Podcasts about sgt pepper

https://www.virginradio.it/audio/long-playing-stories/1391272/long-playing-stories-the-beatles-sgt-pepper-s-lonely-hearts-club-band.htmlhttps://www.virginradio.it/audio/long-playing-stories/1391272/long-playing-stories-the-beatles-sgt-pepper-s-lonely-hearts-club-band.htmlMon, 08 Sep 2025 16:21:59 +0200Virgin RadioVirgin Radiono0

We talked with Hot Chip's Alexis Taylor and Joe Goddard about the band's new Best Of comp Joy In Repetition, the purpose Best Of's serve in the streaming era, some of their favorite Greatest Hits albums, how they got Sgt Peppers designer Sir Peter Blake to do the album cover, technical difficulties at live shows, the impressive list of people who have played drums with Hot Chip, their upcoming live shows in New York, LA and London, and more. Credits: Hosted & produced by Bill Pearis Mixed by Nick Gray Theme music by Michael Silverstein

This week we're covering a classic hip hop album by legendary Hip Hop Group, The Beastie Boys.  Many call this album the "Sgt Pepper" of Hip Hop and after listening to this album all week, Art and I have to agree with that sentiment. (Hey) Ladies and Gentlemen, we're talking about "Paul's Boutique"...and they're from Brooklynnn.... As always follow us on the stuff Merch Store- http://tee.pub/lic/doEoXMI_oPI Patreon- https://www.patreon.com/Artandjacobdoamerica Website- https://artandjacobdoamerica.com/ Network- https://podbelly.com/ Instagram- https://www.instagram.com/artandjacobdoamerica YouTube Channel- https://www.youtube.com/channel/UC0rT6h3N2pWtlkxaqgIvaZw?view_as=subscriber Twitter- https://twitter.com/ArtandJacobDoA1 Facebook- https://www.facebook.com/artandjacobdoamerica/  

Australian guitarist Davey Lane discusses his new album 'Finally, a Party Record', joining You Am I at 18, meeting Paul McCartney & nerding out on vinyl! Listen to the new album here. Topics Include: Davey Lane discusses his new album "Finally, a Party Record" and the ironic title choice Originally titled "The Great Unraveling" but changed to something more approachable and chipper Despite upbeat title, songs deal with dark subject matter that inspires his songwriting Finding peace with mental state and place in world as he's gotten older Always includes glimmer of optimism even when writing about romantic catastrophes going wrong Makes music as compulsion, not for career goals - realistic about posthumous appreciation Big Star, Nick Drake - artists appreciated later in life Avid record collector who browses sections aimlessly rather than shopping with lists Discovers new bands like Comets on Fire by hearing them playing in record stores Vinyl is primary listening format - meditative experience that keeps him focused and level Thinks about album sequencing early, including crossfades between songs on new record Beatles were gateway drug, fascinated by production techniques on Sgt Pepper's at age seven Met Paul McCartney in 2017 backstage in Melbourne through Jimmy Barnes and Michael Gudinski Took Valium beforehand, talked about McCartney's jacket instead of asking musical questions Started transcribing You Am I songs as teenager, sent tabs to drummer Rusty Got invited on stage at 16 to play with You Am I at all-ages show Returned to high school as local hero after performing with established rock band Tim Rogers called offering solo tour opportunity, left university after two days to tour Officially joined You Am I in 1999 at age 18 after proving compatibility on tour Took years to feel like full band member rather than nervous new guy Learned importance of authenticity over networking and career-focused schmoozing in music industry Collaborated on The Rites project covering Stevie Wright's "Evie" to raise money for legend Recorded with Saints' Chris Bailey on what became his final album before passing Created experimental Dual Monophonic vinyl with Tim Rogers and King Gizzard's Stu McKenzie Each vinyl channel contains different arrangement of same song, can be heard separately Technical challenges getting proper stereo separation on vinyl pressing required multiple attempts New album on Cheer Squad Records features striking red and yellow vinyl pressing Cover art deliberately references Rod Stewart despite not particularly liking that album Record designed to catch browser's eye in record stores like albums that attracted him Interview wrap up Extended and high resolution version of this podcast is available at: www.Patreon.com/VinylGuide Apple: https://tinyurl.com/tvg-ios Spotify: https://tinyurl.com/tvg-spot Amazon Music: https://tinyurl.com/tvg-amazon Support the show at Patreon.com/VinylGuide

Mark Brend in conversation with David Eastaugh http://jawbonepress.com/down-river/ Down River: In Search Of David Ackles is an illuminating study of mythmaking, the popular music industry, and a forgotten enigma of the 1970s. In 1972, David Ackles's third album, American Gothic, was released to a flurry of press plaudits declaring it to be ‘the Sgt Pepper of folk' and one of the greatest records ever made. Yet the album, like its two predecessors, failed to sell, and after one more record, its creator simply vanished. He found work, raised a family, and died a couple of decades later, having never made another record. Today, Ackles's music is largely consigned to the streaming netherworld. It is yet to be properly repackaged and reappraised, and he remains largely unknown. But there is no middle ground. You either love him or you've never heard of him. His admirers range from Black Flag's Greg Ginn to indie polymath Jim O'Rourke to Genesis drummer turned platinum-selling solo artist Phil Collins. In 2003, when Elvis Costello interviewed Elton John for the first episode of his television show Spectacle, the two spoke at some length, and with palpable respect, about Ackles's great talent, before performing a duet of his ‘Down River'—the same song Collins had selected for Desert Island Discs a decade earlier.

Paul Weller has just covered it on his new album. Morrissey played it to Noel Gallagher who took the idea and ran with it. What explains the enduring appeal of a record that stalled at number 22 all those years ago? Actor/musician Brian Protheroe doesn't know but he's certainly grateful that it's being reissued once again. His story takes us back to:…the days when young musicians hitch-hiked to London…the way the sun shone on the day “Sgt Pepper” came out…when Soho was a village and an out of work actor could afford to live in Covent Garden…when being dumped by a girl could inspire that actor to diarise his daily routine…when the jazzman who played the solo on the record couldn't remember it for “TOTP”…how it feels to take your grandson to Abbey Road to watch your album being remastered.Pre-order the Chrysalis Red reissue of the first Brian Protheroe album: https://brianprotheroe.lnk.to/PNBFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Paul Weller has just covered it on his new album. Morrissey played it to Noel Gallagher who took the idea and ran with it. What explains the enduring appeal of a record that stalled at number 22 all those years ago? Actor/musician Brian Protheroe doesn't know but he's certainly grateful that it's being reissued once again. His story takes us back to:…the days when young musicians hitch-hiked to London…the way the sun shone on the day “Sgt Pepper” came out…when Soho was a village and an out of work actor could afford to live in Covent Garden…when being dumped by a girl could inspire that actor to diarise his daily routine…when the jazzman who played the solo on the record couldn't remember it for “TOTP”…how it feels to take your grandson to Abbey Road to watch your album being remastered.Pre-order the Chrysalis Red reissue of the first Brian Protheroe album: https://brianprotheroe.lnk.to/PNBFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Paul Weller has just covered it on his new album. Morrissey played it to Noel Gallagher who took the idea and ran with it. What explains the enduring appeal of a record that stalled at number 22 all those years ago? Actor/musician Brian Protheroe doesn't know but he's certainly grateful that it's being reissued once again. His story takes us back to:…the days when young musicians hitch-hiked to London…the way the sun shone on the day “Sgt Pepper” came out…when Soho was a village and an out of work actor could afford to live in Covent Garden…when being dumped by a girl could inspire that actor to diarise his daily routine…when the jazzman who played the solo on the record couldn't remember it for “TOTP”…how it feels to take your grandson to Abbey Road to watch your album being remastered.Pre-order the Chrysalis Red reissue of the first Brian Protheroe album: https://brianprotheroe.lnk.to/PNBFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Pat welcomes Dave Festini and Dave Schneier back to the Zoom Room to referee an EPIC battle between The Beach Boys "Pet Sounds" and The Beatles "Sgt. Pepper's Lonely Hearts Club Band"See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Send us a textGrowing up in Seattle, Washington, this week's guest, Peter Ames Carlin, has a distinct memory of the hubub surrounding the release of The Beatles “Sgt Pepper's Lonely Heart's Club Band” even though he was only 4 years old at the time. “I have very vivid memories of “Sgt Pepper” being the new record…and then “The White Album” and puzzling through that stuff when I was very young”Spending most of his life as a writer, for newspapers, People Magazine and co-authoring a few books, Peter turned to writing about his passion, music, with the release of his book “Catch a Wave: The Rise, Fall and Redemption of the Beach Boys' Brian Wilson”. Books about Paul McCartney, Bruce Springsteen, Paul Simon, Warner Brothers Records and R.E.M. followed, almost all to rave reviews. Some books were written with exclusive interviews for his subjects and others without that cooperation. Tuesday August 5th sees the release of “Tonight In Jungleland: The Making of Born To Run”, a second Springsteen book in the Springsteen universe. This time Carlin focuses on a very specific late 1973-late 1975 time frame to chronicle the process of Springsteen writing and recording and dealing with the aftermath of his make or brake third album which is celebrating its 50th anniversary on August 25th, 2025.   Join us for a conversation about reading, writing and rocking with Peter Ames Carlin

Suzi Quatro's been onstage from the age of 14 as the bassist in the all-girl showband the Pleasure Seekers and the rock act Cradle. And then moved to England in 1971 when signed by Mickie Most. This podcast is a testament to the power of self-belief – she's got more front than Woolworths! - and the two things her father told her. She's just started another world tour and talks to us here about … … how British “island humour” took a while to get used to. … two deals in a week: “Elektra wanted the second Janis Joplin. Mickie Most wanted the first Suzi Quatro.” … seeing Elvis on Ed Sullivan aged five and thinking “that's what I want to do”. And how his comeback changed the clothes she wore. … why playing a disastrous Sgt Pepper set at a ‘60s festival was a fork in the road. … knowing she had “the X-Factor, the charisma button”. … hard times in Crouch End while waiting for a hit and how Chinn & Chapman turned her sound in three-minute singles. … supporting Slade and Thin Lizzy – and being supported by Kiss and Blue Oyster Cult. … wise advice her father gave her. … playing Leather Tuscadero in Happy Days and reunions with Henry Winkler. … Michael Aspel wandering on from the wings for ‘This Is Your Life' at the Palladium.Order tickets here: http://www.suziquatro.com/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Suzi Quatro's been onstage from the age of 14 as the bassist in the all-girl showband the Pleasure Seekers and the rock act Cradle. And then moved to England in 1971 when signed by Mickie Most. This podcast is a testament to the power of self-belief – she's got more front than Woolworths! - and the two things her father told her. She's just started another world tour and talks to us here about … … how British “island humour” took a while to get used to. … two deals in a week: “Elektra wanted the second Janis Joplin. Mickie Most wanted the first Suzi Quatro.” … seeing Elvis on Ed Sullivan aged five and thinking “that's what I want to do”. And how his comeback changed the clothes she wore. … why playing a disastrous Sgt Pepper set at a ‘60s festival was a fork in the road. … knowing she had “the X-Factor, the charisma button”. … hard times in Crouch End while waiting for a hit and how Chinn & Chapman turned her sound in three-minute singles. … supporting Slade and Thin Lizzy – and being supported by Kiss and Blue Oyster Cult. … wise advice her father gave her. … playing Leather Tuscadero in Happy Days and reunions with Henry Winkler. … Michael Aspel wandering on from the wings for ‘This Is Your Life' at the Palladium.Order tickets here: http://www.suziquatro.com/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Suzi Quatro's been onstage from the age of 14 as the bassist in the all-girl showband the Pleasure Seekers and the rock act Cradle. And then moved to England in 1971 when signed by Mickie Most. This podcast is a testament to the power of self-belief – she's got more front than Woolworths! - and the two things her father told her. She's just started another world tour and talks to us here about … … how British “island humour” took a while to get used to. … two deals in a week: “Elektra wanted the second Janis Joplin. Mickie Most wanted the first Suzi Quatro.” … seeing Elvis on Ed Sullivan aged five and thinking “that's what I want to do”. And how his comeback changed the clothes she wore. … why playing a disastrous Sgt Pepper set at a ‘60s festival was a fork in the road. … knowing she had “the X-Factor, the charisma button”. … hard times in Crouch End while waiting for a hit and how Chinn & Chapman turned her sound in three-minute singles. … supporting Slade and Thin Lizzy – and being supported by Kiss and Blue Oyster Cult. … wise advice her father gave her. … playing Leather Tuscadero in Happy Days and reunions with Henry Winkler. … Michael Aspel wandering on from the wings for ‘This Is Your Life' at the Palladium.Order tickets here: http://www.suziquatro.com/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Jake reviews a recent dynasty rookie draft for key insights to guide you through drafts and keep you thinking!

REFERENCESFront Immunol.2019; 10: 1064.ASN Neuro. 2024 Nov 5;16(1):2404367.Int J Mol Sci. 2024 Apr 10;25(8):4199Page/Jones/Plant 1969. "Since I've Been Loving You" LZ III lp.https://open.spotify.com/track/1SDiiE3v2z89VxC3aVRKHQ?si=530d2dcc304f4199Lennon/McCartney, 1964. "I Don't Want to Spoil the Party"https://open.spotify.com/track/3kQDIa85ZK8cKVn72NfBnl?si=be68c3abca6341d8Lennon/McCartney 1967. "A Day in the Life" Sgt Pepper's LHCB. lp.https://open.spotify.com/track/0hKRSZhUGEhKU6aNSPBACZ?si=8589b727398f4fbbBiber, H.I.F. 1676. "Passacaglia in G Minor. Violin sonatahttps://open.spotify.com/track/2PvqhaYNHP4zHQynKeook4?si=479490bfb34c4c2d

Thématique: Les groupes et chansons qu'aime Paul McCartney P.McCartney-Yesterday-Help! (65)Little Richard-Long Tall Sally-Here's Little Richard (56)Beatles-Long Tall Sally-Past Master (88)Dire Straits-Sultan of swing-Dire Straits (79)Billy Joel-Just the way you are-The stranger (77)Beatles-A day in the life-Sgt Pepper's Lonely Hearts Club Band (67)Every brothers-On the wings of a nightingale (written by P.McCartney)-E.B. (84)Neil Young-Heart of gold-Harvest (72)Beatles (Quarrymen)-That'll be the day-Enregistré en 1958 (disque démo)/Anthology I (95)Buddy Holly-That'll be the day-Single (57)Elvis Presley-That's alright mama (feat. P.McCartney)-E.Gallot's "Les duos impossibles" (23)Beatles-Rock and roll music-For sale (64)Chuck Berry-Rock and roll music-Single (57)Queen-Bohemian rhapsody-A night at the opera (75)P.McCartney-Goodnight tonight-Single (79)Police-Every breathe you take-Synchronicity (83)Eric Clapton-Layla-The cream of Eric Clapton (95)10Cc-I'm not in love-The original soundtrack (75)P.McCartney-Silly love songs-At the speed of sound (76)Bob Dylan-Blowin' in the wind-The freewheelin' Bob Dylan (63)The Who-I can see for miles-Sell out (67)Beatles-Helter skelter-White album (68)George Michael-Heal the pain (feat. P.McCartney)-Recorded 2005, single (08)Brian Wilson-A friend like you (feat. P.McCartney)-Gettin' over my head (04)P.McCartney-Only our hearts (with S.Wonder)-Kisses on the bottom (12)Beatles-Let it be-Let it be (70)

Le 16 juin 1972, le disquaire, c'est un autre monde aujourd'hui disparu mais alors un point de passage obligé pour presque tout le monde. C'est là qu'on se procure ces chansons magiques qu'on a entendues à la radio, dans un juke-box, dans une émission de variétés à la télé ou chez des copains. Et puis il y a ceux, des passionnés, qui s'y rendent pour se renseigner sur ce qui vient de sortir, écouter un extrait et si ils accrochent, ils achètent et rentrent chez eux avec leur nouveau trésor. Car c'est ça la musique en 1972 : un bien précieux. Et si la pochette est belle, c'est encore mieux. Et justement, en parlant de pochette, sur ce 33 Tours qui vient d'arriver chez le disquaire, on voit un type pâle, les cheveux couleur feu, poser dans une ruelle sombre avec la guitare nonchalamment en bandoulière. Et puis gros plan à l'arrière dans une de ces fameuses cabines téléphoniques rouges, c'est sûrement Londres. Le gars, on dirait un acteur échappé d'un film de science-fiction. Le titre de l'album est à rallonge en plus, c'est pas une première mais il est intriguant quand même : The Rise and Fall of Ziggy Stardust and the Spiders from Mars. Oui, tout ça. Le chanteur se nomme David Bowie. Certains le connaissent. Il a déjà sorti pas mal de disques mais bon, c'est un second couteau qui n'a pas bien choisi son camp, entre rock, folk, expérimental, cabaret, bref il est aussi flou que la photo de la pochette de ce disque. Et là, il fait le coup de l'album concept façon Sgt Pepper des Beatles. Il pousse même un peu plus loin car cela semble raconter toute une histoire, celle d'une rockstar, un messie déchu, prophète de notre décadence. Ah bon ? On est décadent ?Mais ce qu'on ignore ici c'est que David Bowie ne fait pas que raconter une histoire : il la vit de l'autre côté de la Manche, soir après soir sur scène, maquillé comme une drag-queen samouraï. Et le public britannique devient fou. En Belgique et en France, on ne va pas comprendre tout de suite. Trop bizarre, trop anglais. Mais dans les chambres d'adolescents, le disque commence à tourner, on s'en parle en classe ou à l'intercours. Car Ziggy est le premier vrai héros pop à dire : sois toi-même, même si ce “toi-même” vient d'une autre planète. Imaginez le choc pour tous ceux qui vivent à l'intérieur d'eux-mêmes, avec la peur de l'extérieur, de ce qu'on va dire. Et puis tous ceux qui, à cet âge, rêvent d'être quelqu'un d'autre, fantasment en s'endormant chaque soir dans la maison familiale remplie de silence et d'ennui.There's a starman waiting in the sky… dit la chanson qui vient de sortir en 45 Tours. Personne pour imaginer que des décennies plus tard, elle sera utilisée dans une campagne de pub pour des télécoms. Ni que David Bowie sera alors un artiste connu de tous. Et respecté. Ce qui ne va pas être le cas, ni en cette année 1972, ni les suivantes, où il y aura plus de gens pour le détester que l'apprécier. Et encore moins que cet album sera un jour considéré comme un des plus grands de l'histoire. Mais quelle histoire ? Tout cela n'est que du présent, et de l'émotion, ce 16 juin 1972. D'ailleurs, ce soir, vous l'avez vu, cet homme des étoiles, juste avant de vous endormir avec le casque sur les oreilles. Et il vous regardait.

Three dads celebrate Father's Day by doing what dads do best: talking about the Beatles. The dads pit A Hard Day's Night (July 1964) vs. Sgt Pepper's Lonely Heart's Club Band (June 1967), in an act of sheer lunacy and bravery. Two legendary albums separated by a mere 3 years, but a creative lifetime. Each record defined distinct Beatles eras, sold millions of copies, celebrates a summer birthday, and has 13 tracks.   But which album will reign supreme? Find out! #beatles #aharddaysnight #sgtpepper #georgeharrison #johnlennon #paulmccartney #ringostarr Guest Commentator: Dr. Kris Mecholosky To check out Dr Kris' blog…sign up here:https://bloodyregister.substack.com/We're on Spotify, iTunes, iHeart Radio and anywhere else you get podcasts. So listen, like and follow!IG: @toptrackpodEmail: toptrackpodcast@gmail.comFacebook: Top Track Bar and GrillBlueSky: @toptrackpod

Hoary old tales retold – ideally in an Irish accent - and new ones prized from the giddy carousel of rock and roll news which, this week, features … … was there a better stage name than Rick Derringer? … Linda Ronstadt, Ronnie Spector, Sister Rosetta Tharpe and other new biopics under construction. … genuinely ‘iconic' rock images – the Ziggy lightning stipe, Johnny Cash at San Quentin, Elvis dancing in Jailhouse Rock, Dylan and Suze Rotolo in Jones Street … … our old pal Barry McIlheney, his Belfast band Shock Treatment and the time he asked U2 to draw a duck. … the thin wall that separates hilarity and grief. … how TikTok and a 1962 B-side booted the 87-year old Connie Francis.   … Banned words! – ‘iconic, circle back, reach out, Ramones-esque, eponymous sophomore effort' and other clichés that MUST be banished! … “Sgt Pepper: it's like the Beatles on acid!” … why 80 per cent of the stadium experience is beyond our control. ... how Freddie Mercury still makes headlines beyond the grave. … the real Rikki in ‘Rikki Don't Lose that Number'. … and when you find yourself at a Springsteen gig next to a Trump supporter. Watch the Barry McIlheney podcast here: https://www.youtube.com/watch?v=Cjw-6HZWa-EFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Hoary old tales retold – ideally in an Irish accent - and new ones prized from the giddy carousel of rock and roll news which, this week, features … … was there a better stage name than Rick Derringer? … Linda Ronstadt, Ronnie Spector, Sister Rosetta Tharpe and other new biopics under construction. … genuinely ‘iconic' rock images – the Ziggy lightning stipe, Johnny Cash at San Quentin, Elvis dancing in Jailhouse Rock, Dylan and Suze Rotolo in Jones Street … … our old pal Barry McIlheney, his Belfast band Shock Treatment and the time he asked U2 to draw a duck. … the thin wall that separates hilarity and grief. … how TikTok and a 1962 B-side booted the 87-year old Connie Francis.   … Banned words! – ‘iconic, circle back, reach out, Ramones-esque, eponymous sophomore effort' and other clichés that MUST be banished! … “Sgt Pepper: it's like the Beatles on acid!” … why 80 per cent of the stadium experience is beyond our control. ... how Freddie Mercury still makes headlines beyond the grave. … the real Rikki in ‘Rikki Don't Lose that Number'. … and when you find yourself at a Springsteen gig next to a Trump supporter. Watch the Barry McIlheney podcast here: https://www.youtube.com/watch?v=Cjw-6HZWa-EFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Hoary old tales retold – ideally in an Irish accent - and new ones prized from the giddy carousel of rock and roll news which, this week, features … … was there a better stage name than Rick Derringer? … Linda Ronstadt, Ronnie Spector, Sister Rosetta Tharpe and other new biopics under construction. … genuinely ‘iconic' rock images – the Ziggy lightning stipe, Johnny Cash at San Quentin, Elvis dancing in Jailhouse Rock, Dylan and Suze Rotolo in Jones Street … … our old pal Barry McIlheney, his Belfast band Shock Treatment and the time he asked U2 to draw a duck. … the thin wall that separates hilarity and grief. … how TikTok and a 1962 B-side booted the 87-year old Connie Francis.   … Banned words! – ‘iconic, circle back, reach out, Ramones-esque, eponymous sophomore effort' and other clichés that MUST be banished! … “Sgt Pepper: it's like the Beatles on acid!” … why 80 per cent of the stadium experience is beyond our control. ... how Freddie Mercury still makes headlines beyond the grave. … the real Rikki in ‘Rikki Don't Lose that Number'. … and when you find yourself at a Springsteen gig next to a Trump supporter. Watch the Barry McIlheney podcast here: https://www.youtube.com/watch?v=Cjw-6HZWa-EFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

On the June 1 mega stuffed edition of the Music History Today podcast, there's a lot of history made by the Beatles, Sting, Springsteen, Bowie, the Runaways, and Tito Puente. Also, happy birthday to a lot of people, as well, including Pat Boone and Alanis Morrissette. For more music history, subscribe to my YouTube Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts fromALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday

Comedian Amy Matthews joins us this week to chat about her early musical memories, her love of Rubber Soul, and we take a deep dive into the 1978 Bee Gee-fronted mind-melting musical film, Sgt Pepper's Lonely Hearts Club Band. Spoiler: it's less than brilliant.For subscribers, Jack and Robin break down George Harrison's Try Some, Buy Some, from 1973's Living in the Material World. Subscribe via Apple Podcasts or at Patreon.com/personalbeatles.Links of note:You can watch the film here: https://youtu.be/ZwfSfdYMfXs?si=QYh9WFEF-0GhFm3qGary Barlow's big son: https://www.independent.co.uk/voices/gary-barlow-massive-giant-tall-son-b2642537.htmlDavid Bowie's version of Try Some, Buy Some: https://www.youtube.com/watch?v=Svpv6UHA-dwAmy's stuff!WEBSITE: www.amymatthewscomedy.comSOCIALS: @amyfmatthewsSUBSTACK: amyfmatthews.substack.comVINYL PRE-ORDER: www.monkeybarrelrecords.com/product-page/amy-matthews-commute-with-the-foxes Hosted on Acast. See acast.com/privacy for more information.

This week on the Yellow Brit Road, we celebrated the 58th anniversary of The Beatles' genre defining proto-concept album Sgt. Pepper's Lonely Hearts Club Band. There's a mini-Kingston reunion as we see The Codas, Tiny Horse and Kyra live! And newest tunes from:Skunk Anansie, Suede, Man/Woman/Chainsaw, Cyn Cwsg, Rosellas, Nilüfer Yanya, Rightkeysonly, His Lordship, Deyah, Future Utopia, Lava La Rue, The Bug Club, the north, Eje Blakk, Girlband!, Red Telephone, Kyra, Party Dozen.Find this week's playlist here. Do try and support artists directly!Touch that dial and tune in live! We're on at CFRC 101.9 FM in Kingston, or on cfrc.ca, Sundays 8 to 9:30 PM! Listen back to full shows in the linked CFRC archive for 3 months from broadcast.Like what we do? Donate to help keep our 102-year old radio station going!Get in touch with the show for requests, submissions, giving feedback or anything else: email yellowbritroad@gmail.com, Twitter @⁠YellowBritCFRC⁠, IG @⁠yellowbritroad⁠.PS: submissions, cc music@cfrc.ca if you'd like other CFRC DJs to spin your music on their shows as well.

Best of Paul McCartney 1970-1990) sans mes commentaires. P.McCartney-Rockestra theme-Back to the egg (79)-GénériqueBeatles-I saw her standing there-Please please me (63)Beatles-And I love her-A hard day's night (64)Beatles-Long tall Sally-Single (64)Beatles-Yesterday-Help ! (65)Beatles-Drive my car-Rubber Soul (65)Beatles-Eleanor Rigby-Revolver (66)Beatles-When I'm sixty four-Sgt Pepper's Lonely Hearts Club Band (67)Beatles-Honey pie-White album (68)Beatles-Hey Jude-Single (68)Beatles-The long and winding road-Let it be (70)P.McCartney-Hot as sun/Glasses/Maybe I'm amazed-McCartney (70)P.McCartney-Too many people-Ram (71)P.McCartney-Tomorrow-Wild life (71)P.McCartney-Jet-Band on the run (73)P.McCartney-My love-Red rose speedway (73)P.McCartney-Live and let die-Single (73)P.McCartney-Magneto and Titanium man-Venus and Mars (75)P.McCartney-Silly love songs-At the speed of sound (76)P.McCartney-Mull of kintyre-Single (77)P.McCartney-With a little luck-London town (78)P.McCartney-Reception/Old Siam Sir-Back to the egg (79)P.McCartney-Wonderful Christmastime-Single (79)P.McCartney-Coming up-II (80)P.McCartney-Here today-Tug of war (82)P.McCartney-Ballroom dancing/Be what you see (link)-Tug of war (82)P.McCartney-Say say say (feat. M.Jackson)-Pipes of peaces (83)P.McCartney-Press-Press to play (86)P.McCartney-My brave face-Flowers in the dirt (89)P.McCartney-Rockestra theme-Back to the egg (79)-Générique

Best of Paul McCartney 1962-1990 (part.1) Beatles-I saw her standing there-Please please me (63)Beatles-And I love her-A hard day's night (64)Beatles-Long tall Sally-Single (64)Beatles-Yesterday-Help ! (65)Beatles-Drive my car-Rubber Soul (65)Beatles-Eleanor Rigby-Revolver (66)Beatles-When I'm sixty four-Sgt Pepper's Lonely Hearts Club Band (67)Beatles-Honey pie-White album (68)Beatles-Hey Jude-Single (68)Beatles-The long and winding road-Let it be (70)P.McCartney-Hot as sun/Glasses/Maybe I'm amazed-McCartney (70)P.McCartney-Too many people-Ram (71)P.McCartney-Tomorrow-Wild life (71)P.McCartney-Jet-Band on the run (73)P.McCartney-My love-Red rose speedway (73)P.McCartney-Live and let die-Single (73)P.McCartney-Magneto and Titanium man-Venus and Mars (75)P.McCartney-Silly love songs-At the speed of sound (76)P.McCartney-Mull of kintyre-Single (77)P.McCartney-With a little luck-London town (78)P.McCartney-Reception/Old Siam Sir-Back to the egg (79)P.McCartney-Wonderful Christmastime-Single (79)P.McCartney-Coming up-II (80)P.McCartney-Here today-Tug of war (82)P.McCartney-Ballroom dancing/Be what you see (link)-Tug of war (82)P.McCartney-Say say say (feat. M.Jackson)-Pipes of peaces (83)P.McCartney-Press-Press to play (86)P.McCartney-My brave face-Flowers in the dirt (89)

Best of John Lennon 1962-1980 DELUXE EDITION (sans mes commentaires) P.McCartney-Rockestra theme-Back to the egg (79)-GénériqueBeatles-Twist and shout-Please please me (63)Beatles-You've got to hide your love away-Help! (65)Beatles-Girl-Rubber Soul (65)Beatles-Norwegian Wood-Rubber Soul (65)Beatles-I'm only sleeping-Revolver (66)Beatles-Tomorrow never knows-Revolver (66)Beatles-Lucy in the sky with Diamonds-Sgt Pepper's Lonely Hearts Club Band (67)Beatles-A day in the life-Sgt Pepper's Lonely Hearts Club Band (67)Beatles-Strawberry fields forever-Magical Mystery Tour (67)Beatles-I am the walrus-Magical Mystery Tour (67)Beatles-Happiness is a warm gun-White Album (68)Beatles-Sexy Sadie-White Album (68)Beatles-I want you (She's so heavy)-Abbey Road (69)Beatles-Because-Abbey Road (69)J.Lennon-Give peace a chance-"Single" (juil. 1969)J.Lennon-Working class hero-Plastic Ono Band (70)J.Lennon-Imagine-Imagine (71)J.Lennon-Jealous guy-Imagine (71)J.Lennon-New York City-Some time in New York City (72)J.Lennon-Mind games-Mind Games (73)J.Lennon-Intuition-Mind Games (73)J.Lennon-#9 dream-Walls and bridges (74)J.Lennon-You can't catch me-Rock'n'roll (75)J.Lennon-Slippin' and Sliddin'-Rock'n'roll (75)J.Lennon-Woman-Double fantasy (80)Beatles-Free as a bird-Single (95)Beatles-Real love-Single (96)Beatles-Now and then-Single (23)P.McCartney-Rockestra theme-Back to the egg (79)-Générique

Best of John Lennon (1962-1980) Beatles-Twist and shout-Please please me (63)Beatles-You've got to hide your love away-Help! (65)Beatles-Girl-Rubber Soul (65)Beatles-Norwegian Wood-Rubber Soul (65)Beatles-I'm only sleeping -Revolver (66)Beatles-Tomorrow never knows-Revolver (66)Beatles-Lucy in the sky with Diamonds-Sgt Pepper's Lonely Hearts Club Band (67)Beatles-A day in the life-Sgt Pepper's Lonely Hearts Club Band (67)Beatles-Strawberry fields forever-Magical Mystery Tour (67)Beatles-I am the walrus-Magical Mystery Tour (67)Beatles-Happiness is a warm gun-White Album (68)Beatles-Sexy Sadie-White Album (68)Beatles-I want you (She's so heavy)-Abbey Road (69)Beatles-Because-Abbey Road (69)J.Lennon-Give peace a chance-"Single" (juil. 1969)J.Lennon-Working class hero-Plastic Ono Band (70)J.Lennon-Imagine-Imagine (71)J.Lennon-Jealous guy-Imagine (71)J.Lennon-New York City-Some time in New York City (72)J.Lennon-Mind games-Mind Games (73)J.Lennon-Intuition-Mind Games (73)J.Lennon-#9 dream-Walls and bridges (74)J.Lennon-You can't catch me-Rock'n'roll (75)J.Lennon-Slippin' and Sliddin'-Rock'n'roll (75)J.Lennon-Woman-Double fantasy (80)Beatles-Free as a bird-Single (95)Beatles-Real love-Single (96)Beatles-Now and then-Single (23)

The movie, not the album

Send us a message, so we know what you're thinking!Why do you like the music you do?  Is it as simple as “It's what I heard on the radio”? Or something deeper? People with elder siblings may be exposed to music earlier than first children.   Jeff had an older brother, so was exposed earlier to cool music - Beatles, Janis, Hendrix, and so on.  Mick was the eldest in his family and had to find his own taste. (No surprise considering what he listens to!) Were you bullied as a child?  Influence!  Did you share music with your friends?  Influence!  Did you have access to a good radio station?  Or print media?  Influence!! We talk about our early influences – musical & otherwise – and look at how they played a role in what we listen to today.    In Rock News, Ringo has released a country album, and Toto is touring.  Oh well, shouldn't take them long to play their 3 hits. You know Jeff's obsessed with AI, so he asked three AI brands to nominate the greatest albums of 1971.  Not much variation, really.  One day, we may ask them to understand quality, rather than sales figures, and see what they give us.    Our Album You Must Listen to Before you Die is “Blue” by Joni Mitchell - an top grade album that deserves to be here.  Mick references Atlantic Records' sampler called “Very Together” which featured “Carey” from this album, and pointed out a link between Joni Mitchell and Scottish hard rock band, Nazareth. How did YOUR tastes develop?  Drop us a line & let us know. Enjoy! References:  RAM Magazine, Rock Australia Magazine, Countdown, Molly Meldrum, 2DoubleJay, The Magus/Holger Brockman, Chris Winter, Mac Cocker, “Never Mind the Bollocks”, The Sex Pistols, The Rise and Fall of Ziggy Stardust and the Spiders from Mars, David Bowie, “Five Years”, “Room to Move”, Chris Winter, “Starman”, “Rock'n'roll Suicide”, Birdland, Weather Report, Joe Zawinul, Brian Eno, “Another Green World”, “Zawinul Lava”, “Rock'n'Roll Animal”, Lou Reed, Steve Hunter, “Sweet Jane”, “Heroin”, “Rock'n'Roll”, Berlin, Alice Cooper, Velvet Underground, Peter Gabriel, “Car”, “Stranded”, Roxy Music, Bryan Ferry, “Song for Europe”, “Street Life”, “Psalm”, Sisters of Mercy, XTC, Nico, REM, Television, Patti Smith, “Sgt Pepper's Lonely Heart Club Band”, The Beatles, "Within You Without You”, “Tomorrow Never Knows”, Bob Dylan's Greatest Hits, Like a Rolling Stone”, Revolver, Bridge Over Troubled Water, Simon and Garfunkel, Pearl, Janis Joplin, Tapestry, Carole King, Slade Alive, Hot August Nigh”, “Goodbye Yellow Brick Road”, “Dark Side of the Moon”, “Led Zeppelin IV”, “Silk Degrees”, Box Scaggs, “Journey to the Centre of the Earth”, Rick Wakeman, “Woodstock”, “Monterey Pop”, “The Song Remains the Same”, “The Last Waltz”, The Guitar Spa, Redeye Records, John Foy, bootleg records, “His Master's Voice”, “Sheetkeeckers”, Australian electronica/dance music store, Hipgnosis, Pink Floyd, Peter Gabriel, Regurgitator, “I like your old stuff better than your new stuff", DeepSeek, ChatGPT, Google Gemini, Blue, Joni Mitchell, Henry Lewy, “Very Together”, “This Flight Tonight”, Nazareth  Episode Playlist  The first song played by 2DoubleJay - “You Just Like Me ‘Cos I'm Good in Bed” 

We got a bad one this week! One of the most disappointing---but talent filled films ever---it's "Sgt. Pepper's Lonely Hearts Club Band".. Comic and Host Steve Mazan interviews the person who recommended we revisit this film, comedian Lesli Simms. Plus the Irish Critic joins in with her thoughts.  Is this any good? Why was the director such a bold choice? Is it the most disappointing movie of all time? Should the actors have spoke? Are any of the songs as good as the Beatles? What's up with that balloon? All these questions and more get answered on this week's Mazan Movie Club Podcast. "Sgt Pepper" on IMDB Home of the Mazan Movie Club Steve Mazan on Instagram Home of Corporate Comedian Steve Mazan    

On the March 30 edition of the Music History Today podcast, a famous photograph is taken, two great albums are released, and happy birthday to a guitar God.For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts fromALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday

There's a February 29 edition of the Music History Today podcast because yes, music history DOES happen on this day. It's just that it's once every 4 years For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts fromALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday

Jump into this episode where we do a fully-detailed analysis and deep dive of the 1978 movie Sgt. Pepper's Lonely Hearts Club Band starring Peter Frampton and The Bee Gees, among *numerous* other guest stars of the day like George Burns and Steve Martin. Often deemed one of the worst films of all time, we talk about the absolutely idiotic plot, the terrible acting, some of the awful covers, a few of the good ones, what the movie did to the careers of the stars, and so much more. We leave no stone unturned in this analysis! We finish with some of the latest Beatles news. Thanks for listening! Feel free to email or record a message to ivegotabeatlespodcast@outlook.com and we'll include you in our "Please Mr. Postman" segment. Also, please rate us wherever you listen to your podcasts. You can now watch us on YouTube! Complete episodes can be found at https://ivegotabeatlespodcast.podbean.com. Email: ivegotabeatlespodcast@hotmail.com X: @ivegotabeatles Facebook: I've Got A Beatles Podcast Our video venture: "Song Album Career!"

The BH Sales Kennel Kelp Holistic Healing Hour: Grandpa Bill  Today on The BH Sales Kennel Kelp Holistic Healing Hour  we explore the power of music and memory with a unique exercise inspired by the Beatles' Sgt. Pepper's Lonely Hearts Club Band. We'll transform this iconic album into a personalized 'Mind Palace,' using each song as a distinct room or scene to enhance focus and recall. This isn't just about remembering lyrics; it's about creating mental connections, boosting cognitive function, and unlocking your inner potential. Tune in to discover how this creative technique can bring clarity and focus to your daily life, sales strategies, and overall well-being."Grandpa Bill Asks: What are some of the most vivid memories you associate with music, and how do those memories make you feel?  Beyond today, where else in your life could you benefit from improved focus and memory, and how do you envision this technique helping you achieve that? YouTube @billolt8792:Hey everyone, Grandpa Bill here! Ever wish you had a superpower for remembering names, facts, or even your life's pitch? In this video, we're diving into a fascinating memory technique using the Beatles' Sgt. Pepper as our guide. We'll build a 'Mind Palace' together, associating each song with memorable images and ideas. This fun and engaging exercise will not only sharpen your memory but also boost your creativity and mental agility. Get ready to unlock the potential of your mind with this unique approach!"Grandpa Bill Asks: What's one thing you'd love to improve your memory of, and why is it important to you?  What other creative tools or techniques do you use to enhance your memory or learning?Community Advocacy Program- 

(S4-Ep10)The Beatles: Sgt. Peppers Lonely Heart's Club Band (Parlophone/Capitol) Released May 26, 1967, Recorded Between December 6, 1966 and April 21, 1967 Summary Sgt. Pepper's Lonely Hearts Club Band (1967), the Beatles' eighth studio album, revolutionized rock music and became a defining cultural moment. Combining psychedelic rock, art rock, and avant-garde techniques, it's often considered the first concept album. Created during intense studio experimentation, it marked the Beatles' shift from live performances to studio-bound artistry. The album's groundbreaking production featured innovative techniques like direct injection recording, backward sounds, and orchestration, setting new standards for the music industry. Its vivid, psychedelic cover art, designed by Peter Blake, became iconic, and the album's impact shaped the 1967 Summer of Love.Sgt. Pepper produced hits likeLucy in the Sky with Diamonds andA Day in the Life, blending influences such as Indian music and Western rock. Despite internal tensions, particularly with George Harrison and Ringo Starr feeling sidelined, the album received universal acclaim and won four Grammy Awards, including Album of the Year—the first rock album to do so. Its cultural influence is immeasurable, inspiring future generations of artists and solidifying the Beatles' legacy. For many,Sgt. Pepper's remains the pinnacle of rock music, reshaping the possibilities of popular music and continuing to captivate listeners with every play.Signature Tracks:A Little Help From Friends,Lucy In The Sky With Diamonds,A Day In The Life. Full Album:YouTube,Spotify Playlist:  YouTube Playlist  Spotify Playlist,

Finally we are back! Sorry for the radio silence in 2024, but life got busy for your hosts... Anyway, we go big with The Beatles, so hopefully it was worth the wait. Henry mentions a documentary/interview thing with Jimmy Page, The Edge and Jack White, which you can find here: https://www.youtube.com/watch?v=-lQxxEQceYc To listen to the music we discuss, go check out the playlist on ⁠Spotify⁠: https://open.spotify.com/playlist/0JiUyxne9bHlKSV2VpHv8B Drop us a line at: @imightbewronguk on Twitter and Facebook. Thanks to T-Toe for the intro music! Find his work at https://t-toe.bandcamp.com/

Danny Baker, the act you've known for all these years, is kicking his legs up again in 2025 on a thundering new theatre tour, ‘Aye Aye! Ahoy Hoy!' “Dead men tell no tales,” he points out, “so we might might as well get ‘em all told now.” This will be another barnstorming one-man circus - as, naturally, is this barrelling conversation with the two of us which collides with the following … … being shot, Welsh cake, an olive green Humber, goldfish, when videos were the size of a loaf of bread, why half his Maidstone audience got up and left, stolen gear being hustled over Waterloo Bridge, bad things done by Rod Stewart and Britt Ekland, ELP, the Average White Band, Max Miller, Kenneth Williams' loathing for Michael Aspel, when records become like furniture, getting £4k for a Ziggy Stardust white label, why he doesn't miss the 14,000 albums he sold, and the record that came out the same day as Sgt Pepper and Bowie's first album but is better than both. The podcast includes an extract from Ronnie Barker's “A Pint Of Old And Filthy” and Terry Thomas reading PG Wodehouse. Order tickets for Danny's 2025 tour here:https://www.dannybakerstore.com/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Danny Baker, the act you've known for all these years, is kicking his legs up again in 2025 on a thundering new theatre tour, ‘Aye Aye! Ahoy Hoy!' “Dead men tell no tales,” he points out, “so we might might as well get ‘em all told now.” This will be another barnstorming one-man circus - as, naturally, is this barrelling conversation with the two of us which collides with the following … … being shot, Welsh cake, an olive green Humber, goldfish, when videos were the size of a loaf of bread, why half his Maidstone audience got up and left, stolen gear being hustled over Waterloo Bridge, bad things done by Rod Stewart and Britt Ekland, ELP, the Average White Band, Max Miller, Kenneth Williams' loathing for Michael Aspel, when records become like furniture, getting £4k for a Ziggy Stardust white label, why he doesn't miss the 14,000 albums he sold, and the record that came out the same day as Sgt Pepper and Bowie's first album but is better than both. The podcast includes an extract from Ronnie Barker's “A Pint Of Old And Filthy” and Terry Thomas reading PG Wodehouse. Order tickets for Danny's 2025 tour here:https://www.dannybakerstore.com/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Danny Baker, the act you've known for all these years, is kicking his legs up again in 2025 on a thundering new theatre tour, ‘Aye Aye! Ahoy Hoy!' “Dead men tell no tales,” he points out, “so we might might as well get ‘em all told now.” This will be another barnstorming one-man circus - as, naturally, is this barrelling conversation with the two of us which collides with the following … … being shot, Welsh cake, an olive green Humber, goldfish, when videos were the size of a loaf of bread, why half his Maidstone audience got up and left, stolen gear being hustled over Waterloo Bridge, bad things done by Rod Stewart and Britt Ekland, ELP, the Average White Band, Max Miller, Kenneth Williams' loathing for Michael Aspel, when records become like furniture, getting £4k for a Ziggy Stardust white label, why he doesn't miss the 14,000 albums he sold, and the record that came out the same day as Sgt Pepper and Bowie's first album but is better than both. The podcast includes an extract from Ronnie Barker's “A Pint Of Old And Filthy” and Terry Thomas reading PG Wodehouse. Order tickets for Danny's 2025 tour here:https://www.dannybakerstore.com/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

A reasonable case can be made that the eighth studio album by the Beatles is the most important album in all of Rock and Roll.  Sgt. Pepper's Lonely Hearts Club Band creates a dividing line between 60's rock and what Rock and Roll would become in the 70's.  Incorporating elements of eastern mysticism, psychedelic music and art, counter-culture sensibilities, and complex orchestration, Sgt. Peppers was a groundbreaking demonstration of what an album could be.Sgt. Peppers is one of the first concept albums - taking a theme and incorporating it into the entirety of the record.  The Beatles adopted personas for this album, becoming the fictional "Sgt. Pepper's Lonely Hearts Club Band."  This allowed the band members to experiment with styles they either hadn't previously explored, or had not fully developed.  The studio also became an instrument for the band, and they incorporated techniques like multitracking, variable speed recording, and the use of sound effects to create complex soundscapes.Lyrics vary from social commentary to whimsy, to surrealism.  While many songs remain lighthearted, others take a more somber tone, mirroring the cultural upheaval that was happening in the late 60's counterculture.  The album also brings visual art into the mix, with psychedelic cover art rather than simple photographs.Sgt. Peppers tops many "best albums" lists, and has sold over 32 million copies worldwide.Friend of the show Steve Hardin presents this monster album this week, and we're joined by friend of the show Julie Doran as Wayne and Lynch are out of town for today's podcast. Sgt. Pepper's Lonely Hearts Club BandThe opening track introduces us to the alter ego of the band, including an intro of a pit orchestra warming up and a transitional brass band in the middle of the song.  Paul McCartney acts as the carnival barker introducing the band, reunited after 20 years.  Lennon then takes over, thanking the audience for their attendance.  With A Little Help from My FriendsDrummer Ringo Starr takes lead vocal duties on this song that has a more intimate touch.  In contrast to the bombastic start, Starr shows vulnerability as he asks what would happen if he sang out of tune, and leans on his friends for support.  Ringo Starr didn't write the music like Lennon and McCartney, but typically would sing lead on one song on each album.Being for the Benefit of Mr. Kite!The track that finishes side 1 was inspired by an old circus poster from 1943 that Lennon had purchased in an antique store.  The song is a collage of circus images, complete with calliope.  It returns to the theme of the first song, but this time focusing on circus performers rather than the band. Sgt. Peppers Lonely Hearts Club Band (Reprise)/A Day in the LifeThe concluding album tracks are often played together.  The reprise of the opening track is faster paced, and more rock oriented.  The concluding track alternates between a dream sequence and the rush of an ordinary day.  It concludes with four pianos simultaneously sounding an E-major chord.   ENTERTAINMENT TRACK:Casino Royale by Herb Alpert (from the motion picture “Casino Royale”)Not your ordinary James Bond fare, this film was a comedic spoof on the popular spy franchise starring David Niven, Peter Sellers, and Ursula Andress. STAFF PICKS:For What Its Worth by Buffalo SpringfieldBruce's staff pick peaked at number 7 on the Billboard Hot 100.  Stephen Stills was inspired to write the song by the Sunset Strip curfew riots in Los Angeles.  Buffalo Springfield got a close look at the riots as the house band at the Whiskey a Go Go, when young people rebelled against a strict 10:00 p.m. curfew successfully advocated by local residents, annoyed with club goers clogging the streets late at night.  The Loser (with a Broken Heart) by Gary Lewis and the PlayboysRob brings us a jangle pop hit from the son of Jerry Lewis. Gary Lewis and the Playboys cultivated a "boy next door" image and had a string of hits in the late 60's.  Lewis was drafted into the army in 1967, and though some songs previously recorded (like this one) continued to be successful, the band began to diminish in popularity.I Never Loved a Man (The Way I Love You) by Aretha FranklinJulie features a soulful song from the iconic Queen of Soul.  This is off Franklin's tenth studio album.  The first nine were jazz oriented, and much less successful than this influential album.  This album was recorded in Mussel Shoals where an altercation resulted in an abrupt change of venue to New York.Strawberry Fields Forever by the BeatlesIt might appear that Steve is double dipping on this staff pick, but this well known Beatles song was a non-album single popular at the time.  The song was the result of multiple takes spliced together.  Lennon was inspired by a memory of a strawberry field where he played as a child. INSTRUMENTAL TRACK:Wade In the Water by Herb AlpertAlpert had a TV special this month on which he played his jazzy rendition of this gospel standard.  Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

The Netflix series of David Nicholls' worldwide hit novel One Day was Top Ten in 89 countries and he's been heavily involved in its soundtrack album, a process as enjoyable, he says, as devising the compilation tape the fictional Emma made for Dexter in 1989 featuring the Smiths, Prefab Sprout and Public Enemy. We talk to him here about the glorious pitfalls of using pop music to broadcast your personality. All bases covered, from the Geoff Love Orchestra to Joy Orbison, along with … … prog rock drummer replacement fantasies. … when a compilation tape is a Valentine's card. … music as a way of telegraphing a time. … what the 1812 Overture does to a five year-old. … the eternal impact of Shipbuilding and Running Up That Hill. … “punk terrified me”. … classic male musical taste paranoia. … memories of Live Aid – Bowie onstage, Kiki Dee in the car park. … buying a knock-off cassette of Sgt Pepper. … remembering every note of a record you haven't heard for 50 years. … and the greatest record of all time! Order the One Day Netflix soundtrack here:https://www.amazon.co.uk/Jessica-Jones-Morrish-Anne-Nikitin/dp/B0CXJNM4WVFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

The Netflix series of David Nicholls' worldwide hit novel One Day was Top Ten in 89 countries and he's been heavily involved in its soundtrack album, a process as enjoyable, he says, as devising the compilation tape the fictional Emma made for Dexter in 1989 featuring the Smiths, Prefab Sprout and Public Enemy. We talk to him here about the glorious pitfalls of using pop music to broadcast your personality. All bases covered, from the Geoff Love Orchestra to Joy Orbison, along with … … prog rock drummer replacement fantasies. … when a compilation tape is a Valentine's card. … music as a way of telegraphing a time. … what the 1812 Overture does to a five year-old. … the eternal impact of Shipbuilding and Running Up That Hill. … “punk terrified me”. … classic male musical taste paranoia. … memories of Live Aid – Bowie onstage, Kiki Dee in the car park. … buying a knock-off cassette of Sgt Pepper. … remembering every note of a record you haven't heard for 50 years. … and the greatest record of all time! Order the One Day Netflix soundtrack here:https://www.amazon.co.uk/Jessica-Jones-Morrish-Anne-Nikitin/dp/B0CXJNM4WVFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

In this episode, the Mullets introduce their new, but similar, structure. It's a struggle when you have to discuss wild covers, bad facial expressions, giant mouths, lightning shooting out of your fingers and hot air balloons.All kinds of awesome, bonus content is available on our Patreon! Rate, review and subscribe on Apple Podcasts, Stitcher and Spotify! Follow us on Facebook and Twitter!

We have a NASA guy on the show today. Nick Kindred worked on the Artemis Program, and when he was able to retire, he set his sights on completing his Appalachian Trail adventure of a number of years by finishing the rest of it in a 1200 mile LASH from Harpers Ferry to Katahdin. Nick's thoughtful observations, and his conversations with his wife about the extended separation on trail, should give pause to those who haven't considered the impact of lengthy separations on their own adventures. He hasn't shared any social media links, but he sent me this link about the Artemis program that is of interest. Artemis Our Class of 2024 members who we catch up with this week are No Rush the Elder, and Professor Milkshake. No Rush is trying out the delis of New York as we speak, while the Prof is just a day or so from the VT / NH border. Our new book reading, Happy Hiking, by my friend, Emily Leonard is–of course–written from a woman's POV and a woman's voice. I hope you enjoy listening to my reading of it. If you'd like to buy the book, you can find it on Amazon at Happy Hiking: Falling in love on the Appalachian Trail, or on Emily's website, at Happy Hiking. I used my recent hike in the UK on the South West Coast Path to help raise money for my absolute favorite charity, Parenting Matters, on whose board I've been privileged to serve for over a decade. You can learn more about the hike and the organization–and donate–by visiting Hike with Steve - Empowering Parents, One Step at a Time | Parenting Matters %. I hope you want to support this critical mission. Don't forget. Our entire series of videos from our Woods Hole Weekend in 2022 is now FREE and available at my YouTube page at Woods Hole Weekend - Trailer. There, you'll find all sorts of tips and tricks that our guests took away from the weekend that helped them with their own hikes. Check it out. I often ask listeners for ideas on who to interview, and I'm sure several of you say, “I could do that. I've got an awesome story to tell.” You're the person we need to hear from. If you'd like to be interviewed on the podcast, just register as a guest on the link below, and I'll be in touch. Come on the show! If you like what we're doing on the Hiking Radio Network, and want to see our shows continue, please consider supporting us with either a one-off or monthly donation. You'll find the donate button on each Hiking Radio Network page at Hiking Radio Network. If you prefer NOT to use PayPal, you can now support us via check by mailing it to Mighty Blue Publishing, PO Box 6161, Sun City Center, FL 35751. Any support is gratefully received. If you'd like to take advantage of my book offer (all three of my printed hiking books–with a personal message and signed by me–for $31, including postage to the United States) send a check payable to Mighty Blue Publishing at the address just above.

Music Rewind welcomes Indie-Pop star Lola Violet to the show to talk about the immortal classic, Sgt Pepper's Lonely Hearts Club band by The Beatles.  Lola Violet is an L.A. based artist whose music is rapidly making waves throughout the industry.  She is most active on her TicTok where Lola is live each night garnering over 100 million streams! Her recent EP “Crazy Baby” is now available through her website: https://www.musicbylola.com/  Check out Lola Violet's socials: TikTok: https://www.tiktok.com/@musicbylola Twitter/X https://twitter.com/Musicbylola_  Instagram: https://www.instagram.com/musicbylola_/  Album: Sgt Pepper's Lonely Hearts Club Band Artist: The Beatles Year: 1967 Listen to the album on Spotify https://open.spotify.com/album/6QaVfG1pHYl1z15ZxkvVDW?si=QQ2pKMyHTO2cT48mFVfjeg  Blog Post: https://medium.com/@musicrewindpodcast/the-beatles-sgt-peppers-lonely-hearts-club-band-with-guest-lola-violet-a84370a41c16  —-------------------------------------------------- Buy Me A Coffee: buymeacoffee.com/musicrewind     —--------------------------------------------------  Useful Links for Music Rewind Music Rewind: All Episodes - https://www.musicrewindpodcast.com/listen Music Rewind Treasure Hunt - https://bit.ly/MixCD_Treasure_Hunt  Music Rewind Selects: A playlist of select tracks from albums covered on the show. - https://bit.ly/MusicRewindSelects    Music Rewind Patreon Early access to future episodes - https://bit.ly/MusicRewindPatreon  Discover our sister podcast, Cinema Decon, deconstructing the movies of the 80's, 90's and 2000's. www.cinemadecon.com  —--------------------------------------------------   “No ownership of music material. All credits go to its rightful owner. Copyright Disclaimer Under Section 107 of the Copyright Act in 1976; Allowance is made for “Fair Use” for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair Use is a use permitted by copyright statute that might otherwise be infringing. All rights and credit go directly to its rightful owners, no copyright infringement intended.” #music #podcast #musicpodcast #lolaviolet #thebeatles #sgtpepperslonelyheartsclubband      

This guy is afraid of his co worker lol

[originally published on Patreon Jul 18, 2022] Today I'm joined by Flipper (@moonbaseking) to discuss all things sus Beatles. We start by going through the Profumo Affair largely through the lens of the Beatles.  Then we discuss my favorite topic, John Arthur Reid Pepper, dentists, LSD, MKULTRA and parallel programs, and so forth. I explore the Beatles' finances in an attempt to understand why they became the biggest band in the world. That's right - taxes, offshoring, capital gains, stock companies, and especially the shadowy financial figures behind the Beatles. We talk about the Maharishi (very interesting guy), Magic Alex, the Eastmans, Allen Klein, and anything Beatles must inevitably talk about Yoko Ono. Finally, we discuss Lennon's assassination. Songs: Sgt. Pepper's Lonely Hearts Club Band by EVE Can't Buy Me Love by the Korean Kittens Lucy in the Sky with Diamonds by Puffy AmiYumi Help by Let's Sing in Japanese! Within You Without You by the Strawberry Feel Run 4 Your Life by the Beetles

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 second 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 "With a Little Help From My Friends" by Joe Cocker. 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 the first 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, 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. The International Submarine Band's only album can be bought from Bandcamp. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we begin, a brief warning – this episode contains brief mentions of suicide, alcoholism, abortion, and heroin addiction, and a brief excerpt of chanting of a Nazi slogan. If you find those subjects upsetting, you may want to read the transcript rather than listen. As we heard in the last part, in October 1967 Roger McGuinn and Chris Hillman fired David Crosby from the Byrds. It was only many years later, in a conversation with the group's ex-manager Jim Dickson, that Crosby realised that they didn't actually have a legal right to fire him -- the Byrds had no partnership agreement, and according to Dickson given that the original group had been Crosby, McGuinn, and Gene Clark, it would have been possible for Crosby and McGuinn to fire Hillman, but not for McGuinn and Hillman to fire Crosby. But Crosby was unaware of this at the time, and accepted a pay-off, with which he bought a boat and sailed to Florida, where saw a Canadian singer-songwriter performing live: [Excerpt: Joni Mitchell, "Both Sides Now (live Ann Arbor, MI, 27/10/67)"] We'll find out what happened when David Crosby brought Joni Mitchell back to California in a future story... With Crosby gone, the group had a major problem. They were known for two things -- their jangly twelve-string guitar and their soaring harmonies. They still had the twelve-string, even in their new slimmed-down trio format, but they only had two of their four vocalists -- and while McGuinn had sung lead on most of their hits, the sound of the Byrds' harmony had been defined by Crosby on the high harmonies and Gene Clark's baritone. There was an obvious solution available, of course, and they took it. Gene Clark had quit the Byrds in large part because of his conflicts with David Crosby, and had remained friendly with the others. Clark's solo album had featured Chris Hillman and Michael Clarke, and had been produced by Gary Usher who was now producing the Byrds' records, and it had been a flop and he was at a loose end. After recording the Gene Clark with the Gosdin Brothers album, Clark had started work with Curt Boettcher, a singer-songwriter-producer who had produced hits for Tommy Roe and the Association, and who was currently working with Gary Usher. Boettcher produced two tracks for Clark, but they went unreleased: [Excerpt: Gene Clark, "Only Colombe"] That had been intended as the start of sessions for an album, but Clark had been dropped by Columbia rather than getting to record a second album. He had put together a touring band with guitarist Clarence White, bass player John York, and session drummer "Fast" Eddie Hoh, but hadn't played many gigs, and while he'd been demoing songs for a possible second solo album he didn't have a record deal to use them on. Chisa Records, a label co-owned by Larry Spector, Peter Fonda, and Hugh Masekela, had put out some promo copies of one track, "Yesterday, Am I Right", but hadn't released it properly: [Excerpt: Gene Clark, "Yesterday, Am I Right"] Clark, like the Byrds, had left Dickson and Tickner's management organisation and signed with Larry Spector, and Spector was wanting to make the most of his artists -- and things were very different for the Byrds now. Clark had had three main problems with being in the Byrds -- ego clashes with David Crosby, the stresses of being a pop star with a screaming teenage fanbase, and his fear of flying. Clark had really wanted to have the same kind of role in the Byrds that Brian Wilson had with the Beach Boys -- appear on the records, write songs, do TV appearances, maybe play local club gigs, but not go on tour playing to screaming fans. But now David Crosby was out of the group and there were no screaming fans any more -- the Byrds weren't having the kind of pop hits they'd had a few years earlier and were now playing to the hippie audience. Clark promised that with everything else being different, he could cope with the idea of flying -- if necessary he'd just take tranquilisers or get so drunk he passed out. So Gene Clark rejoined the Byrds. According to some sources he sang on their next single, "Goin' Back," though I don't hear his voice in the mix: [Excerpt: The Byrds, "Goin' Back"] According to McGuinn, Clark was also an uncredited co-writer on one song on the album they were recording, "Get to You". But before sessions had gone very far, the group went on tour. They appeared on the Smothers Brothers TV show, miming their new single and "Mr. Spaceman", and Clark seemed in good spirits, but on the tour of the Midwest that followed, according to their road manager of the time, Clark was terrified, singing flat and playing badly, and his guitar and vocal mic were left out of the mix. And then it came time to get on a plane, and Clark's old fears came back, and he refused to fly from Minneapolis to New York with the rest of the group, instead getting a train back to LA. And that was the end of Clark's second stint in the Byrds. For the moment, the Byrds decided they were going to continue as a trio on stage and a duo in the studio -- though Michael Clarke did make an occasional return to the sessions as they progressed. But of course, McGuinn and Hillman couldn't record an album entirely by themselves. They did have several tracks in a semi-completed state still featuring Crosby, but they needed people to fill his vocal and instrumental roles on the remaining tracks. For the vocals, Usher brought in his friend and collaborator Curt Boettcher, with whom he was also working at the time in a band called Sagittarius: [Excerpt: Sagittarius, "Another Time"] Boettcher was a skilled harmony vocalist -- according to Usher, he was one of the few vocal arrangers that Brian Wilson looked up to, and Jerry Yester had said of the Modern Folk Quartet that “the only vocals that competed with us back then was Curt Boettcher's group” -- and he was more than capable of filling Crosby's vocal gap, but there was never any real camaraderie between him and the Byrds. He particularly disliked McGuinn, who he said "was just such a poker face. He never let you know where you stood. There was never any lightness," and he said of the sessions as a whole "I was really thrilled to be working with The Byrds, and, at the same time, I was glad when it was all over. There was just no fun, and they were such weird guys to work with. They really freaked me out!" Someone else who Usher brought in, who seems to have made a better impression, was Red Rhodes: [Excerpt: Red Rhodes, "Red's Ride"] Rhodes was a pedal steel player, and one of the few people to make a career on the instrument outside pure country music, which is the genre with which the instrument is usually identified. Rhodes was a country player, but he was the country pedal steel player of choice for musicians from the pop and folk-rock worlds. He worked with Usher and Boettcher on albums by Sagittarius and the Millennium, and played on records by Cass Elliot, Carole King, the Beach Boys, and the Carpenters, among many others -- though he would be best known for his longstanding association with Michael Nesmith of the Monkees, playing on most of Nesmith's recordings from 1968 through 1992. Someone else who was associated with the Monkees was Moog player Paul Beaver, who we talked about in the episode on "Hey Jude", and who had recently played on the Monkees' Pisces, Aquarius, Capricorn & Jones, Ltd album: [Excerpt: The Monkees, "Star Collector"] And the fourth person brought in to help the group out was someone who was already familiar to them. Clarence White was, like Red Rhodes, from the country world -- he'd started out in a bluegrass group called the Kentucky Colonels: [Excerpt: The Kentucky Colonels, "Clinch Mountain Backstep"] But White had gone electric and formed one of the first country-rock bands, a group named Nashville West, as well as becoming a popular session player. He had already played on a couple of tracks on Younger Than Yesterday, as well as playing with Hillman and Michael Clarke on Gene Clark's album with the Gosdin Brothers and being part of Clark's touring band with John York and "Fast" Eddie Hoh. The album that the group put together with these session players was a triumph of sequencing and production. Usher had recently been keen on the idea of crossfading tracks into each other, as the Beatles had on Sgt Pepper, and had done the same on the two Chad and Jeremy albums he produced. By clever crossfading and mixing, Usher managed to create something that had the feel of being a continuous piece, despite being the product of several very different creative minds, with Usher's pop sensibility and arrangement ideas being the glue that held everything together. McGuinn was interested in sonic experimentation. He, more than any of the others, seems to have been the one who was most pushing for them to use the Moog, and he continued his interest in science fiction, with a song, "Space Odyssey", inspired by the Arthur C. Clarke short story "The Sentinel", which was also the inspiration for the then-forthcoming film 2001: A Space Odyssey: [Excerpt: The Byrds, "Space Odyssey"] Then there was Chris Hillman, who was coming up with country material like "Old John Robertson": [Excerpt: The Byrds, "Old John Robertson"] And finally there was David Crosby. Even though he'd been fired from the group, both McGuinn and Hillman didn't see any problem with using the songs he had already contributed. Three of the album's eleven songs are compositions that are primarily by Crosby, though they're all co-credited to either Hillman or both Hillman and McGuinn. Two of those songs are largely unchanged from Crosby's original vision, just finished off by the rest of the group after his departure, but one song is rather different: [Excerpt: The Byrds, "Draft Morning"] "Draft Morning" was a song that was important to Crosby, and was about his -- and the group's -- feelings about the draft and the ongoing Vietnam War. It was a song that had meant a lot to him, and he'd been part of the recording for the backing track. But when it came to doing the final vocals, McGuinn and Hillman had a problem -- they couldn't remember all the words to the song, and obviously there was no way they were going to get Crosby to give them the original lyrics. So they rewrote it, coming up with new lyrics where they couldn't remember the originals: [Excerpt: The Byrds, "Draft Morning"] But there was one other contribution to the track that was very distinctively the work of Usher. Gary Usher had a predilection at this point for putting musique concrete sections in otherwise straightforward pop songs. He'd done it with "Fakin' It" by Simon and Garfunkel, on which he did uncredited production work, and did it so often that it became something of a signature of records on Columbia in 1967 and 68, even being copied by his friend Jim Guercio on "Susan" by the Buckinghams. Usher had done this, in particular, on the first two singles by Sagittarius, his project with Curt Boettcher. In particular, the second Sagittarius single, "Hotel Indiscreet", had had a very jarring section (and a warning here, this contains some brief chanting of a Nazi slogan): [Excerpt: Sagittarius, "Hotel Indiscreet"] That was the work of a comedy group that Usher had discovered and signed to Columbia. The Firesign Theatre were so named because, like Usher, they were all interested in astrology, and they were all "fire signs".  Usher was working on their first album, Waiting For The Electrician or Someone Like Him, at the same time as he was working on the Byrds album: [Excerpt: The Firesign Theatre, "W.C. Fields Forever"] And he decided to bring in the Firesigns to contribute to "Draft Morning": [Excerpt: The Byrds, "Draft Morning"] Crosby was, understandably, apoplectic when he heard the released version of "Draft Morning". As far as Hillman and McGuinn were concerned, it was always a Byrds song, and just because Crosby had left the band didn't mean they couldn't use material he'd written for the Byrds. Crosby took a different view, saying later "It was one of the sleaziest things they ever did. I had an entire song finished. They just casually rewrote it and decided to take half the credit. How's that? Without even asking me. I had a finished song, entirely mine. I left. They did the song anyway. They rewrote it and put it in their names. And mine was better. They just took it because they didn't have enough songs." What didn't help was that the publicity around the album, titled The Notorious Byrd Brothers minimised Crosby's contributions. Crosby is on five of the eleven tracks -- as he said later, "I'm all over that album, they just didn't give me credit. I played, I sang, I wrote, I even played bass on one track, and they tried to make out that I wasn't even on it, that they could be that good without me." But the album, like earlier Byrds albums, didn't have credits saying who played what, and the cover only featured McGuinn, Hillman, and Michael Clarke in the photo -- along with a horse, which Crosby took as another insult, as representing him. Though as McGuinn said, "If we had intended to do that, we would have turned the horse around". Even though Michael Clarke was featured on the cover, and even owned the horse that took Crosby's place, by the time the album came out he too had been fired. Unlike Crosby, he went quietly and didn't even ask for any money. According to McGuinn, he was increasingly uninterested in being in the band -- suffering from depression, and missing the teenage girls who had been the group's fans a year or two earlier. He gladly stopped being a Byrd, and went off to work in a hotel instead. In his place came Hillman's cousin, Kevin Kelley, fresh out of a band called the Rising Sons: [Excerpt: The Rising Sons, "Take a Giant Step"] We've mentioned the Rising Sons briefly in some previous episodes, but they were one of the earliest LA folk-rock bands, and had been tipped to go on to greater things -- and indeed, many of them did, though not as part of the Rising Sons. Jesse Lee Kincaid, the least well-known of the band, only went on to release a couple of singles and never had much success, but his songs were picked up by other acts -- his "Baby You Come Rollin' 'Cross My Mind" was a minor hit for the Peppermint Trolley Company: [Excerpt: The Peppermint Trolley Company, "Baby You Come Rollin' 'Cross My Mind"] And Harry Nilsson recorded Kincaid's "She Sang Hymns Out of Tune": [Excerpt: Harry Nilsson, "She Sang Hymns Out of Tune"] But Kincaid was the least successful of the band members, and most of the other members are going to come up in future episodes of the podcast -- bass player Gary Marker played for a while with Captain Beefheart and the Magic Band, lead singer Taj Mahal is one of the most respected blues singers of the last sixty years, original drummer Ed Cassidy went on to form the progressive rock band Spirit, and lead guitarist Ry Cooder went on to become one of the most important guitarists in rock music. Kelley had been the last to join the Rising Sons, replacing Cassidy but he was in the band by the time they released their one single, a version of Rev. Gary Davis' "Candy Man" produced by Terry Melcher, with Kincaid on lead vocals: [Excerpt: The Rising Sons, "Candy Man"] That hadn't been a success, and the group's attempt at a follow-up, the Goffin and King song "Take a Giant Step", which we heard earlier, was blocked from release by Columbia as being too druggy -- though there were no complaints when the Monkees released their version as the B-side to "Last Train to Clarksville". The Rising Sons, despite being hugely popular as a live act, fell apart without ever releasing a second single. According to Marker, Mahal realised that he would be better off as a solo artist, but also Columbia didn't know how to market a white group with a Black lead vocalist (leading to Kincaid singing lead on their one released single, and producer Terry Melcher trying to get Mahal to sing more like a white singer on "Take a Giant Step"), and some in the band thought that Terry Melcher was deliberately trying to sink their career because they refused to sign to his publishing company. After the band split up, Marker and Kelley had formed a band called Fusion, which Byrds biographer Johnny Rogan describes as being a jazz-fusion band, presumably because of their name. Listening to the one album the group recorded, it is in fact more blues-rock, very like the music Marker made with the Rising Sons and Captain Beefheart. But Kelley's not on that album, because before it was recorded he was approached by his cousin Chris Hillman and asked to join the Byrds. At the time, Fusion were doing so badly that Kelley had to work a day job in a clothes shop, so he was eager to join a band with a string of hits who were just about to conclude a lucrative renegotiation of their record contract -- a renegotiation which may have played a part in McGuinn and Hillman firing Crosby and Clarke, as they were now the only members on the new contracts. The choice of Kelley made a lot of sense. He was mostly just chosen because he was someone they knew and they needed a drummer in a hurry -- they needed someone new to promote The Notorious Byrd Brothers and didn't have time to go through a laborious process of audtioning, and so just choosing Hillman's cousin made sense, but Kelley also had a very strong, high voice, and so he could fill in the harmony parts that Crosby had sung, stopping the new power-trio version of the band from being *too* thin-sounding in comparison to the five-man band they'd been not that much earlier. The Notorious Byrd Brothers was not a commercial success -- it didn't even make the top forty in the US, though it did in the UK -- to the presumed chagrin of Columbia, who'd just paid a substantial amount of money for this band who were getting less successful by the day. But it was, though, a gigantic critical success, and is generally regarded as the group's creative pinnacle. Robert Christgau, for example, talked about how LA rather than San Francisco was where the truly interesting music was coming from, and gave guarded praise to Captain Beefheart, Van Dyke Parks, and the Fifth Dimension (the vocal group, not the Byrds album) but talked about three albums as being truly great -- the Beach Boys' Wild Honey, Love's Forever Changes, and The Notorious Byrd Brothers. (He also, incidentally, talked about how the two songs that Crosby's new discovery Joni Mitchell had contributed to a Judy Collins album were much better than most folk music, and how he could hardly wait for her first album to come out). And that, more or less, was the critical consensus about The Notorious Byrd Brothers -- that it was, in Christgau's words "simply the best album the Byrds have ever recorded" and that "Gone are the weak--usually folky--tracks that have always flawed their work." McGuinn, though, thought that the album wasn't yet what he wanted. He had become particularly excited by the potentials of the Moog synthesiser -- an instrument that Gary Usher also loved -- during the recording of the album, and had spent a lot of time experimenting with it, coming up with tracks like the then-unreleased "Moog Raga": [Excerpt: The Byrds, "Moog Raga"] And McGuinn had a concept for the next Byrds album -- a concept he was very excited about. It was going to be nothing less than a grand sweeping history of American popular music. It was going to be a double album -- the new contract said that they should deliver two albums a year to Columbia, so a double album made sense -- and it would start with Appalachian folk music, go through country, jazz, and R&B, through the folk-rock music the Byrds had previously been known for, and into Moog experimentation. But to do this, the Byrds needed a keyboard player. Not only would a keyboard player help them fill out their thin onstage sound, if they got a jazz keyboardist, then they could cover the jazz material in McGuinn's concept album idea as well. So they went out and looked for a jazz piano player, and happily Larry Spector was managing one. Or at least, Larry Spector was managing someone who *said* he was a jazz pianist. But Gram Parsons said he was a lot of things... [Excerpt: Gram Parsons, "Brass Buttons (1965 version)"] Gram Parsons was someone who had come from a background of unimaginable privilege. His maternal grandfather was the owner of a Florida citrus fruit and real-estate empire so big that his mansion was right in the centre of what was then Florida's biggest theme park -- built on land he owned. As a teenager, Parsons had had a whole wing of his parents' house to himself, and had had servants to look after his every need, and as an adult he had a trust fund that paid him a hundred thousand dollars a year -- which in 1968 dollars would be equivalent to a little under nine hundred thousand in today's money. Two events in his childhood had profoundly shaped the life of young Gram. The first was in February 1956, when he went to see a new singer who he'd heard on the radio, and who according to the local newspaper had just recorded a new song called "Heartburn Motel".  Parsons had tried to persuade his friends that this new singer was about to become a big star -- one of his friends had said "I'll wait til he becomes famous!" As it turned out, the day Parsons and the couple of friends he did manage to persuade to go with him saw Elvis Presley was also the day that "Heartbreak Hotel" entered the Billboard charts at number sixty-eight. But even at this point, Elvis was an obvious star and the headliner of the show. Young Gram was enthralled -- but in retrospect he was more impressed by the other acts he saw on the bill. That was an all-star line-up of country musicians, including Mother Maybelle and the Carter Sisters, and especially the Louvin Brothers, arguably the greatest country music vocal duo of all time: [Excerpt: The Louvin Brothers, "The Christian Life"] Young Gram remained mostly a fan of rockabilly music rather than country, and would remain so for another decade or so, but a seed had been planted. The other event, much more tragic, was the death of his father. Both Parsons' parents were functioning alcoholics, and both by all accounts were unfaithful to each other, and their marriage was starting to break down. Gram's father was also, by many accounts, dealing with what we would now call post-traumatic stress disorder from his time serving in the second world war. On December the twenty-third 1958, Gram's father died of a self-inflicted gunshot wound. Everyone involved seems sure it was suicide, but it was officially recorded as natural causes because of the family's wealth and prominence in the local community. Gram's Christmas present from his parents that year was a reel-to-reel tape recorder, and according to some stories I've read his father had left a last message on a tape in the recorder, but by the time the authorities got to hear it, it had been erased apart from the phrase "I love you, Gram." After that Gram's mother's drinking got even worse, but in most ways his life still seemed charmed, and the descriptions of him as a teenager are about what you'd expect from someone who was troubled, with a predisposition to addiction, but who was also unbelievably wealthy, good-looking, charming, and talented. And the talent was definitely there. One thing everyone is agreed on is that from a very young age Gram Parsons took his music seriously and was determined to make a career as a musician. Keith Richards later said of him "Of the musicians I know personally (although Otis Redding, who I didn't know, fits this too), the two who had an attitude towards music that was the same as mine were Gram Parsons and John Lennon. And that was: whatever bag the business wants to put you in is immaterial; that's just a selling point, a tool that makes it easier. You're going to get chowed into this pocket or that pocket because it makes it easier for them to make charts up and figure out who's selling. But Gram and John were really pure musicians. All they liked was music, and then they got thrown into the game." That's not the impression many other people have of Parsons, who is almost uniformly described as an incessant self-promoter, and who from his teens onwards would regularly plant fake stories about himself in the local press, usually some variant of him having been signed to RCA records. Most people seem to think that image was more important to him than anything. In his teens, he started playing in a series of garage bands around Florida and Georgia, the two states in which he was brought up. One of his early bands was largely created by poaching the rhythm section who were then playing with Kent Lavoie, who later became famous as Lobo and had hits like "Me and You and a Dog Named Boo". Lavoie apparently held a grudge -- decades later he would still say that Parsons couldn't sing or play or write. Another musician on the scene with whom Parsons associated was Bobby Braddock, who would later go on to co-write songs like "D-I-V-O-R-C-E" for Tammy Wynette, and the song "He Stopped Loving Her Today", often considered the greatest country song ever written, for George Jones: [Excerpt: George Jones, "He Stopped Loving Her Today"] Jones would soon become one of Parsons' musical idols, but at this time he was still more interested in being Elvis or Little Richard. We're lucky enough to have a 1962 live recording of one of his garage bands, the Legends -- the band that featured the bass player and drummer he'd poached from Lobo. They made an appearance on a local TV show and a friend with a tape recorder recorded it off the TV and decades later posted it online. Of the four songs in that performance, two are R&B covers -- Little Richard's "Rip It Up" and Ray Charles' "What'd I Say?", and a third is the old Western Swing classic "Guitar Boogie Shuffle". But the interesting thing about the version of "Rip it Up" is that it's sung in an Everly Brothers style harmony, and the fourth song is a recording of the Everlys' "Let It Be Me". The Everlys were, of course, hugely influenced by the Louvin Brothers, who had so impressed young Gram six years earlier, and in this performance you can hear for the first time the hints of the style that Parsons would make his own a few years later: [Excerpt: Gram Parsons and the Legends, "Let it Be Me"] Incidentally, the other guitarist in the Legends, Jim Stafford, also went on to a successful musical career, having a top five hit in the seventies with "Spiders & Snakes": [Excerpt: Jim Stafford, "Spiders & Snakes"] Soon after that TV performance though, like many musicians of his generation, Parsons decided to give up on rock and roll, and instead to join a folk group. The group he joined, The Shilos, were a trio who were particularly influenced by the Journeymen, John Phillips' folk group before he formed the Mamas and the Papas, which we talked about in the episode on "San Francisco". At various times the group expanded with the addition of some female singers, trying to capture something of the sound of the New Chrisy Minstrels. In 1964, with the band members still in school, the Shilos decided to make a trip to Greenwich Village and see if they could make the big time as folk-music stars. They met up with John Phillips, and Parsons stayed with John and Michelle Phillips in their home in New York -- this was around the time the two of them were writing "California Dreamin'". Phillips got the Shilos an audition with Albert Grossman, who seemed eager to sign them until he realised they were still schoolchildren just on a break. The group were, though, impressive enough that he was interested, and we have some recordings of them from a year later which show that they were surprisingly good for a bunch of teenagers: [Excerpt: The Shilos, "The Bells of Rhymney"] Other than Phillips, the other major connection that Parsons made in New York was the folk singer Fred Neil, who we've talked about occasionally before. Neil was one of the great songwriters of the Greenwich Village scene, and many of his songs became successful for others -- his "Dolphins" was recorded by Tim Buckley, most famously his "Everybody's Talkin'" was a hit for Harry Nilsson, and he wrote "Another Side of This Life" which became something of a standard -- it was recorded by the Animals and the Lovin' Spoonful, and Jefferson Airplane, as well as recording the song, included it in their regular setlists, including at Monterey: [Excerpt: Jefferson Airplane, "The Other Side of This Life (live at Monterey)"] According to at least one biographer, though, Neil had another, more pernicious, influence on Parsons -- he may well have been the one who introduced Parsons to heroin, though several of Parsons' friends from the time said he wasn't yet using hard drugs. By spring 1965, Parsons was starting to rethink his commitment to folk music, particularly after "Mr. Tambourine Man" became a hit. He talked with the other members about their need to embrace the changes in music that Dylan and the Byrds were bringing about, but at the same time he was still interested enough in acoustic music that when he was given the job of arranging the music for his high school graduation, the group he booked were the Dillards. That graduation day was another day that would change Parsons' life -- as it was the day his mother died, of alcohol-induced liver failure. Parsons was meant to go on to Harvard, but first he went back to Greenwich Village for the summer, where he hung out with Fred Neil and Dave Van Ronk (and started using heroin regularly). He went to see the Beatles at Shea Stadium, and he was neighbours with Stephen Stills and Richie Furay -- the three of them talked about forming a band together before Stills moved West. And on a brief trip back home to Florida between Greenwich Village and Harvard, Parsons spoke with his old friend Jim Stafford, who made a suggestion to him -- instead of trying to do folk music, which was clearly falling out of fashion, why not try to do *country* music but with long hair like the Beatles? He could be a country Beatle. It would be an interesting gimmick. Parsons was only at Harvard for one semester before flunking out, but it was there that he was fully reintroduced to country music, and in particular to three artists who would influence him more than any others. He'd already been vaguely aware of Buck Owens, whose "Act Naturally" had recently been covered by the Beatles: [Excerpt: Buck Owens, "Act Naturally"] But it was at Harvard that he gained a deeper appreciation of Owens. Owens was the biggest star of what had become known as the Bakersfield Sound, a style of country music that emphasised a stripped-down electric band lineup with Telecaster guitars, a heavy drumbeat, and a clean sound. It came from the same honky-tonk and Western Swing roots as the rockabilly music that Parsons had grown up on, and it appealed to him instinctively.  In particular, Parsons was fascinated by the fact that Owens' latest album had a cover version of a Drifters song on it -- and then he got even more interested when Ray Charles put out his third album of country songs and included a version of Owens' "Together Again": [Excerpt: Ray Charles, "Together Again"] This suggested to Parsons that country music and the R&B he'd been playing previously might not quite be so far apart as he'd thought. At Harvard, Parsons was also introduced to the work of another Bakersfield musician, who like Owens was produced by Ken Nelson, who also produced the Louvin Brothers' records, and who we heard about in previous episodes as he produced Gene Vincent and Wanda Jackson. Merle Haggard had only had one big hit at the time, "(My Friends Are Gonna Be) Strangers": [Excerpt: Merle Haggard, "(My Friends are Gonna Be) Strangers"] But he was about to start a huge run of country hits that would see every single he released for the next twelve years make the country top ten, most of them making number one. Haggard would be one of the biggest stars in country music, but he was also to be arguably the country musician with the biggest influence on rock music since Johnny Cash, and his songs would soon start to be covered by everyone from the Grateful Dead to the Everly Brothers to the Beach Boys. And the third artist that Parsons was introduced to was someone who, in most popular narratives of country music, is set up in opposition to Haggard and Owens, because they were representatives of the Bakersfield Sound while he was the epitome of the Nashville Sound to which the Bakersfield Sound is placed in opposition, George Jones. But of course anyone with ears will notice huge similarities in the vocal styles of Jones, Haggard, and Owens: [Excerpt: George Jones, "The Race is On"] Owens, Haggard, and Jones are all somewhat outside the scope of this series, but are seriously important musicians in country music. I would urge anyone who's interested in them to check out Tyler Mahan Coe's podcast Cocaine and Rhinestones, season one of which has episodes on Haggard and Owens, as well as on the Louvin Brothers who I also mentioned earlier, and season two of which is entirely devoted to Jones. When he dropped out of Harvard after one semester, Parsons was still mostly under the thrall of the Greenwich Village folkies -- there's a recording of him made over Christmas 1965 that includes his version of "Another Side of This Life": [Excerpt: Gram Parsons, "Another Side of This Life"] But he was encouraged to go further in the country direction by John Nuese (and I hope that's the correct pronunciation – I haven't been able to find any recordings mentioning his name), who had introduced him to this music and who also played guitar. Parsons, Neuse, bass player Ian Dunlop and drummer Mickey Gauvin formed a band that was originally called Gram Parsons and the Like. They soon changed their name though, inspired by an Our Gang short in which the gang became a band: [Excerpt: Our Gang, "Mike Fright"] Shortening the name slightly, they became the International Submarine Band. Parsons rented them a house in New York, and they got a contract with Goldstar Records, and released a couple of singles. The first of them, "The Russians are Coming, The Russians are Coming" was a cover of the theme to a comedy film that came out around that time, and is not especially interesting: [Excerpt: The International Submarine Band, "The Russians are Coming, The Russians are Coming"] The second single is more interesting. "Sum Up Broke" is a song by Parsons and Neuse, and shows a lot of influence from the Byrds: [Excerpt: The international Submarine Band, "Sum Up Broke"] While in New York with the International Submarine Band, Parsons made another friend in the music business. Barry Tashian was the lead singer of a band called the Remains, who had put out a couple of singles: [Excerpt: The Remains, "Why Do I Cry?"] The Remains are now best known for having been on the bill on the Beatles' last ever tour, including playing as support on their last ever show at Candlestick Park, but they split up before their first album came out. After spending most of 1966 in New York, Parsons decided that he needed to move the International Submarine Band out to LA. There were two reasons for this. The first was his friend Brandon DeWilde, an actor who had been a child star in the fifties -- it's him at the end of Shane -- who was thinking of pursuing a musical career. DeWilde was still making TV appearances, but he was also a singer -- John Nuese said that DeWilde sang harmony with Parsons better than anyone except Emmylou Harris -- and he had recorded some demos with the International Submarine Band backing him, like this version of Buck Owens' "Together Again": [Excerpt: Brandon DeWilde, "Together Again"] DeWilde had told Parsons he could get the group some work in films. DeWilde made good on that promise to an extent -- he got the group a cameo in The Trip, a film we've talked about in several other episodes, which was being directed by Roger Corman, the director who worked a lot with David Crosby's father, and was coming out from American International Pictures, the company that put out the beach party films -- but while the group were filmed performing one of their own songs, in the final film their music was overdubbed by the Electric Flag. The Trip starred Peter Fonda, another member of the circle of people around David Crosby, and another son of privilege, who at this point was better known for being Henry Fonda's son than for his own film appearances. Like DeWilde, Fonda wanted to become a pop star, and he had been impressed by Parsons, and asked if he could record Parsons' song "November Nights". Parsons agreed, and the result was released on Chisa Records, the label we talked about earlier that had put out promos of Gene Clark, in a performance produced by Hugh Masekela: [Excerpt: Peter Fonda, "November Nights"] The other reason the group moved West though was that Parsons had fallen in love with David Crosby's girlfriend, Nancy Ross, who soon became pregnant with his daughter -- much to Parsons' disappointment, she refused to have an abortion. Parsons bought the International Submarine Band a house in LA to rehearse in, and moved in separately with Nancy. The group started playing all the hottest clubs around LA, supporting bands like Love and the Peanut Butter Conspiracy, but they weren't sounding great, partly because Parsons was more interested in hanging round with celebrities than rehearsing -- the rest of the band had to work for a living, and so took their live performances more seriously than he did, while he was spending time catching up with his old folk friends like John Phillips and Fred Neil, as well as getting deeper into drugs and, like seemingly every musician in 1967, Scientology, though he only dabbled in the latter. The group were also, though, starting to split along musical lines. Dunlop and Gauvin wanted to play R&B and garage rock, while Parsons and Nuese wanted to play country music. And there was a third issue -- which record label should they go with? There were two labels interested in them, neither of them particularly appealing. The offer that Dunlop in particular wanted to go with was from, of all people, Jay Ward Records: [Excerpt: A Salute to Moosylvania] Jay Ward was the producer and writer of Rocky & Bullwinkle, Peabody & Sherman, Dudley Do-Right and other cartoons, and had set up a record company, which as far as I've been able to tell had only released one record, and that five years earlier (we just heard a snippet of it). But in the mid-sixties several cartoon companies were getting into the record business -- we'll hear more about that when we get to song 186 -- and Ward's company apparently wanted to sign the International Submarine Band, and were basically offering to throw money at them. Parsons, on the other hand, wanted to go with Lee Hazlewood International. This was a new label set up by someone we've only talked about in passing, but who was very influential on the LA music scene, Lee Hazlewood. Hazlewood had got his start producing country hits like Sanford Clark's "The Fool": [Excerpt: Sanford Clark, "The Fool"] He'd then moved on to collaborating with Lester Sill, producing a series of hits for Duane Eddy, whose unique guitar sound Hazlewood helped come up with: [Excerpt: Duane Eddy, "Rebel Rouser"] After splitting off from Sill, who had gone off to work with Phil Spector, who had been learning some production techniques from Hazlewood, Hazlewood had gone to work for Reprise records, where he had a career in a rather odd niche, producing hit records for the children of Rat Pack stars. He'd produced Dino, Desi, and Billy, who consisted of future Beach Boys sideman Billy Hinsche plus Desi Arnaz Jr and Dean Martin Jr: [Excerpt: Dino, Desi, and Billy, "I'm a Fool"] He'd also produced Dean Martin's daughter Deana: [Excerpt: Deana Martin, "Baby I See You"] and rather more successfully he'd written and produced a series of hits for Nancy Sinatra, starting with "These Boots are Made for Walkin'": [Excerpt: Nancy Sinatra, "These Boots are Made for Walkin'"] Hazlewood had also moved into singing himself. He'd released a few tracks on his own, but his career as a performer hadn't really kicked into gear until he'd started writing duets for Nancy Sinatra. She apparently fell in love with his demos and insisted on having him sing them with her in the studio, and so the two made a series of collaborations like the magnificently bizarre "Some Velvet Morning": [Excerpt: Lee Hazlewood and Nancy Sinatra, "Some Velvet Morning"] Hazlewood is now considered something of a cult artist, thanks largely to a string of magnificent orchestral country-pop solo albums he recorded, but at this point he was one of the hottest people in the music industry. He wasn't offering to produce the International Submarine Band himself -- that was going to be his partner, Suzi Jane Hokom -- but Parsons thought it was better to sign for less money to a label that was run by someone with a decade-long string of massive hit records than for more money to a label that had put out one record about a cartoon moose. So the group split up. Dunlop and Gauvin went off to form another band, with Barry Tashian -- and legend has it that one of the first times Gram Parsons visited the Byrds in the studio, he mentioned the name of that band, The Flying Burrito Brothers, and that was the inspiration for the Byrds titling their album The Notorious Byrd Brothers. Parsons and Nuese, on the other hand, formed a new lineup of The International Submarine Band, with bass player Chris Ethridge, drummer John Corneal, who Parsons had first played with in The Legends, and guitarist Bob Buchanan, a former member of the New Christy Minstrels who Parsons had been performing with as a duo after they'd met through Fred Neil. The International Submarine Band recorded an album, Safe At Home, which is now often called the first country-rock album -- though as we've said so often, there's no first anything. That album was a mixture of cover versions of songs by people like Johnny Cash and Merle Haggard: [Excerpt: The International Submarine Band, "I Must Be Somebody Else You've Known"] And Parsons originals, like "Do You Know How It Feels To Be Lonesome?", which he cowrote with Barry Goldberg of the Electric Flag: [Excerpt: The International Submarine Band, "Do You Know How It Feels To Be Lonesome?"] But the recording didn't go smoothly. In particular, Corneal realised he'd been hoodwinked. Parsons had told him, when persuading him to move West, that he'd be able to sing on the record and that some of his songs would be used. But while the record was credited to The International Submarine Band, everyone involved agrees that it was actually a Gram Parsons solo album by any other name -- he was in charge, he wouldn't let other members' songs on the record, and he didn't let Corneal sing as he'd promised. And then, before the album could be released, he was off. The Byrds wanted a jazz keyboard player, and Parsons could fake being one long enough to get the gig. The Byrds had got rid of one rich kid with a giant ego who wanted to take control of everything and thought his undeniable talent excused his attempts at dominating the group, and replaced him with another one -- who also happened to be signed to another record label. We'll see how well that worked out for them in two weeks' time.