was also apparently his idea. Indeed, while the biggest change on the album that would become Younger Than Yesterday was that for the first time Chris Hillman was writing songs and taking lead vocals, Crosby was also writing more than before. Hillman wrote four of the songs on the album, plus his co-write with McGuinn on "So You Want to be a Rock 'n' Roll Star?", but Crosby also supplied two new solo compositions, plus a cowrite with McGuinn, and Crosby and McGuinn's "Why?", the B-side to "Eight Miles High", was also dug up and rerecorded for the album. Indeed, Gary Usher would later say "The album was probably 60% Crosby. McGuinn was not that involved, nor was Chris; at least as far as performing was concerned." McGuinn's only composition on the album other than the co-writes with Crosby and Hillman was another song about contacting aliens, "CTA-102", a song about a quasar which at the time some people were speculating might have been evidence of alien life. That song sounds to my ears like it's had some influence from Joe Meek's similar records, though I've never seen McGuinn mention Meek as an influence: [Excerpt: The Byrds, "CTA-102"] Crosby's growing dominance in the studio was starting to rankle with the other members. In particular two tracks were the cause of conflict. One was Crosby's song "Mind Gardens", an example of his increasing experimentation, a freeform song that ignores conventional song structure, and which he insisted on including on the album despite the rest of the group's objections: [Excerpt: The Byrds, "Mind Gardens"] The other was the track that directly followed "Mind Gardens" on the album. "My Back Pages" was a song from Dylan's album Another Side of Bob Dylan, a song many have seen as Dylan announcing his break with the folk-song and protest movements he'd been associated with up to that point, and his intention to move on in a new direction: [Excerpt: Bob Dylan, "My Back Pages"] Jim Dickson, the Byrds' co-manager, was no longer on speaking terms with the band and wasn't involved in their day-to-day recording as he had been, but he'd encountered McGuinn on the street and rolled down his car window and suggested that the group do the song. Crosby was aghast. They'd already recorded several songs from Another Side of Bob Dylan, and Fifth Dimension had been their first album not to include any Dylan covers. Doing a jangly cover of a Dylan song with a McGuinn lead vocal was something they'd moved on from, and he didn't want to go back to 1964 at the end of 1966. He was overruled, and the group recorded their version, a track that signified something very different for the Byrds than the original had for Dylan: [Excerpt: The Byrds, "My Back Pages"] It was released as the second single from the album, and made number thirty. It was the last Byrds single to make the top forty. While he was working with the Byrds, Usher continued his work in the pop field, though as chart pop moved on so did Usher, who was now making records in a psychedelic sunshine pop style with acts like the Peanut Butter Conspiracy: [Excerpt: The Peanut Butter Conspiracy, "It's a Happening Thing"] and he produced Chad and Jeremy's massive concept album Of Cabbages and Kings, which included a five-song "Progress Suite" illustrating history from the start of creation until the end of the world: [Excerpt: Chad and Jeremy, "Editorial"] But one of the oddest projects he was involved in was indirectly inspired by Roger McGuinn. According to Usher "McGuinn and I had a lot in common. Roger would always say that he was "out of his head," which he thought was good, because he felt you had to go out of your head before you could really find your head! That sums up McGuinn perfectly! He was also one of the first people to introduce me to metaphysics, and from that point on I started reading everything I could get my hands on. His viewpoints on metaphysics were interesting, and, at the time, useful. He was also into Marshall McLuhan; very much into the effects of electronics and the electronic transformation. He was into certain metaphysical concepts before I was, but I was able to turn him onto some abstract concepts as well" These metaphysical discussions led to Usher producing an album titled The Astrology Album, with discussions of the meaning of different star signs over musical backing: [Excerpt: Gary Usher, "Leo"] And with interviews with various of the artists he was working with talking about astrology. He apparently interviewed Art Garfunkel -- Usher was doing some uncredited production work on Simon and Garfunkel's Bookends album at the time -- but Garfunkel declined permission for the interview to be used. But he did get both Chad and Jeremy to talk, along with John Merrill of the Peanut Butter Conspiracy -- and David Crosby: [Excerpt: Gary Usher, "Leo"] One of the tracks from that album, "Libra", became the B-side of a single by a group of studio musicians Usher put together, with Glen Campbell on lead vocals and featuring Bruce Johnston of the Beach Boys prominently on backing vocals. "My World Fell Down" was credited to Sagittarius, again a sign of Usher's current interest in astrology, and featured some experimental sound effects that are very similar to the things that McGuinn had been doing on recent Byrds albums: [Excerpt: Sagittarius, "My World Fell Down"] While Usher was continuing with his studio experimentation, the Byrds were back playing live -- and they were not going down well at all. They did a UK tour where they refused to play most of their old hits and went down as poorly as on their previous tour, and they were no longer the kings of LA. In large part this was down to David Crosby, whose ego was by this point known to *everybody*, and who was becoming hugely unpopular on the LA scene even as he was starting to dominate the band. Crosby was now the de facto lead vocalist on stage, with McGuinn being relegated to one or two songs per set, and he was the one who would insist that they not play their older hit singles live. He was dominating the stage, leading to sarcastic comments from the normally placid Hillman like "Ladies and gentlemen, the David Crosby show!", and he was known to do things like start playing a song then stop part way through a verse to spend five minutes tuning up before restarting. After a residency at the Whisky A-Go-Go where the group were blown off the stage by their support act, the Doors, their publicist Derek Taylor quit, and he was soon followed by the group's co-managers Jim Dickson and Eddie Tickner, who were replaced by Crosby's friend Larry Spector, who had no experience in rock management but did represent Peter Fonda and Dennis Hopper, two young film stars Crosby was hanging round with. The group were particularly annoyed by Crosby when they played the Monterey Pop Festival. Crosby took most lead vocals in that set, and the group didn't go down well, though instrumentally the worst performer was Michael Clarke, who unlike the rest of the band had never become particularly proficient on his instrument: [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star (live at Monterey)"] But Crosby also insisted on making announcements from the stage advocating LSD use and describing conspiracy theories about the Kennedy assassination: [Excerpt: David Crosby on the Warren Commission, from the end of "Hey Joe" Monterey] But even though Crosby was trying to be the Byrds' leader on stage, he was also starting to think that they maybe didn't deserve to have him as their leader. He'd recently been spending a lot of time hanging out with Stephen Stills of the Buffalo Springfield, and McGuinn talks about one occasion where Crosby and Stills were jamming together, Stills played a blues lick and said to McGuinn "Can you play that?" and when McGuinn, who was not a blues musician, said he couldn't, Stills looked at him with contempt. McGuinn was sure that Stills was trying to poach Crosby, and Crosby apparently wanted to be poached. The group had rehearsed intensely for Monterey, aware that they'd been performing poorly and not wanting to show themselves up in front of the new San Francisco bands, but Crosby had told them during rehearsals that they weren't good enough to play with him. McGuinn's suspicions about Stills wanting to poach Crosby seemed to be confirmed during Monterey when Crosby joined Buffalo Springfield on stage, filling in for Neil Young during the period when Young had temporarily quit the group, and performing a song he'd helped Stills write about Grace Slick: [Excerpt: Buffalo Springfield, "Rock 'n' Roll Woman (live at Monterey)"] Crosby was getting tired not only of the Byrds but of the LA scene in general. He saw the new San Francisco bands as being infinitely cooler than the Hollywood plastic scene that was LA -- even though Crosby was possibly the single most Hollywood person on that scene, being the son of an Oscar-winning cinematographer and someone who hung out with film stars. At Monterey, the group had debuted their next single, the first one with an A-side written by Crosby, "Lady Friend": [Excerpt: The Byrds, "Lady Friend"] Crosby had thought of that as a masterpiece, but when it was released as a single, it flopped badly, and the rest of the group weren't even keen on the track being included on the next album. To add insult to injury as far as Crosby was concerned, at the same time as the single was released, a new album came out -- the Byrds' Greatest Hits, full of all those singles he was refusing to play live, and it made the top ten, becoming far and away the group's most successful album. But despite all this, the biggest conflict between band members when they came to start sessions for their next album wasn't over Crosby, but over Michael Clarke. Clarke had never been a particularly good drummer, and while that had been OK at the start of the Byrds' career, when none of them had been very proficient on their instruments, he was barely any better at a time when both McGuinn and Hillman were being regarded as unique stylists, while Crosby was writing metrically and harmonically interesting material. Many Byrds fans appreciate Clarke's drumming nonetheless, saying he was an inventive and distinctive player in much the same way as the similarly unskilled Micky Dolenz, but on any measure of technical ability he was far behind his bandmates. Clarke didn't like the new material and wasn't capable of playing it the way his bandmates wanted. He was popular with the rest of the band as a person, but simply wasn't playing well, and it led to a massive row in the first session: [Excerpt: The Byrds, "Universal Mind Decoder (alternate backing track)"] At one point they joke that they'll bring in Hal Blaine instead -- a reference to the recording of "Mr. Tambourine Man", when Clarke and Hillman had been replaced by Blaine and Larry Knechtel -- and Clarke says "Do it. I don't mind, I really don't." And so that ended up happening. Clarke was still a member of the band -- and he would end up playing on half the album's tracks -- but for the next few sessions the group brought in session drummers Hal Blaine and Jim Gordon to play the parts they actually wanted. But that wasn't going to stop the bigger problem in the group, and that problem was David Crosby's relationship with the rest of the band. Crosby was still at this point thinking of himself as having a future in the group, even as he was increasingly convinced that the group themselves were bad, and embarrassed by their live sound. He even, in a show of unity, decided to ask McGuinn and Hillman to collaborate on a couple of songs with him so they would share the royalties equally. But there were two flash-points in the studio. The first was Crosby's song "Triad", a song about what we would now call polyamory, partly inspired by Robert Heinlein's counterculture science fiction novel Stranger in a Strange Land. The song was meant to portray a progressive, utopian, view of free love, but has dated very badly -- the idea that the *only* reason a woman might be unhappy with her partner sleeping with another woman is because of her mother's disapproval possibly reveals more about the mindset of hippie idealists than was intended. The group recorded Crosby's song, but refused to allow it to be released, and Crosby instead gave it to his friends Jefferson Airplane, whose version, by having Grace Slick sing it, at least reverses the dynamics of the relationship: [Excerpt: Jefferson Airplane, "Triad"] The other was a song that Gary Usher had brought to the group and suggested they record, a Goffin and King song released the previous year by Dusty Springfield: [Excerpt: Dusty Springfield, "Goin' Back"] Crosby was incandescent. The group wanted to do this Brill Building pap?! Hell, Gary Usher had originally thought that *Chad and Jeremy* should do it, before deciding to get the Byrds to do it instead. Did they really want to be doing Chad and Jeremy cast-offs when they could be doing his brilliant science-fiction inspired songs about alternative relationship structures? *Really*? They did, and after a first session, where Crosby reluctantly joined in, when they came to recut the track Crosby flat-out refused to take part, leading to a furious row with McGuinn. Since they were already replacing Michael Clarke with session drummers, that meant the only Byrds on "Goin' Back", the group's next single, were McGuinn and Hillman: [Excerpt: The Byrds, "Goin' Back"] That came out in late October 1967, and shortly before it came out, McGuinn and Hillman had driven to Crosby's home. They told him they'd had enough. He was out of the band. They were buying him out of his contract. Despite everything, Crosby was astonished. They were a *group*. They fought, but only the way brothers fight. But McGuinn and Hillman were adamant. Crosby ended up begging them, saying "We could make great music together." Their response was just "And we can make great music without you." We'll find out whether they could or not in two weeks' time.

Botched Roll is a show dedicated to tabletop roleplaying games and the ideas and stories that go with it. Birdman has over 20 years of RPG experience to draw from and hopefully you as a listener gain something insightful or fun from it.In this episode of the show, Birdman sits down and talks about prepping for a new Star Wars game....Your Geekmasters:Mike “The Birdman” – https://twitter.com/BirdmanDoddAlex “The Producer” – https://twitter.com/DeThPhaseTWIGFeedback for the show?:Email: feedback@thisweekingeek.netTwitter: https://twitter.com/thisweekingeekSubscribe to our feed: https://www.spreaker.com/show/3571037/episodes/feediTunes: https://podcasts.apple.com/us/podcast/this-week-in-geek/id215643675Spotify: https://open.spotify.com/show/3Lit2bzebJXMTIv7j7fkqqGoogle Podcasts: https://www.google.com/podcasts?feed=aHR0cHM6Ly93d3cuc3ByZWFrZXIuY29tL3Nob3cvMzU3MTAzNy9lcGlzb2Rlcy9mZWVkWebsite: http://www.thisweekingeek.netJanuary 15, 2024

Becoming a Rock 'n' Roll star is as easy as 1-2-3 NBC! (Song Facts music, "Secret Passages" from Hooksounds.) Donate to the podcast through Patreon... https://www.patreon.com/ELOPod Or PayPal eloftmpodcast@gmail.com P.O. Box 1932 Superior, AZ 85173.

Singles Going Around- High Tide and Dead GrassThe Byrds- "So You Want To Be A Rock 'N' Roll Star"Pink Floyd- "Free Four"Buffalo Springfield- "Broken Arrow"Dr John- "Mama Roux"The Beatles- "I Am The Walrus ("No You're Not!" said Little Nicola)Public Nuisance- "Magical Music Box"Led Zepplin- "Dazed and Confused"Cream- "Sitting On Top Of The World"Blue Cheer- "Rock Me Baby"The Doors- "Spanish Caravan"The Rolling Stones- "Citadel"The Pretty Things- "Baron Saturday"Jimi Hendrix- "May This Be Love"Creedence Clearwater Revival- "Walk On The Water"*All selections from the original lp's.

RADIO FUTURA – 37 grados LOS RONALDOS – Sabor salado TEQUILA – Salta!!! NACHA POP – Nadie puede parar LOQUILLO – Rock & Roll Star ALANIS MORISSETTE – Ironic THE CRANBERRIES– Dreams THE CARDIGANS – My favourite game GARBAGE – I think I'm paranoid REPUBLICA –Rady to go THE STROKES – Last nite JET - Are you gonna be my girl THE WHITE STRIPES – The hardest button to button TAME IMPALA - Elephant MUSE - Uprising (con Gustavo Iglesias, durante este mes de agosto) Escuchar audio

Llegó el momento de ponerte tu mejor camiseta y acompañarme a Mad Cool, el festival madrileño regresa cargado de grandes nombres y la eterna polémica de siempre. Os lo cuento. Suenan: 01. RHCP - Californication 02. RHCP - Give it away 03. Primal Scream - Moving On Up 04. Liam Gallagher - Rock 'n' Roll Star 05. Queens of the Stone Age – No One Knows 06. Robbie Williams - ROCK DJ 07. Nova Twins - Choose your fighter 08. Black Maracas - Disturbing Sound + info - https://linktr.ee/b90podcast Espacio patrocinado por: Miguel, faeminoandtired, Franc Puerto, Jorge, screaming, HugoBR, angelmedano, Isabel Luengo, kharhan, David Molinedo, Vicente DC, VICTORGB, Alvaro Gomez, tonicaspo, Achtungivoox, PabloArabia, Alvaro Perez, Naïa, Sergio Serrano, Antuan Clamarán, Mario Sosa, Isranet, Jesus Arribas, Jose Manuel Valera, Micelioelectrico, Paco Gandia, ok_pablopg, braulio, Eduardo Vaquerizo, Jarrillero_Txo, Crisele, David Reig, Wasabi Segovia, Dani RM, Domingo Santabárbara, Fernando Masero, María Garrido, RafaGP, Macu Chaleka, laura, Infestos, Öki Þeodoroson, davidgonsan, Juan Carlos Mazas, 61garage, JJM, Rosa Rivas, Bassman Mugre, SrLara, David Meño, Próxima Estación Okinawa, Barullo, Megamazinger, Francisco Javier Indignado, Unai Elordui, carmenlimbostar, Piri, J. Gutiérrez, Miguel Ángel Tinte, Miquel CH, Jon Perez, agui102, Raúl Sánchez, Nuria Sonabé, davicin blackmetal, Spinda Records, Pere Pasqual, Giulia Governi, Juanmi, JulMorGon, blinddogs, Alexander Castañeda, Juan Carlos Acero, JM Morente, Eduardo Mayordomo, Alfonso Moya, Rubio Carbón, LaRubiaProducciones, cesmunsal, Mr.Kaffe, Marcos, Aytiro Saki, Jocio, baron72, Norberto Blanquer, tolo Sent, Podcast On The Go, LIP, Carmen Ventura , Jordi y varios oyentes anónimos.

In this episode we go back in time, to when I was sixteen and in high school. This is when my identity disturbance developed and my persona of the rock n roll star did as well. So much of my presentation today was borne out of this period of my life. A period where I just wanted to fit in. And as you will find out in this episode, not much has changed.Follow me on Instagram @elliot.t.waters

Insights In Sound - So You (Don't) Want to Be a Rock & Roll Star - Season 12, Episode 9 (#119) Not everyone dreams of being a rock star, and not all rock stars are on stage. The music industry is a vast community of interesting and creative people with career paths that are anything but typical. We chat with Simon Jones (Yamaha Guitar Group) and Sean Halley (Strymon) about what a "day job" looks like in today's music industry. Recorded live at the NAMM Show 2023.  

Insights In Sound - So You (Don't) Want to be a Rock & Roll Star - Season 12, Episode 4 (#114)   With change being the only constant in today's music industry, pursuing a diverse career path is more essential than ever. There are jobs out there you never knew existed, and if it doesn't exist, it's up to you to create it. Continuing our conversation on unusual career paths, we chat with engineer/producer Lenise Bent and entrepreneur KC Mancebo about following the road less traveled. Recorded live at the NAMM Show 2023. 

Legendary singer-songwriter, author, and rock ‘n' roll star Ian Hunter's illustrious career is now in its seventh decade. His rock ‘n' roll life has long been marked by collaboration, from the golden age of Mott the Hoople to his fabled partnership with Mick Ronson and 21st-century renaissance with his crack backing combo, the Rant Band. Over the years, Hunter has enjoyed numerous chart successes, especially Mott the Hoople's international hit “All the Young Dudes,” the David Bowie composition that emerged as a countercultural anthem in the 1970s. Hunter would later recount the trials and tribulations of his life with Mott the Hoople in his autobiography "Diary of a Rock 'n' Roll Star." During his solo career, Hunter's best known work includes the song "Once Bitten, Twice Shy", later covered by Great White, and "Cleveland Rocks,” (originally “England Rocks”) the popular theme song for "The Drew Carey Show." With his latest album DEFIANCE PART 1, Hunter takes creative solidarity to an unprecedented new level with accompaniment from a truly awe-inspiring roster of special guests, famous fans, and lifelong friends. DEFIANCE PART 1 sees backing from luminaries such as Ringo Starr, Jeff Beck, Todd Rundgren, Joe Elliott (of Def Leppard), Guns N' Roses' Slash, Jeff Tweedy and – in one of his final recordings – the Foo Fighters' late, great drummer Taylor Hawkins. --- Support this podcast: https://podcasters.spotify.com/pod/show/everythingfabfour/support

Michael Des Barres - The Now Spinning Magazine Interview with Phil AstonSilverhead - Detective - Chequered Past - Obsession - The Powerstation - Live Aid - Clint Eastwood - Steve Van Zant - Don Johnston - The MistakesMichael Des Barres is a Rock n Roll Star, a visionary, a motivational speaker, a dream maker and renaissance man. This is roller coaster of an interview, funny,brutally honest and full of energy.Phil Aston | Now Spinning MagazineCelebrating Physical Music In All Its FormsMichael Des Barres#michaeldesbarres #nowspinning

AP music correspondent Margie Szaroleta reports on the death of Jerry Lee Lewis.

Er ist der größte Rock-'n'-Roll-Star aus Deutschland. Er hat mehr als 16 Millionen Platten verkauft und seine Tourneen haben Rekorde gebrochen: Marius Müller-Westernhagen ist zu Gast bei "Alles gesagt?", blickt auf sein Leben und auf seine beiden Karrieren als Musiker und Schauspieler zurück. Er wurde 1948 in Düsseldorf geboren, spielte bereits als Teenager auf der Bühne und wurde mit "Theo gegen den Rest der Welt" früh ein Film- und Fernsehstar. Zu seinen größten Hits als Musiker zählen "Freiheit", "Mit Pfefferminz bin ich dein Prinz" und "Weil ich dich liebe". Marius Müller-Westernhagen erzählt, dass er zum Casting von Steven Spielbergs "Schindlers Liste" eingeladen wurde und sich nicht getraut hat, hinzugehen. Was für ihn gute und was schlechte Musik ist. Welche seiner eigenen Songs er nicht mehr hören kann. Er berichtet von Krisen, Weinkrämpfen, von Auftritten mit gebrochenem Arm, einer lebensbedrohlichen Lungenentzündung und von seinem Verhältnis zu Deutschland: “Mein Nationalbewusstsein endet beim Fußball." Und Müller-Westernhagen, dessen Song "Freiheit" bei vielen Demonstrationen in der Corona-Zeit gespielt wurde, erklärt, warum er damals für eine Impfpflicht war. Diese Folge wurde im Juni 2022 im Rahmen des ZEIT ONLINE Podcast-Festivals in Berlin vor Publikum aufgezeichnet. Nach fast sieben Stunden beendete Marius Müller-Westernhagen das Gespräch, denn das darf bei “Alles gesagt?" nur der Gast.

Regresamos al Britpop y a uno de los discos que definieron ese movimiento musical y la década de los noventa: Definitely Maybe de Oasis, su álbum debut, publicado en agosto de 1994. Ricardo Portman nos cuenta su historia. Escucharemos Rock 'n' Roll Star, Shakermaker, Live Forever, Up In The Sky, Columbia, Supersonic, Bring It On Down, Cigarettes & Alcohol, Digsy's Dinner, Slide Away y Married With Children + Bonus tracks (Whatever, Cloudburst, I Am the Walrus). Espacio patrocinado por varios oyentes anónimos… ¡GRACIAS! Si os gusta el programa podéis apoyar Ecos del Vinilo Radio siendo patrocinadores ¡por lo que vale un café al mes! desde el botón azul de iVoox. Recuerden que nuestros programas los pueden escuchar también en: Nuestra web https://ecosdelvinilo.com Radio M7 (Córdoba) lunes 18:00 y sábados 17:00. Radio Free Rock (Cartagena) viernes 18:00. Generación Radio (Medellín, Colombia) jueves y domingos 19:00 (hora Col.) Radio Hierbabuena (Lima, Perú) jueves 20:00 (hora Perú)

After getting So Ya Wanna Be a Rock n Roll Star as a gift, James created an adventure for Grogcon 22 and Flipping and Turning 9. Rob (editor of Flipping and Turning) found the creator of the game and called him! James was thrilled to talk to the author about this and his other twoRead More

T.C. Boyle gilt als Rock 'n' Roll-Star der Literatur. Im Interview mit dem Dlf verrät der US-Schriftsteller, warum er so gern vor Publikum auftritt - und warum er gerade in Deutschland so viel Erfolg hat.Ellmenreich, Majawww.deutschlandfunk.de, Kultur heuteDirekter Link zur Audiodatei

Jay Blakesberg, one of THE US's most accomplished live music and pop culture photographer's has released another self published book called RETRO BLAKESBERG: Volume One: The Film Archives (SEE THE LINK IN THE SHOW NOTES)....the book features highlights spanning the years from the 70's into the early 2000's when film was king, before the digital age, when a photographer WAS A PHOTOGRAPHER - from the first photograph he ever sold for $15 thru tours with Phish, Led Zeppelin, Rolling StonesTons of Grateful Dead - enough so that he's made a couple booksGreen Day,  The Flaming Lips,  Snoop Dog, PrimusIf you want to purchase a copy of Jay's amazing book or to have a look at his other published books and photo gallery, find him on Instagram at @JayBlakesberg and @RetroBlakesberg, or on his website at https://www.rockoutbooks.com/Support the show

PART ONE:We pay tribute to Songcraft friend and legendary songwriter Lamont Dozier, who passed away recently at the age of 81. In happier news, we discuss Paul's recent nomination for a GMA Dove Award for Songwriter of the year before diving into the Ringo Starr Instagram foot controversy. PART TWO (14:39):We make an important announcement about the future of Songcraft, reveal the winner of our Dave Alvin book giveaway, and share all the details on the brand new Byrds coffee table book. PART THREE (22:13):Our in-depth interview with Roger McGuinnABOUT ROGER McGUINN:Our guest on this episode of Songcraft is Rock & Roll Hall of Famer Roger McGuinn. Best known for his work with The Byrds, Roger's distinctive 12-string electric guitar style helped propel the singles “Mr. Tambourine Man” and “Turn! Turn! Turn!” to the top of the charts. As a songwriter, Roger wrote or co-wrote many of the band's classics, including “Eight Miles High,” “5D,” “Mr. Spaceman,” “So You Want to Be a Rock ‘n' Roll Star,” “Drug Store Truck Drivin' Man,” “Ballad of Easy Rider,” “Chestnut Mare,” and others. He launched a solo career in the 1970s, releasing albums that explored new musical territory, and touring as part of Bob Dylan's Rolling Thunder Revue. By the end of the decade, Roger had reunited with former Byrds bandmates Chris Hillman and Gene Clark as a trio known as McGuinn, Clark & Hillman, which yielded the McGuinn-penned Top 40 single “Don't You Write Her Off.” His 1991 comeback album, Back from Rio, included the Billboard Mainstream Rock hits “King of the Hill” and “Someone to Love,” and featured songs co-written with Tom Petty, Dave Stewart, Jeff Lynne, Mike Campbell, and McGuinn's wife Camilla, who has since become his primary songwriting partner. A lifelong folk music enthusiast, McGuinn has recorded hundreds of songs as part of his online Folk Den project. A compilation album, Treasures from the Folk Den, earned Roger his third Grammy nomination. Most recently, the three surviving founding members of The Byrds—McGuinn, Hillman, and David Crosby—have put together an oversized 400-page coffee table book of photographs and oral history called The Byrds: 1964-1967, which is available for order in both standard and limited-edition autographed versions at www.byrdsbook.com. 

The roar of the crowd, the shining lights and the boom of the drum accompanied by a guitar, the life of a rock star is something many dream about as kids, but only the talented and frankly the lucky get to live out the dream. While many think the first step on the road to rock ‘n roll fame is a move to Los Angeles, New York or another metropolis, is it possible to build a grassroots following into fame? Spectrum News 1 reporter and anchor Chuck Ringwalt guest hosts and speaks to longtime radio dj Randy Malloy, also owner of CD 92.9, an independent alternative rock station; and Kenzie Coyne, front woman for Hello Luna, a Columbus area group, to discuss the ever-changing music landscape and how bands work to get their sound out to their listeners.

Roger Ashby goes behind the hits of your favourite songs from the 50s, 60s and 70s. Listen to The Roger Ashby Oldies Show anytime on the iHeartRadio app.

Rock and roll star Damon Johnson from Thin Lizzy. Is he really Justin Timberlake? Oscar predictions and odds! New Raiderettes! Learn more about your ad choices. Visit megaphone.fm/adchoices

From Rock n' Roll Star to The Godfather Of The Iceland Music Scene This is the audio-only podcast edition of the fourteenth episode of the JOURNEYS Webcast—Adventure & Discovery In The Time of Corona where Allan Karl and Siggi Baldurrson chatted from San Diego to Iceland when this show originally Livestreamed on July 20, 2020. The Journey of Sigtryggur Baldursson Founding Member & Drummer for Bjork's first band, The Sugarcubes, and Managing Director of Iceland Music Meet Sigtryggur Baldursson​​​​​​​, the managing director for the Iceland Music office that helps Icelandic music find various opportunities and audiences around the world. A veteran musician where outside of Iceland he is best known for his work with Björk's first band, the Sugarcubes, from 1986 through 1992. He is co-owner of their music label, Bad Taste (Smekkleysa). He has also worked extensively with Emiliana Torrini and other Icelandic artists. He has an alter ego by the name of Bogomil Font who is the only Calypso singer in Iceland. Links Mentioned in this Episode: Siggi on Spotify: https://open.spotify.com/artist/0JwejEKQp0IwG3D79liZyT Sugarcubes on Spotify: https://open.spotify.com/artist/1G0Xwj8mza6b03iYkVdzDP This is a replay of the 14th episode of the JOURNEYS Webcast—Adventure & Discovery In The Time of Corona where Allan Karl and Sigtryggur Baldurssonchatted from Iceland to San Diego when this show originally Livestreamed on July 20, 2020. Our Conversation Touched On Some of These Topics & More: The Journey From Iceland To World Fame | How Siggi helped put Iceland and its burgeoning music scene on the world map. Who Is Bogomil Font? | The Alter-ego Calypso singer in Iceland! Experimental Percussion Music | Utilizing telecommunication, satellite covers, and video to create outer world sounds. Kayaking & Codfishing | What's the secret to making wicked fishballs? The Journeys Webcast is a weekly live stream event where travelers, entrepreneurs, vintners, chefs, musicians, authors, speakers, and ordinary people living extraordinary lives come together for an hour of storytelling, inspiration, idea-sharing, and connection. Watch The Video Replay of the Livestream on YouTube: https://youtu.be/RN_FQf2--pg #Iceland #bjork #music

Triple M Rock News with Rosie! Festivals are back, Dave Grohl talks Liam Gallagher being the last rock n roll star, Drummer Nandi Bushell also shreds on the axe, Metallica returning to the stage, Slash's dark secret about his top hat, and South Park celebrates 25 years with... See omnystudio.com/listener for privacy information.

Craving thousands of fans screaming your name at your concert? Or how about flying around in your own private jet and lots and lots of money in the bank? Sounds good doesn't it? Well KT and The Trout provide you the insider details of how you can become a world famous musician (hint - it ain't easy). Want to be rock and roll star? It all starts with guitar. Listen and enjoy inside music business info.

In this week's episode, Ramblin Eddie Lopez, lead guitarist for Electric Children and founder of “In Fuzz We Trust Presents...” out of DTLA's Redwood Bar, joins me to discuss the way musicians and artists have adapted to the pandemic, the creativity that blossomed out of it and our thoughts on the future of live music events. Because we all miss them right? ----- Music Spotlight: Electric Children - Out of Time https://electricchildren.bandcamp.com/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/social-primate-podcast/support

Welcome to episode 8 of Today is the Day Changemakers, 'Embrace the Rockstar Within.' In this episode my guest is Jacob Slichter, drummer for Semisonic and the author of 'So You Wanna Be a Rock & Roll Star' (Broadway Books, 2004). He has written for the New York Times, has been a commentator for NPR's Morning Edition, and currently teaches creative nonfiction writing at Sarah Lawrence College. He also blogs about connections between music, writing, and other art forms at portablephilosophy.com.Imagine purchasing a drum set from a peer on the school bus for $25 and never putting the drumsticks down. Jake had no idea that would be where his journey to become a professional musician would begin. You can read about his journey to rock stardom in his book titled, 'So You Wanna Be a Rock & Roll Star.' When Semisonic got their first record deal, Jake was in his 30s and those attending the band's shows happened to be in a much younger age group. During those days he was faced with what he calls "imposter syndrome" and bouts of stage fright. And so, writing his book was truly a cathartic act following Jake's touring days. The experiences he details in the book are ones he knows can connect with young people who are just starting out which is why as a non-fiction creative writing professor he is able to form strong bonds with his students.  The feeling that music gives Jake is otherworldly-- something he can only describe as an ecstatic experience that connects him to something larger than himself. In this episode, Jake discusses the experiences that aided his understanding of how live performance can transcend our relationships with others as well as with music. Jake's parents were scientists, his father a world famous physicist. Nobel Peace Prize winners roamed the same hallways he and his family did at various parties. From a young age, however, Jake realized that winning a Nobel would not be on his radar. He felt so connected to music, yet he struggled to feel as worthy pursuing it because he held himself to such high standards. It was his father who finally told him that if music was his passion then there was no need to compare to others' passions. Jake used to ask himself, "Am I a good drummer, writer, teacher?", but he realized through his inner work that you cannot give a concrete answer to that question because it is driven by opinion and everyone's opinion is different. He shares what other people think is all over the place, along with examples of a great way to phrase questions to yourself that make your answers concrete.When writing his book 'So You Wanna Be a Rock & Roll Star,' Jake realized the correlation between writing music and writing his book. He mentions reminding himself about short intros and even gave the book a bridge. Semisonic released an EP in September called You're Not Alone. Due to COVID-19, the band had to cancel last summer's concert dates, yet with a new album possibly in 2021, Semisonic is planning on doing some touring post pandemic. A new book is on the horizon. Jake did not share a lot of information just yet, but he did share that it is a memoir about religion and he says it has a lot to do with what we discussed in this episode. Special thank you to Jake for taking the time to chat with me, sharing his amazing story, along with some great tools we can all learn from, and for being a Changemaker! Jake's book 'So You Wanna Be a Rock & Roll Star' is available at local bookstores and amazon.com.On the next episode, I welcome my guest Michael Pizzano, CEO Kindred Hospital, South Florida. Looking so forward to sharing his amazing story with our listening audience!

My sit down interview with Central PA Rocker, Chambersburg Native, and Lynnebrooke Legend AJ, Andy Jacobs. Formerly of Motherphunk, Element, Altercana, and most importantly the Mill Road Boys. --- Send in a voice message: https://podcasters.spotify.com/pod/show/shatzersays/message

All I'm dreaming of is The Coldest Water. Thanks for sponsoring the podcast! Buying through the following links support the creation of the podcast:-Check out ‘THE COLDEST GIVEAWAY' here: https://thecoldestwater.com/history-giveaway-And shop ‘The Coldest Water' with MY LINK to support the channel: https://thecoldestwater.com/?ref=shop-history-If you're happy and you're feeling fine...then you (come on, you) KNOW this is the right podcast! Join Jason David in his “quarantine passion project”, ‘If I Had A Pod...”! Every Oasis, Noel Gallagher, and Liam Gallagher album with commentaries by a wannabe Rock N' Roll Star. You may now dig out your soul or even look back in anger- but stop crying your heart out. Just listen!-In this episode: Breaking his chronological goal of the podcast feed, Jason David talks about the BRAND NEW Liam Gallagher single, ‘All You're Dreaming Of', and the ‘Down By The River Thames' live performance show. -Want higher quality listening? https://bit.ly/ifihadabonus1-Instagram: ifihadapodTwitter: ifihadapodYouTube: https://bit.ly/ifihadapodyt-All songs used in fair-use.

Many wonders and walls to 'The Coldest Water' for sponsoring this episode. Check out ‘THE COLDEST GIVEAWAY' here: https://thecoldestwater.com/history-giveawayAnd shop ‘The Coldest Water' with MY LINK to support the channel: https://thecoldestwater.com/?ref=shop-history-If you're happy and you're feeling fine...then you KNOW this is the right podcast! Join Jason David in his “quarantine passion project”, ‘If I Had A Pod...”! Every Oasis, Noel Gallagher, and Liam Gallagher album with commentaries by a wannabe Rock N' Roll Star. You may now dig out your soul or even look back in anger- but stop crying your heart out. Just listen!In this episode: '(What's The Story?) Morning Glory'; an album set on making you sing, dance, cry, and rock simultaneously. Want higher quality listening? https://bit.ly/ifihadapod2Instagram: ifihadapodTwitter: ifihadapodYouTube: https://bit.ly/ifihadapodytAll songs used in fair-use.