Podcasts about Steely Dan

American rock band

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Latest podcast episodes about Steely Dan

Tim Friedmann's 70's Rock Conversations
Tim Friedmann's 70s Rock Conversations Season 7 Episode 4

Tim Friedmann's 70's Rock Conversations

Play Episode Listen Later Oct 3, 2022 56:24


Alice Cooper is front-and-center as this week's Featured Artist! Find out what he did in response to some criticism he received for his hit song, "School's Out." Also, in our "Deep Cuts" category, Frankie has a good one from the big 1985 Tears for Fears album, "Songs From The Big Chair;" Tim's is from Steely Dan's "Gaucho" from 1980. Our 1-Hit Wonder is Billy Swan's "I Can Help"...and we'll answer the long-asked question--how did the Bay City Rollers get their name?!! Enjoy!

Dean Delray's LET THERE BE TALK
#667 : Michael McDonald/ The Doobie Brother, Steely Dan

Dean Delray's LET THERE BE TALK

Play Episode Listen Later Oct 2, 2022 59:32 Very Popular


Today we have Rock n Roll Hall of Famer, Michael McDonald of The Doobie Brothers / Steely Dan on the show. This man has written some of the greatest songs to every hit the FM Dial including Minute by Minute, What a Fool Believes, Takin It To The Streets and I Keep Forgettin. Michael sits down with me today for an In-Depth conversation on his Career in Music. This episode is brought to you by Skillshare Use the link for a free month of Skillshare https://www.skillshare.com/delray 

Roadcase
Corey Harper (Singer Songwriter)

Roadcase

Play Episode Listen Later Sep 28, 2022 76:34


Welcome to Roadcase!!  We're super psyched to have Corey Harper on the show this week. His new album, Future Tense, is out now and we were pumped to sit down for a lengthy chat with this new and exciting artist. Corey grew up in Vancouver, WA, not too far from Portland, Oregon, where he would head to catch the latest and greatest shows. But this athlete turned performing artist and songwriter started out in a low-key fashion, writing lyrics and crafting songs in the quiet of his own room, still unsure of his own future in music but very confident he had something special to share.  Having moved to LA in 2016, he has opened for and toured with a number of massive artists since then including Justin Bieber, with whom he has developed a personal and professional relationship. While Covid threatened to crush his momentum and derail his dream, he got busy in the studio during that time with producer Alex Salibian (Harry Styles, The Head and The Heart), and emerged over a year later with this remarkable new album.  His story is one of perseverance, determination, inspiration and focus.  So hop on the Roadcase Bus and don't forget your sunscreen 'cause we're headed to Malibu for this one, Roadies.  It's gonna be a great ride!! https://www.coreyharpermusic.com/For more information: https://linktr.ee/roadcasepod and https://www.roadcasepod.comContact: info@roadcasepod.comTheme music:  "Eugene (Instrumental)" by Waltzer

Dan's Bike Rides
Episode 440 - 09-30-2022

Dan's Bike Rides

Play Episode Listen Later Sep 28, 2022


It's BikeRides 11th Anniversary Show! To celebrate Hank and Dan Christen a BRAND NEW turntable, making history spinning vinyl for the F I R S T T I M E E V ER ! Glenn Campbell, Steely Dan, Six Mile Grove, Pink Floyd, Rush and many more make crackling contributions to this party popper..

Album 4 the Day
Michael Omartian

Album 4 the Day

Play Episode Listen Later Sep 27, 2022 20:58


Get the story from behind the MUSICIANS, ARTISTS, and PRODUCERS who made some of the greatest albums of all time. This episode discusses Michael Omartian- He played with some of the legends of rock including Steely Dan, Billy Joel, Whitney Houston, and more. He produced albums from Amy Grant, Dolly Parton, Christopher Cross and MANY more. We give a little background on his style, his life, and some of the albums he's played on in his extraordinary career. Listen to the stories behind the music! --- Send in a voice message: https://anchor.fm/album4theday/message Support this podcast: https://anchor.fm/album4theday/support

Moods & Modes
My Lunch with Nite Bob

Moods & Modes

Play Episode Listen Later Sep 27, 2022 50:08


In this episode, Alex finally gets the chance to sit down with Nite Bob, whose job titles include sound engineer, guitar tech, tour manager, and production manager, to name a few. His 45-year career in the music industry is legendary as are many of the artists he's worked with, including Steely Dan, Aerosmith, Iggy Pop, Emerson Lake & Palmer, KISS, The New York Dolls, R.E.M., and many more.Recorded over lunch at the Ear Inn, one of New York's oldest pubs, Nite Bob shares stories from years of working closely with Steely Dan's Walter Becker - his proclivity for purchasing guitars on a whim, even when advised otherwise; how he brought hard rock-worthy volume to Steely Dan shows, and thought nothing of switching equipment in the middle of a song. Nite Bob and Alex discuss buying guitars as a collector versus as a working musician, and Nite Bob tells Alex about that time he connected Rick Rubin and Run DMC to Aerosmith, which resulted in one of the most iconic collaborations in music history.Moods & Modes is presented by Osiris Media. Hosted and Produced by Alex Skolnick. Osiris Production by Kirsten Cluthe and Matt Dwyer. Editing and mixing by Matt Dwyer. Music by Alex Skolnick. Artwork by Mark Dowd. Hosted on Acast. See acast.com/privacy for more information.

SoundGirls Podcast
SoundGirls Living History Project with Lenise Bent Part 2 - Interviewed by Aline Bruijns

SoundGirls Podcast

Play Episode Listen Later Sep 27, 2022 59:54


Lenise Bent is one of the first women audio engineers & honed her skills on many iconic records including “Aja” by Steely Dan and “Breakfast in America” by Supertramp. She is the first woman engineer to receive a platinum album for Blondie's “AutoAmerican” album which includes “The Tide is High” and the very first hit rap song with music, “Rapture”. Lenise is also a post-production audio professional, specializing in recording and editing foley sound effects for many films and animated series and has traveled the world for Dreamworks supervising the foreign dialogue recording and producing the vocals for such animated features as “Shrek”, “Spirit: Stallion of the Cimmaron” and “Shrek 2”. She also archives and repairs audio, and instructs and consults for singer/songwriters. Lenise is a long-standing member of the Audio Engineering Society, the Producers & Engineers Wing of the Recording Academy, and a voting member of NARAS. She is also a proud member SoundGirls, Women's Audio Mission (WAM), Women in Music, the prestigious Hollywood Sapphire Group, The Blues Foundation, IASA (International Association of Sound Archivists), and ARSC (Assoc. of Recorded Sound Collectors). Though primarily working in digital recording formats, Lenise recently produced and engineered an all-analog recording with blues/rock/Indy band Primal Kings, recording to 2” tape, mixing to 1⁄2” and cut to vinyl from tape, all analog and entirely out of the box. To know more about Lenise Bent go to her website at www.lenisebent.com SoundGirls Feature Profile Lenise Bent https://soundgirls.org/giving-back-to... SoundGirls Living History Project Lenise Bent Part 1 https://youtu.be/lNM6seMROaI SoundGirls Living History Project Lenise Bent Part 2 https://youtu.be/0hCLBaqz51s Interviewed by Aline Bruijns Aline Bruijns (MPSE) Aline has a never-ending drive to create sound design that enriches a soundtrack and that elevates the story. As a jazz vocalist (and multi-instrumentalist), she obtained her Bachelor's Degree at the Conservatory in Enschede (the Netherlands) in 2004. She continued at the HKU (School of the Arts Utrecht) in Hilversum and got a Master of Arts Degree in Sound Design in 2007. Having experienced and been educated in so many layers of music and sound has enhanced her work and ability to collaborate and work within all audio postproduction departments. She has been the founder and sound designer of the audio post-production company AudioRally Sounddesign since 2009. In 2019 she was admitted as an International Member of the Motion Picture Sound Editors organization (MPSE), board member of the VCA (dutch film audio society), and became co-chapter head of SoundGirls Netherlands. For more information about Aline www.audiorallysounddesign.com Sponsored by QSC https://www.qsc.com  

Art of the Beholder
Episode 48 - Music | Steely Dan

Art of the Beholder

Play Episode Listen Later Sep 27, 2022 64:52


Novo and Philip (philipchurch.tech) discuss the career of musical duo Steely Dan, focusing on their unique sound, their discography and career history, and why, when it comes to music production and engineering, they are often regarded as one of the greatest perfectionists in the history of modern music. This episode is brought to you by the novel "The Entropy Sessions" - a tale of loss, love, and madness, and our past, present, and future relationships with technology - find it here - on paperback or as an ebook on Amazon, or as an audiobook through Audible. Our gems are sponsored by Zencastr - our go-to tool to record our podcast with multiple guests remotely. With Zencastr, you can record separate audio and video tracks, and it's all backed up on a secured cloud so you never lose your hard work. It's reliable, easy to use, and there's nothing to download. So go to zen.ai/artofthebeholder or use promo code: artofthebeholder, and get 30% off your first three months with a PRO account. Thank you for listening, and if you'd like to further support us, please consider leaving a donation. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/artofthebeholder/support

Como lo oyes
Como lo oyes - Lunes al Soul - 26/09/22

Como lo oyes

Play Episode Listen Later Sep 26, 2022 58:36


Canciones para sibaritas extremos de figuras de máximo nivel artístico. Mucho soul, mucho alma, mucho amor. Winwood flipando con una bailaora; Dr. John que si se va de pesca, Steely Dan y los chicos del negocio del espectáculo, Valerie Carter y la historia del amor, Van Morrison en la misma línea hacia un amor cálido y Fredddy Cole que lo encuentra en Rio de Janeiro. Todas canciones de exploración en fonoteca personal, excepto el estreno de una nueva de Young Gun Silver Fox. DISCO 1 YOUNG GUN SILVER FOX Winners (ESCA) DISCO 2 DR. JOHN I’m gonna go fishing’ (10) DISCO 3 MAGGIE JOSEPH Let’s Stay Together (3) DISCO 4 VALERIE CARTER the Story Of Love  (6) DISCO 5 BRITTANY HOWARD Tomorrow (5) DISCO 6 STEELY DAN Show Biz Kids (5) DISCO 7 RUTHIE FOSTER Loving You is Sweeter Than ever (7) DISCO 8 STEVE WINWOOD Spanish Dancer (5) DISCO 9 THE BLUES BROTHERS Gimme Some Lovin' (3) DISCO 10 THE POINTER SISTERS Love In Them These Hills (13) DISCO 11 BARBARA LEWIS Thankful For What I’ve Got (12) DISCO 12 VAN MORRISON Warm Love (2) DISCO 13 FREDDY COLE Rio de Janeiro Blue (1) GERRY RAFFERTY Get Out Of Life Woman (5) Escuchar audio

SWR1 Meilensteine - Alben die Geschichte machten

Die Band The Verve unter der Leitung von Richard Ashcroft zählt zu einer der wichtigsten Bands des Britpop. Auf dem Album "Urban Hymns" ist auch ihr bekanntester Song "Bitter Sweet Symphony", der auch als Titelsong des Teenie Dramas "Eiskalte Engel" bekannt wurde. In seiner Funktion als Titelsong zu dem oben genannten Teenie-Drama wurde der Song und Albumopener "Bitter Sweet Symphony" ein Jahr nach der Veröffentlichung des Albums auch noch für zwei Grammys nominiert. Chris Martin von Coldplay ist großer The Verve Fan und bezeichnete den Song "Bitter Sweet Symphony" als einen der besten Songs, die jemals geschrieben worden sind. Dabei ist die Geschichte hinter dem Song wirklich kompliziert – nicht musikalisch, sondern rechtlich. Richard Ashcroft und The Verve sollen sich dafür bei den Rolling Stones "bedient" haben und mussten die Rechte an dem Song an Mick Jagger und Keith Richards abtreten. Erst im Jahr 2019 bekamen The Verve die Rechte am Song zurück. Damit geht auch einher, dass der Erfolg des Songs "Bitter Sweet Symphony" offiziell nicht the Verve zugeschrieben wird. Nichtsdestotrotz ist "Urban Hymns" – das eigentlich nach dem großen Hype des Britpop entstand – das erfolgreichste Album der Band. Unter den Fans der Platte gibt es neben oben erwähntem Chris Martin auch noch andere prominente Musiker: Bono von U2 wünschte sich zum Beispiel den Song "Lucky Man" selbst geschrieben zu haben. Dabei gab es bei der Albumproduktion diverse Schwierigkeiten. Gitarrist Nick McCabe hatte die Band verlassen und wurde bereits vor der Albumproduktion durch Simon Tong ersetzt. Während der Produktion zu "Urban Hymns" stellte die Band fest, dass es mit dem neuen Gitarristen irgendwie nicht wirklich klappen wollte. Darum kam Nick McCabe wieder zurück zur Band. Und gemeinsam als Band schaffen sie nicht nur ein großartiges Album mit Song-Schwergewichten wie "Lucky Man", "The Drugs Don't Work" und "Bitter Sweet Symphony", sie bringen damit auch die Ära des Britpop zu einem würdigen Ende. Wie sie das schaffen, hört ihr in dieser Folge des Meilensteine-Podcasts zu "Urban Hymns". Im Podcast zeigt sich SWR1-Redakteur Thomas Ibrahim nicht wirklich zufrieden mit der Entscheidung der Zusammenstellung und Reihenfolge der Titel auf dem Album. Hier haben wir euch das Album nochmal so zusammengestellt, wie Thomas es für sinnvoller halten würde: Bitter Sweet Symphony (05:58) Weeping Willow[1] (04:49) Catching the Butterfly (06:26) Rolling People (07:01) Space and Time (05:36) The Drugs Don't Work (05:05) Sonnet (04:21) One Day (05:03) Lucky Man (04:53) Die folgenden Songs würde Thomas Ibrahim komplett vom Album werfen, da sie für ihn persönlich nicht mehr als sogenannte "Filler" sind, also Songs die nicht mehr sind als Füllmaterial: Neon Wilderness (02:37) This Time (03:50) Velvet Morning (04:57) Come On (07:35) Deep Freeze (Hidden Track – 02:14)__________ Über diese Songs vom Album “Urban Hymns” wird im Podcast gesprochen 13:33 Mins – “Bitter Sweet Symphony” 33:41 Mins – “Sonnet” 41:19 Mins – “The Drug's Don't Work” 50:18 Mins – “The Rolling People” 55:51 Mins – “Lucky Man” 01:02:30 Mins – “Come On” 01:05:40 Mins – “Deep Freeze” __________ Über diese Songs wird außerdem im Podcast gesprochen 18:35 Mins – “The Last Time” von den Rolling Stones 19:34 Mins – “The Last Time” von The Andrew Oldham Orchestra 37:18 Mins – “True” von Spandau Ballett 45:11 Mins – “The Drugs Don't Work” von Ben Harper 51:25 Mins – “If 6 Was 9” von Jimi Hendrix __________ Links zum Podcast: Rolling-Stone-Artikel über Richard Ashcroft und The Verve: https://www.rollingstone.com/music/music-features/the-verve-richard-ashcrofts-bittersweet-triumph-241277/Interview mit Nick McCabe: https://web.archive.org/web/20110710211338/http://www.excellentonline.com/story/nick-mccabe-interview-733Album Review zu “Urban Hymns”: https://www.spiegel.de/kultur/musik/cd-kritik-the-verve-urban-hymns-a-22884.htmlMeilensteine Podcast zu “Aja” von Steely Dan: https://www.swr.de/swr1/rp/meilensteine/swr1-meilensteine-steely-dan-aja-45-jubilaeum-100.htmlMeilensteine Podcast zu “OK Computer” von Radiohead: https://www.swr.de/swr1/rp/meilensteine/swr1-meilensteine-radiohead-ok-computer-100.html__________ Ihr wollt mehr Podcasts wie diesen? Abonniert die SWR1 Meilensteine! Fragen, Kritik, Anregungen? Schreibt uns an: meilensteine@swr.de

Dad Band Land
DBL Ep 30 - Keeping the Sabbath (Black)

Dad Band Land

Play Episode Listen Later Sep 23, 2022 82:11 Very Popular


It's the second half of our cultural exchange, wherein we trade Steely Dan for Black Sabbath! We listen to “Vol 4” and try to bridge the gulf and cut through the stereotypes! Also, another listener-suggested Jeffy's Jukebox - we reveal our favorite “oddball bands.” And of course you can enjoy all today's tunes on our custom-built Apple Music playlist: https://music.apple.com/us/playlist/dbl-ep-30-playlist/pl.u-aZb0YE5CRrXX Email: dadbandland@gmail.com Twitter: https://twitter.com/dadbandland Insta: https://instagram.com/dadbandland FB: https://www.facebook.com/dadbandland Learn more about your ad choices. Visit megaphone.fm/adchoices

Strong Songs
Strong Grooves, Vol. 1 (feat. Russ Kleiner)

Strong Songs

Play Episode Listen Later Sep 23, 2022 59:14 Very Popular


Drummers like Clyde Stubblefield, Zigaboo Modeliste, and Bernard Purdie defined the sound of the bands they played with not because of their flashy chops, but because they knew how to lock down a groove. On this episode, Kirk goes deep into one groove apiece by each of those drummers - Stubblefield on James Brown's "Cold Sweat," Modeliste on The Meters' "Cissy Strut," and Purdie on Aretha Franklin's "Rock Steady" - with help from special guest drummer Russ Kleiner.FEATURED/DISCUSSEDCold Sweat by James Brown and the Famous Flames, 1967"Cissy Strut" by The Meters from The Meters, 1969"Rock Steady" by Aretha Franklin from Young, Gifted, and Black, 1972"Papa's Got a Brand New Bag" by James Brown, 1965"So What" by Miles Davis from Kind of Blue, 1959The Treme Brass Band at the Red Beans and Rice parade, 2013“Shoo Fly Marches On,” by Dr. John, 1973Babylon Sisters by Steely Dan from Gaucho, 1980SPECIAL GUEST: Russ KleinerRuss is one of Kirk's oldest friends, a drummer and percussionist who currently lives, teaches, and performs in Connecticut. He has frequently offered drum insights to Kirk for various episodes of Strong Songs, and he's been overdue for an appearance on the show. Additional thanks to Nick D'Errico for his help recording and overseeing the drum session for this episode - find Nick online at https://www.nddrums.com.OUTRO SOLOIST: Charles McNealCharles McNeal is a killin' Oakland-based sax player who plays all over the bay area. He's also a master jazz transcriber, and has chronicled tons of great solos. You can find him playing out in a variety of bands and settings; the best way to keep up with his music is to subscribe to his YouTube channel or follow him on Instagram @charlesonsax2.-----LINKS-----SUPPORT STRONG SONGSPaypal | Patreon.com/StrongsongsMERCH STOREstore.strongsongspodcast.comSOCIAL MEDIA@StrongSongs | @Kirkhamilton | IG: @Kirk_HamiltonNEWSLETTERhttps://kirkhamilton.substack.com/subscribeJOIN THE DISCORDhttps://discord.gg/GCvKqAM8SmSTRONG SONGS PLAYLISTSSpotify | Apple Music | YouTube MusicSEPTEMBER 2022 WHOLE-NOTE PATRONSJay SwartzMiriam JoyRonjanSEAN D WINNIERushDaniel Hannon-BarryRRElliot RosenAshley HoagMark and MichelleDonald MackieMelissa OsborneChristopher MillerJamie WhiteChristopher McConnellDavid MascettiJoshua JarvisNikoJoe LaskaKen HirshJezMelanie AndrichJenness GardnerSimon CammellGuinevere BoostromNarelle HornBill RosingerErinAidan CoughlanJeanneret Manning Family FourDave SharpeSami SamhuriAccessViolationRyan TorvikGlennJim ChokeyAndre BremerMark SchechterDave FloreySEPTEMBER 2022 HALF-NOTE PATRONSJohn BaumanDax and Dane HuddlestonMartín SalíasTim HowesSteve MartinoDr Arthur A GrayCarolinaGary PierceMatt BaxterGiantPredatoryMolluskCasey FaubionLuigi BocciaRob AlbrightE Margaret WartonDaniel MosierCatherine ClauseOwain HuntRenee DowningKenIsWearingAHatTonyJordan BlockAaron WadeChad HivnerTravis PollardJeff UlmJamieDeebsPortland Eye CareAdam RayAnupama RaghavanDemetri DetsaridisCarrie SchneiderAlenka GrealishAnne GerryRichard SneddonDavid JudsonJulian RoleffJanice BerryDoreen CarlsonDavid McDarbyAbigail DuffieldRaphadavidWendy GilchristLisa TurnerPaul WayperDennis M EdwardsJeffrey FerrisBruno GaetaKenneth JungbenAdam StofskyZak RemerRishi SahayJason ReitmanGreg BurgessAilie FraserVonPaul McGrealKaren ArnoldNATALIE MISTILISJosh SingerPhino DeLeonSchloss Edward J. MDAmy Lynn ThornsenAdam WKelli BrockingtonStephen RawlingsBen MachtaVictoria YuKevin RiversBrad ClarkMichael J. CunninghamMark Boggsmino caposselaSteve PaquinSarahDavid JoskeEmma SklarBernard KhooRobert HeuerMatthew GoldenDavid NoahGeraldine ButlerRichard CambierMadeleine MaderTimothy DoughertyJason PrattStewart OakAbbie BergSam NortonDoug BelewDermot CrowleyAchint SrivastavaRyan RairighMichael BermanOlivia BishopJohn GisselquistElaine MartinLinda DuffyKourothSharon TreeBelinda Mcgrath-steerLiz SegerEoin de BurcaKevin PotterM Shane BordersPete SimmSusan PleinDallas HockleyJason GerryNathan GouwensWill Dwyer Alethea LeeLauren ReayEric PrestemonCookies250Damian BradyAngela LivingstoneJeffyThanadrosDavid FriedmanSarah SulanDiane HughesKenneth TiongJo SutherlandMichael CasnerDerek BenderJen SmallLowell MeyerEtele IllesStephen TsoneffLorenz SchwarzWenJack SjogrenGeoff GoldenRobyn FraserPascal RuegerRandy SouzaJCClare HolbertonDiane TurnerTom ColemanTijs SoeteMark PerryDhu WikMelEric HelmJake RobertsJonathan DanielsSteven MaronMichael FlahertyJarrod SchindlerCaro Fieldmichael bochnerNaomi WatsonDavid CushmanAlexanderChris KGavin DoigSam FennTanner MortonAJ SchusterJennifer BushDavid StroudAmanda FurlottiAndrew BakerMatt GaskellJules BaileyAndrew FairBill ThorntonBrian AmoebasBrett DouvilleJeffrey OlsonMatt BetzelMuellerNate from KalamazooMelanie StiversRichard TollerAlexander PolsonEarl LozadaJon O'KeefeJustin McElroyArjun SharmaJames JohnsonKevin MorrellKevin PennyfeatherEmily Williams

Music History Today
Music History Today Podcast For September 23 - What Happened On September 23 In Music History

Music History Today

Play Episode Listen Later Sep 23, 2022 9:28


On the September 23 edition of the Music History Today Podcast, John Lennon records a classic, Steely Dan releases a classic, & Bob Marley performs for the last time. Plus, 3 legends are celebrating birthdays: the Boss, the Genius, & Trane. ALL MY LINKS - https://allmylinks.com/musichistorytoday --- Send in a voice message: https://anchor.fm/musichistorytodaypodcast/message Support this podcast: https://anchor.fm/musichistorytodaypodcast/support

A History Of Rock Music in Five Hundred Songs
Episode 154: “Happy Together” by the Turtles

A History Of Rock Music in Five Hundred Songs

Play Episode Listen Later Sep 21, 2022


Episode one hundred and fifty-four of A History of Rock Music in Five Hundred Songs is the last of our four-part mini-series on LA sunshine pop and folk-rock in summer 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "Baby, Now That I've Found You" by the Foundations. 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 There is no Mixcloud this week, because there were too many Turtles songs in the episode. There's relatively little information available about the Turtles compared to other bands of their era, and so apart from the sources on the general LA scene referenced in all these podcasts, the information here comes from a small number of sources. This DVD is a decent short documentary on the band's career. Howard Kaylan's autobiography, Shell Shocked: My Life with the Turtles, Flo and Eddie, and Frank Zappa, Etc.,  is a fun read, if inevitably biased towards his own viewpoint. Jim Pons' Hard Core Love: Sex, Football, and Rock and Roll in the Kingdom of God is much less fun, being as it is largely organised around how his life led up to his latter-day religious beliefs, but is the only other book I'm aware of with a substantial amount of coverage of the Turtles. There are many compilations of the Turtles' material available, of which All The Singles is by far and away the best. The box set of all their albums with bonus tracks is now out of print on CD, but can still be bought as MP3s. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We've spent a lot of time recently in the LA of summer 1967, at the point where the sunshine pop sound that was created when the surf harmonies of the Beach Boys collided with folk rock was at its apex, right before fashions changed and tight sunny pop songs with harmonies from LA became yesterday's news, and extended blues-rock improvisations from San Francisco became the latest in thing. This episode is the last part of this four-episode sequence, and is going to be shorter than those others. In many ways this one is a bridge between this sequence and next episode, where we travel back to London, because we're saying goodbye for a while to the LA scene, and when we do return to LA it will be, for the most part, to look at music that's a lot less sunshine and a lot more shadow. So this is a brief fade-out while we sing ba-ba-ba, a three-minute pop-song of an episode, a last bit of sunshine pop before we return to longer, more complicated, stories  in two weeks' time, at which point the sun will firmly set. Like many musicians associated with LA, Howard Kaylan was born elsewhere and migrated there as a child, and he seems to have regarded his move from upstate New York to LA as essentially a move to Disneyland itself. That impression can only have been made stronger by the fact that soon after his family moved there he got his first childhood girlfriend -- who happened to be a Mouseketeer on the TV. And TV was how young Howard filtered most of his perceptions -- particularly TV comedy. By the age of fourteen he was the president of the Soupy Sales Fan Club, and he was also obsessed with the works of Ernie Kovacs, Sid Caesar, and the great satirist and parodist Stan Freberg: [Excerpt: Stan Freberg, "St. George and the Dragonet"] Second only to his love of comedy, though, was his love of music, and it was on the trip from New York to LA that he saw a show that would eventually change his life. Along the way, his family had gone to Las Vegas, and while there they had seen Louis Prima and Keeley Smith do their nightclub act. Prima is someone I would have liked to do a full podcast episode on when I was covering the fifties, and who I did do a Patreon bonus episode on. He's now probably best known for doing the voice of King Louis in the Jungle Book: [Excerpt: Louis Prima, "I Wanna Be Like You (the Monkey Song)"] But he was also a jump blues musician who made some very good records in a similar style to Louis Jordan, like "Jump, Jive, an' Wail" [Excerpt: Louis Prima, "Jump, Jive, an' Wail"] But like Jordan, Prima dealt at least as much in comedy as in music -- usually comedy involving stereotypes about his Italian-American ethnic origins. At the time young Howard Kaylan saw him, he was working a double act with his then-wife Keeley Smith. The act would consist of Smith trying to sing a song straight, while Prima would clown around, interject, and act like a fool, as Smith grew more and more exasperated, and would eventually start contemptuously mocking Prima. [Excerpt: Louis Prima and Keeley Smith, "Embraceable You/I've Got It Bad and That Ain't Good"] This is of course a fairly standard double-act format, as anyone who has suffered through an episode of The Little and Large Show will be all too painfully aware, but Prima and Smith did it better than most, and to young Howard Kaylan, this was the greatest entertainment imaginable. But while comedy was the closest thing to Kaylan's heart, music was a close second. He was a regular listener to Art Laboe's radio show, and in a brief period as a teenage shoplifter he obtained records like Ray Charles' album Genius + Soul = Jazz: [Excerpt: Ray Charles, "One Mint Julep"] and the single "Tossin' and Turnin'" by Bobby Lewis: [Excerpt: Bobby Lewis, "Tossin' and Turnin'"] "Tossin' and Turnin'" made a deep impression on Kaylan, because of the saxophone solo, which was actually a saxophone duet. On the record, baritone sax player Frank Henry played a solo, and it was doubled by the great tenor sax player King Curtis, who was just playing a mouthpiece rather than a full instrument, making a high-pitched squeaking sound: [Excerpt: Bobby Lewis, "Tossin' and Turnin'"] Curtis was of course also responsible for another great saxophone part a couple of years earlier, on a record that Kaylan loved because it combined comedy and rock and roll, "Yakety Yak": [Excerpt: The Coasters, "Yakety Yak"] Those two saxophone parts inspired Kaylan to become a rock and roller. He was already learning the clarinet and playing part time in an amateur Dixieland band, and it was easy enough to switch to saxophone, which has the same fingering. Within a matter of weeks of starting to play sax, he was invited to join a band called the Nightriders, who consisted of Chuck Portz on bass, Al Nichol on guitar, and Glen Wilson on drums. The Nightriders became locally popular, and would perform sets largely made up of Johnny and the Hurricanes and Ventures material. While he was becoming a budding King Curtis, Kaylan was still a schoolkid, and one of the classes he found most enjoyable was choir class. There was another kid in choir who Kaylan got on with, and one day that kid, Mark Volman came up to him, and had a conversation that Kaylan would recollect decades later in his autobiography: “So I hear you're in a rock 'n' roll band.” “Yep.” “Um, do you think I could join it?” “Well, what do you do?” “Nothing.” “Nothing?” “Nope.” “Sounds good to me. I'll ask Al.” Volman initially became the group's roadie and occasional tambourine player, and would also get on stage to sing a bit during their very occasional vocal numbers, but was mostly "in the band" in name only at first -- he didn't get a share of the group's money, but he was allowed to say he was in the group because that meant that his friends would come to the Nightriders' shows, and he was popular among the surfing crowd. Eventually, Volman's father started to complain that his son wasn't getting any money from being in the band, while the rest of the group were, and they explained to him that Volman was just carrying the instruments while they were all playing them. Volman's father said "if Mark plays an instrument, will you give him equal shares?" and they said that that was fair, so Volman got an alto sax to play along with Kaylan's tenor. Volman had also been taking clarinet lessons, and the two soon became a tight horn section for the group, which went through a few lineup changes and soon settled on a lineup of Volman and Kaylan on saxes, Nichol on lead guitar, Jim Tucker on rhythm guitar, Portz on bass, and Don Murray on drums. That new lineup became known as the Crossfires, presumably after the Johnny and the Hurricanes song of the same name: [Excerpt: Johnny and the Hurricanes, "Crossfire"] Volman and Kaylan worked out choreographed dance steps to do while playing their saxes, and the group even developed a group of obsessive fans who called themselves the Chunky Club, named after one of the group's originals: [Excerpt: The Crossfires, "Chunky"] At this point the group were pretty much only playing instrumentals, though they would do occasional vocals on R&B songs like "Money" or their version of Don and Dewey's "Justine", songs which required more enthusiasm than vocal ability. But their first single, released on a tiny label, was another surf instrumental, a song called "Dr. Jekyll and Mr. Hyde": [Excerpt: The Crossfires, "Dr. Jekyll and Mr Hyde"] The group became popular enough locally that they became the house band at the Revelaire Club in Redondo Beach. There as well as playing their own sets, they would also be the backing band for any touring acts that came through without their own band, quickly gaining the kind of performing ability that comes from having to learn a new artist's entire repertoire in a few days and be able to perform it with them live with little or no rehearsal. They backed artists like the Coasters, the Drifters, Bobby Vee, the Rivingtons, and dozens of other major acts, and as part of that Volman and Kaylan would, on songs that required backing vocals, sing harmonies rather than playing saxophone. And that harmony-singing ability became important when the British Invasion happened, and suddenly people didn't want to hear surf instrumentals, but vocals along the lines of the new British groups. The Crossfires' next attempt at a single was another original, this one an attempt at sounding like one of their favourite new British groups, the Kinks: [Excerpt: The Crossfires, "One Potato, Two Potato"] This change to vocals necessitated a change in the group dynamic. Volman and Kaylan ditched the saxophones, and discovered that between them they made one great frontman. The two have never been excessively close on a personal level, but both have always known that the other has qualities they needed. Frank Zappa would later rather dismissively say "I regard Howard as a fine singer, and Mark as a great tambourine player and fat person", and it's definitely true that Kaylan is one of the truly great vocalists to come out of the LA scene in this period, while Volman is merely a good harmony singer, not anything particularly special -- though he *is* a good harmony singer -- but it undersells Volman's contribution. There's a reason the two men performed together for nearly sixty years. Kaylan is a great singer, but also by nature rather reserved, and he always looked uncomfortable on stage, as well as, frankly, not exactly looking like a rock star (Kaylan describes himself not inaccurately as looking like a potato several times in his autobiography). Volman, on the other hand, is a merely good singer, but he has a naturally outgoing personality, and while he's also not the most conventionally good-looking of people he has a *memorable* appearance in a way that Kaylan doesn't. Volman could do all the normal frontman stuff, the stuff that makes a show an actual show -- the jokes, the dancing, the between-song patter, the getting the crowd going, while Kaylan could concentrate on the singing. They started doing a variation on the routine that had so enthralled Howard Kaylan when he'd seen Louis Prima and Keeley Smith do it as a child. Kaylan would stand more or less stock still, looking rather awkward, but singing like an angel, while Volman would dance around, clown, act the fool, and generally do everything he could to disrupt the performance -- short of actually disrupting it in reality. It worked, and Volman became one of that small but illustrious group of people -- the band member who makes the least contribution to the sound of the music but the biggest contribution to the feel of the band itself, and without whom they wouldn't be the same. After "One Potato, Two Potato" was a flop, the Crossfires were signed to their third label. This label, White Whale, was just starting out, and the Crossfires were to become their only real hit act. Or rather, the Turtles were. The owners of White Whale knew that they didn't have much promotional budget and that their label was not a known quantity -- it was a tiny label with no track record. But they thought of a way they could turn that to their advantage. Everyone knew that the Beatles, before Capitol had picked up their contracts, had had their records released on a bunch of obscure labels like Swan and Tollie. People *might* look for records on tiny independent labels if they thought it might be another British act who were unknown in the US but could be as good as the Beatles. So they chose a name for the group that they thought sounded as English as possible -- an animal name that started with "the", and ended in "les", just like the Beatles. The group, all teenagers at the time, were desperate enough that they agreed to change their name, and from that point on they became the Turtles. In order to try and jump on as many bandwagons as possible, the label wanted to position them as a folk-rock band, so their first single under the Turtles name was a cover of a Bob Dylan song, from Another Side of Bob Dylan: [Excerpt: Bob Dylan, "It Ain't Me Babe"] That song's hit potential had already been seen by Johnny Cash, who'd had a country hit with it a few months before. But the Turtles took the song in a different direction, inspired by Kaylan's *other* great influence, along with Prima and Smith. Kaylan was a big fan of the Zombies, one of the more interesting of the British Invasion groups, and particularly of their singer Colin Blunstone. Kaylan imitated Blunstone on the group's hit single, "She's Not There", on which Blunstone sang in a breathy, hushed, voice on the verses: [Excerpt: The Zombies, "She's Not There"] before the song went into a more stomping chorus on which Blunstone sang in a fuller voice: [Excerpt: The Zombies, "She's Not There"] Kaylan did this on the Turtles' version of "It Ain't Me Babe", starting off with a quiet verse: [Excerpt: The Turtles, "It Ain't Me Babe"] Before, like the Zombies, going into a foursquare, more uptempo, louder chorus: [Excerpt: The Turtles, "It Ain't Me Babe"] The single became a national top ten hit, and even sort of got the approval of Bob Dylan. On the group's first national tour, Dylan was at one club show, which they ended with "It Ain't Me Babe", and after the show the group were introduced to the great songwriter, who was somewhat the worse for wear. Dylan said “Hey, that was a great song you just played, man. That should be your single", and then passed out into his food. With the group's first single becoming a top ten hit, Volman and Kaylan got themselves a house in Laurel Canyon, which was not yet the rock star Mecca it was soon to become, but which was starting to get a few interesting residents. They would soon count Henry Diltz of the Modern Folk Quartet, Danny Hutton, and Frank Zappa among their neighbours. Soon Richie Furay would move in with them, and the house would be used by the future members of the Buffalo Springfield as their rehearsal space. The Turtles were rapidly becoming part of the in crowd. But they needed a follow-up single, and so Bones Howe, who was producing their records, brought in P.F. Sloan to play them a few of his new songs. They liked "Eve of Destruction" enough to earmark it as a possible album track, but they didn't think they would do it justice, and so it was passed on to Barry McGuire. But Sloan did have something for them -- a pseudo-protest song called "Let Me Be" that was very clearly patterned after their version of "It Ain't Me Babe", and which was just rebellious enough to make them seem a little bit daring, but which was far more teenage angst than political manifesto: [Excerpt: The Turtles, "Let Me Be"] That did relatively well, making the top thirty -- well enough for the group to rush out an album which was padded out with some sloppy cover versions of other Dylan songs, a version of "Eve of Destruction", and a few originals written by Kaylan. But the group weren't happy with the idea of being protest singers. They were a bunch of young men who were more motivated by having a good time than by politics, and they didn't think that it made sense for them to be posing as angry politicised rebels. Not only that, but there was a significant drop-off between "It Ain't Me Babe" and "Let Me Be". They needed to do better. They got the clue for their new direction while they were in New York. There they saw their friends in the Mothers of Invention playing their legendary residency at the Garrick Theatre, but they also saw a new band, the Lovin' Spoonful, who were playing music that was clearly related to the music the Turtles were doing -- full of harmonies and melody, and inspired by folk music -- but with no sense of rebelliousness at all. They called it "Good Time Music": [Excerpt: The Lovin' Spoonful, "Good Time Music"] As soon as they got back to LA, they told Bones Howe and the executives at White Whale that they weren't going to be a folk-rock group any more, they were going to be "good time music", just like the Lovin' Spoonful. They were expecting some resistance, but they were told that that was fine, and that PF Sloan had some good time music songs too. "You Baby" made the top twenty: [Excerpt: The Turtles, "You Baby"] The Turtles were important enough in the hierarchy of LA stars that Kaylan and Tucker were even invited by David Crosby to meet the Beatles at Derek Taylor's house when they were in LA on their last tour -- this may be the same day that the Beatles met Brian and Carl Wilson, as I talked about in the episode on "All You Need is Love", though Howard Kaylan describes this as being a party and that sounded like more of an intimate gathering. If it was that day, there was nearly a third Beach Boy there. The Turtles knew David Marks, the Beach Boys' former rhythm guitarist, because they'd played a lot in Inglewood where he'd grown up, and Marks asked if he could tag along with Kaylan and Tucker to meet the Beatles. They agreed, and drove up to the house, and actually saw George Harrison through the window, but that was as close as they got to the Beatles that day. There was a heavy police presence around the house because it was known that the Beatles were there, and one of the police officers asked them to drive back and park somewhere else and walk up, because there had been complaints from neighbours about the number of cars around. They were about to do just that, when Marks started yelling obscenities and making pig noises at the police, so they were all arrested, and the police claimed to find a single cannabis seed in the car. Charges were dropped, but now Kaylan was on the police's radar, and so he moved out of the Laurel Canyon home to avoid bringing police attention to Buffalo Springfield, so that Neil Young and Bruce Palmer wouldn't get deported. But generally the group were doing well. But there was a problem. And that problem was their record label. They rushed out another album to cash in on the success of "You Baby", one that was done so quickly that it had "Let Me Be" on it again, just as the previous album had, and which included a version of the old standard "All My Trials", with the songwriting credited to the two owners of White Whale records. And they pumped out a lot of singles. A LOT of singles, ranging from a song written for them by new songwriter Warren Zevon, to cover versions of Frank Sinatra's "It Was a Very Good Year" and the old standard "We'll Meet Again". Of the five singles after "You Baby", the one that charted highest was a song actually written by a couple of the band members. But for some reason a song with verses in 5/4 time and choruses in 6/4 with lyrics like "killing the living and living to kill, the grim reaper of love thrives on pain" didn't appeal to the group's good-time music pop audience and only reached number eighty-one: [Excerpt: The Turtles, "Grim Reaper of Love"] The group started falling apart. Don Murray became convinced that  the rest of the band were conspiring against him and wanted him out, so he walked out of the group in the middle of a rehearsal for a TV show. They got Joel Larson of the Grass Roots -- the group who had a number of hits with Sloan and Barri songs -- to sub for a few gigs before getting in a permanent replacement, Johnny Barbata, who came to them on the recommendation of Gene Clark, and who was one of the best drummers on the scene -- someone who was not only a great drummer but a great showman, who would twirl his drumsticks between his fingers with every beat, and who would regularly engage in drum battles with Buddy Rich. By the time they hit their fifth flop single in a row, they lost their bass player as well -- Chuck Portz decided he was going to quit music and become a fisherman instead. They replaced him with Chip Douglas of the Modern Folk Quartet. Then they very nearly lost their singers. Volman and Kaylan both got their draft notices at the same time, and it seemed likely they would end up having to go and fight in the Vietnam war. Kaylan was distraught, but his mother told him "Speak to your cousin Herb". Cousin Herb was Herb Cohen, the manager of the Mothers of Invention and numerous other LA acts, including the Modern Folk Quartet, and Kaylan only vaguely knew him at this time, but he agreed to meet up with them, and told them “Stop worrying! I got Zappa out, I got Tim Buckley out, and I'll get you out.” Cohen told Volman and Kaylan to not wash for a week before their induction, to take every drug of every different kind they could find right before going in, to deliberately disobey every order, to fail the logic tests, and to sexually proposition the male officers dealing with the induction. They followed his orders to the letter, and got marked as 4-F, unfit for service. They still needed a hit though, and eventually they found something by going back to their good-time music idea. It was a song from the Koppelman-Rubin publishing company -- the same company that did the Lovin Spoonful's management and production. The song in question was by Alan Gordon and Gary Bonner, two former members of a group called the Magicians, who had had a minor success with a single called "An Invitation to Cry": [Excerpt: The Magicians, "An Invitation to Cry"] The Magicians had split up, and Bonner and Gordon were trying to make a go of things as professional songwriters, but had had little success to this point. The song on the demo had been passed over by everyone, and the demo was not at all impressive, just a scratchy acetate with Bonner singing off-key and playing acoustic rhythm guitar and Gordon slapping his knees to provide rhythm, but the group heard something in it. They played the song live for months, refining the arrangement, before taking it into the studio. There are arguments to this day as to who deserves the credit for the sound on "Happy Together" -- Chip Douglas apparently did the bulk of the arrangement work while they were on tour, but the group's new producer, Joe Wissert, a former staff engineer for Cameo-Parkway, also claimed credit for much of it. Either way, "Happy Together" is a small masterpiece of dynamics. The song is structured much like the songs that had made the Turtles' name, with the old Zombies idea of the soft verse and much louder chorus: [Excerpt: The Turtles, "Happy Together"] But the track is really made by the tiny details of the arrangement, the way instruments and vocal parts come in and out as the track builds up, dies down, and builds again. If you listen to the isolated tracks, there are fantastic touches like the juxtaposition of the bassoon and oboe (which I think is played on a mellotron): [Excerpt: The Turtles, "Happy Together", isolated tracks] And a similar level of care and attention was put into the vocal arrangement by Douglas, with some parts just Kaylan singing solo, other parts having Volman double him, and of course the famous "bah bah bah" massed vocals: [Excerpt: The Turtles, "Happy Together", isolated vocals] At the end of the track, thinking he was probably going to do another take, Kaylan decided to fool around and sing "How is the weather?", which Bonner and Gordon had jokingly done on the demo. But the group loved it, and insisted that was the take they were going to use: [Excerpt: The Turtles, "Happy Together"] "Happy Together" knocked "Penny Lane" by the Beatles off the number one spot in the US, but by that point the group had already had another lineup change. The Monkees had decided they wanted to make records without the hit factory that had been overseeing them, and had asked Chip Douglas if he wanted to produce their first recordings as a self-contained band. Given that the Monkees were the biggest thing in the American music industry at the time, Douglas had agreed, and so the group needed their third bass player in a year. The one they went for was Jim Pons. Pons had seen the Beatles play at the Hollywood Bowl in 1964, and decided he wanted to become a pop star. The next day he'd been in a car crash, which had paid out enough insurance money that he was able to buy two guitars, a bass, drums, and amps, and use them to start his own band. That band was originally called The Rockwells, but quickly changed their name to the Leaves, and became a regular fixture at Ciro's on Sunset Strip, first as customers, then after beating Love in the auditions, as the new resident band when the Byrds left. For a while the Leaves had occasionally had guest vocals from a singer called Richard Marin, but Pons eventually decided to get rid of him, because, as he put it "I wanted us to look like The Beatles. There were no Mexicans in The Beatles". He is at pains in his autobiography to assure us that he's not a bigot, and that Marin understood. I'm sure he did. Marin went on to be better known as Cheech Marin of Cheech and Chong. The Leaves were signed by Pat Boone to his production company, and through that company they got signed to Mira Records. Their first single, produced by Nik Venet, had been a version of "Love Minus Zero (No Limit)", a song by Bob Dylan: [Excerpt: The Leaves, "Love Minus Zero (No Limit)"] That had become a local hit, though not a national one, and the Leaves had become one of the biggest bands on the Sunset Strip scene, hanging out with all the other bands. They had become friendly with the Doors before the Doors got a record deal, and Pat Boone had even asked for an introduction, as he was thinking of signing them, but unfortunately when he met Jim Morrison, Morrison had drunk a lot of vodka, and given that Morrison was an obnoxious drunk Boone had second thoughts, and so the world missed out on the chance of a collaboration between the Doors and Pat Boone. Their second single was "Hey Joe" -- as was their third and fourth, as we discussed in that episode: [Excerpt: The Leaves, "Hey Joe"] Their third version of "Hey Joe" had become a top forty hit, but they didn't have a follow-up, and their second album, All The Good That's Happening, while it's a good album, sold poorly. Various band members quit or fell out, and when Johnny Barbata knocked on Jim Pons' door it was an easy decision to quit and join a band that had a current number one hit. When Pons joined, the group had already recorded the Happy Together album. That album included the follow-up to "Happy Together", another Bonner and Gordon song, "She'd Rather Be With Me": [Excerpt: The Turtles, "She'd Rather Be With Me"] None of the group were tremendously impressed with that song, but it did very well, becoming the group's second-biggest hit in the US, reaching number three, and actually becoming a bigger hit than "Happy Together" in parts of Europe. Before "Happy Together" the group hadn't really made much impact outside the US. In the UK, their early singles had been released by Pye, the smallish label that had the Kinks and Donovan, but which didn't have much promotional budget, and they'd sunk without trace. For "You Baby" they'd switched to Immediate, the indie label that Andrew Oldham had set up, and it had done a little better but still not charted. But from "Happy Together" they were on Decca, a much bigger label, and "Happy Together" had made number twelve in the charts in the UK, and "She'd Rather Be With Me" reached number four. So the new lineup of the group went on a UK tour. As soon as they got to the hotel, they found they had a message from Graham Nash of the Hollies, saying he would like to meet up with them. They all went round to Nash's house, and found Donovan was also there, and Nash played them a tape he'd just been given of Sgt Pepper, which wouldn't come out for a few more days. At this point they were living every dream a bunch of Anglophile American musicians could possibly have. Jim Tucker mentioned that he would love to meet the Beatles, and Nash suggested they do just that. On their way out the door, Donovan said to them, "beware of Lennon". It was when they got to the Speakeasy club that the first faux-pas of the evening happened. Nash introduced them to Justin Hayward and John Lodge of the Moody Blues, and Volman said how much he loved their record "Go Now": [Excerpt: The Moody Blues, "Go Now"] The problem was that Hayward and Lodge had joined the group after that record had come out, to replace its lead singer Denny Laine. Oh well, they were still going to meet the Beatles, right? They got to the table where John, Paul, and Ringo were sat, at a tense moment -- Paul was having a row with Jane Asher, who stormed out just as the Turtles were getting there. But at first, everything seemed to go well. The Beatles all expressed their admiration for "Happy Together" and sang the "ba ba ba" parts at them, and Paul and Kaylan bonded over their shared love for "Justine" by Don and Dewey, a song which the Crossfires had performed in their club sets, and started singing it together: [Excerpt: Don and Dewey, "Justine"] But John Lennon was often a mean drunk, and he noticed that Jim Tucker seemed to be the weak link in the group, and soon started bullying him, mocking his clothes, his name, and everything he said. This devastated Tucker, who had idolised Lennon up to that point, and blurted out "I'm sorry I ever met you", to which Lennon just responded "You never did, son, you never did". The group walked out, hurt and confused -- and according to Kaylan in his autobiography, Tucker was so demoralised by Lennon's abuse that he quit music forever shortly afterwards, though Tucker says that this wasn't the reason he quit. From their return to LA on, the Turtles would be down to just a five-piece band. After leaving the club, the group went off in different directions, but then Kaylan (and this is according to Kaylan's autobiography, there are no other sources for this) was approached by Brian Jones, asking for his autograph because he loved the Turtles so much. Jones introduced Kaylan to the friend he was with, Jimi Hendrix, and they went out for dinner, but Jones soon disappeared with a girl he'd met. and left Kaylan and Hendrix alone. They were drinking a lot -- more than Kaylan was used to -- and he was tired, and the omelette that Hendrix had ordered for Kaylan was creamier than he was expecting... and Kaylan capped what had been a night full of unimaginable highs and lows by vomiting all over Jimi Hendrix's expensive red velvet suit. Rather amazingly after all this, the Moody Blues, the Beatles, and Hendrix, all showed up to the Turtles' London gig and apparently enjoyed it. After "She'd Rather Be With Me", the next single to be released wasn't really a proper single, it was a theme song they'd been asked to record for a dire sex comedy titled "Guide for the Married Man", and is mostly notable for being composed by John Williams, the man who would later go on to compose the music for Star Wars. That didn't chart, but the group followed it with two more top twenty hits written by Bonner and Gordon, "You Know What I Mean" and "She's My Girl". But then the group decided that Bonner and Gordon weren't giving them their best material, and started turning down their submissions, like a song called "Celebrity Ball" which they thought had no commercial potential, at least until the song was picked up by their friends Three Dog Night, retitled "Celebrate", and made the top twenty: [Excerpt: Three Dog Night, "Celebrate"] Instead, the group decided to start recording more of their own material. They were worried that in the fast-changing rock world bands that did other songwriters' material were losing credibility. But "Sound Asleep", their first effort in this new plan, only made number forty-seven on the charts. Clearly they needed a different plan. They called in their old bass player Chip Douglas, who was now an experienced hitmaker as a producer. He called in *his* friend Harry Nilsson, who wrote "The Story of Rock & Roll" for the group, but that didn't do much better, only making number forty-eight. But the group persevered, starting work on a new album produced by Douglas, The Turtles Present The Battle of the Bands, the conceit of which was that every track would be presented as being by a different band. So there were tracks by  Chief Kamanawanalea and his Royal Macadamia Nuts,  Fats Mallard and the Bluegrass Fireball, The Atomic Enchilada, and so on, all done in the styles suggested by those band names. There was even a track by "The Cross Fires": [Excerpt: The Cross Fires, "Surfer Dan"] It was the first time the group had conceived of an album as a piece, and nine of the twelve tracks were originals by the band -- there was a track written by their friend Bill Martin, and the opening track, by "The US Teens Featuring Raoul", was co-written by Chip Douglas and Harry Nilsson. But for the most part the songs were written by the band members themselves, and jointly credited to all of them. This was the democratic decision, but one that Howard Kaylan would later regret, because of the song for which the band name was just "Howie, Mark, Johnny, Jim & Al". Where all the other songs were parodies of other types of music, that one was, as the name suggests, a parody of the Turtles themselves. It was written by Kaylan in disgust at the record label, who kept pestering the group to "give us another 'Happy Together'". Kaylan got more and more angry at this badgering, and eventually thought "OK, you want another 'Happy Together'? I'll give you another 'Happy Together'" and in a few minutes wrote a song that was intended as an utterly vicious parody of that kind of song, with lyrics that nobody could possibly take seriously, and with music that was just mocking the whole structure of "Happy Together" specifically. He played it to the rest of the group, expecting them to fall about laughing, but instead they all insisted it was the group's next single. "Elenore" went to number six on the charts, becoming their biggest hit since "She'd Rather Be With Me": [Excerpt: The Turtles, "Elenore"] And because everything was credited to the group, Kaylan's songwriting royalties were split five ways. For the follow-up, they chose the one actual cover version on the album. "You Showed Me" is a song that Roger McGuinn and Gene Clark had written together in the very early days of the Byrds, and they'd recorded it as a jangly folk-rock tune in 1964: [Excerpt: The Byrds, "You Showed Me"] They'd never released that track, but Gene Clark had performed it solo after leaving the Byrds, and Douglas had been in Clark's band at the time, and liked the song. He played it for the Turtles, but when he played it for them the only instrument he had to hand was a pump organ with one of its bellows broken. Because of this, he had to play it slowly, and while he kept insisting that the song needed to be faster, the group were equally insistent that what he was playing them was the big ballad hit they wanted, and they recorded it at that tempo. "You Showed Me" became the Turtles' final top ten hit: [Excerpt: The Turtles, "You Showed Me"] But once again there were problems in the group. Johnny Barbata was the greatest drummer any of them had ever played with, but he didn't fit as a personality -- he didn't like hanging round with the rest of them when not on stage, and while there were no hard feelings, it was clear he could get a gig with pretty much anyone and didn't need to play with a group he wasn't entirely happy in. By mutual agreement, he left to go and play with Crosby, Stills, Nash, and Young, and was replaced by John Seiter from Spanky and Our Gang -- a good drummer, but not the best of the best like Barbata had been. On top of this, there were a whole host of legal problems to deal with. The Turtles were the only big act on White Whale records, though White Whale did put out some other records. For example, they'd released the single "Desdemona" by John's Children in the US: [Excerpt: John's Children, "Desdemona"] The group, being the Anglophiles they were, had loved that record, and were also among the very small number of Americans to like the music made by John's Children's guitarist's new folk duo, Tyrannosaurus Rex: [Excerpt: Tyrannosaurus Rex, "Debora"] When Tyrannosaurus Rex supported the Turtles, indeed, Volman and Kaylan became very close to Marc Bolan, and told him that the next time they were in England they'd have to get together, maybe even record together. That would happen not that many years later, with results we'll be getting to in... episode 201, by my current calculations. But John's Children hadn't had a hit, and indeed nobody on White Whale other than the Turtles had. So White Whale desperately wanted to stop the Turtles having any independence, and to make sure they continued to be their hit factory. They worked with the group's roadie, Dave Krambeck, to undermine the group's faith in their manager, Bill Utley, who supported the group in their desire for independence. Soon, Krambeck and White Whale had ousted Utley, and Krambeck had paid Utley fifty thousand dollars for their management contract, with the promise of another two hundred thousand later. That fifty thousand dollars had been taken by Krambeck as an advance against the Turtles' royalties, so they were really buying themselves out. Except that Krambeck then sold the management contract on to a New York management firm, without telling the group. He then embezzled as much of the group's ready cash as he could and ran off to Mexico, without paying Utley his two hundred thousand dollars. The Turtles were out of money, and they were being sued by Utley because he hadn't had the money he should have had, and by the big New York firm, because  since the Turtles hadn't known they were now legally their managers they were in breach of contract. They needed money quickly, and so they signed with another big management company, this one co-owned by Bill Cosby, in the belief that Cosby's star power might be able to get them some better bookings. It did -- one of the group's first gigs after signing with the new company was at the White House. It turned out they were Tricia Nixon's favourite group, and so they and the Temptations were booked at her request for a White House party. The group at first refused to play for a President they rightly thought of as a monster, but their managers insisted. That destroyed their reputation among the cool antiestablishment youth, of course, but it did start getting them well-paid corporate gigs. Right up until the point where Kaylan became sick at his own hypocrisy at playing these events, drank too much of the complimentary champagne at an event for the president of US Steel, went into a drunken rant about how sick the audience made him, and then about how his bandmates were a bunch of sellouts, threw his mic into a swimming pool, and quit while still on stage. He was out of the band for two months, during which time they worked on new material without him, before they made up and decided to work on a new album. This new album, though, was going to be more democratic. As well as being all original material, they weren't having any of this nonsense about the lead singer singing lead. This time, whoever wrote the song was going to sing lead, so Kaylan only ended up singing lead on six of the twelve songs on what turned out to be their final album, Turtle Soup. They wanted a truly great producer for the new album, and they all made lists of who they might call. The lists included a few big names like George Martin and Phil Spector, but one name kept turning up -- Ray Davies. As we'll hear in the next episode, the Kinks had been making some astonishing music since "You Really Got Me", but most of it had not been heard in the US. But the Turtles all loved the Kinks' 1968 album The Kinks Are The Village Green Preservation Society, which they considered the best album ever made: [Excerpt: The Kinks, "Animal Farm"] They got in touch with Davies, and he agreed to produce the album -- the first time he did any serious outside production work -- and eventually they were able to persuade White Whale, who had no idea who he was, to allow him to produce it. The resulting album is by far the group's strongest album-length work, though there were problems -- Davies' original mix of the album was dominated by the orchestral parts written by Wrecking Crew musician Ray Pohlman, while the group thought that their own instruments should be more audible, since they were trying to prove that they were a proper band. They remixed it themselves, annoying Davies, though reissues since the eighties have reverted to a mix closer to Davies' intentions. Some of the music, like Pons' "Dance This Dance With Me", perhaps has the group trying a little *too* hard to sound like the Kinks: [Excerpt: The Turtles, "Dance This Dance With Me"] But on the other hand, Kaylan's "You Don't Have to Walk in the Rain" is the group's last great pop single, and has one of the best lines of any single from the sixties -- "I look at your face, I love you anyway": [Excerpt: The Turtles, "You Don't Have to Walk in the Rain"] But the album produced no hits, and the group were getting more and more problems from their label. White Whale tried to get Volman and Kaylan to go to Memphis without the other band members to record with Chips Moman, but they refused -- the Turtles were a band, and they were proud of not having session players play their parts on the records. Instead, they started work with Jerry Yester producing on a new album, to be called Shell Shock. They did, though bow to pressure and record a terrible country track called "Who Would Ever Think That I Would Marry Margaret" backed by session players, at White Whale's insistence, but managed to persuade the label not to release it. They audited White Whale and discovered that in the first six months of 1969 alone -- a period where they hadn't sold that many records -- they'd been underpaid by a staggering six hundred and fifty thousand dollars. They sued the label for several million, and in retaliation, the label locked them out of the recording studio, locking their equipment in there. They basically begged White Whale to let them record one last great single, one last throw of the dice. Jim Pons had, for years, known a keyboard player named Bob Harris, and had recently got to know Harris' wife, Judee Sill. Sill had a troubled life -- she was a heroin addict, and had at times turned to streetwalking to earn money, and had spent time in prison for armed robbery -- but she was also an astonishing songwriter, whose music was as inspired by Bach as by any pop or folk composer. Sill had been signed to Blimp, the Turtles' new production and publishing company, and Pons was co-producing some tracks on her first album, with Graham Nash producing others. Pons thought one song from that album, "Lady-O", would be perfect for the Turtles: [Excerpt: Judee Sill, "Lady-O"] (music continues under) The Turtles stuck closely to Sill's vision of the song. So closely that you haven't noticed that before I started talking, we'd already switched from Sill's record to the Turtles' version. [Excerpt: The Turtles, "Lady-O"] That track, with Sill on guitar backing Kaylan, Volman, and Nichol's vocals, was the last Turtles single to be released while the band were together. Despite “Lady O” being as gorgeous a melody as has ever been produced in the rock world, it sank without trace, as did a single from the Shell Shock sessions released under a pseudonym, The Dedications. White Whale followed that up, to the group's disgust, with "Who Would Ever Think That I Would Marry Margaret?", and then started putting out whatever they had in the vaults, trying to get the last few pennies, even releasing their 1965 album track version of "Eve of Destruction" as if it were a new single. The band were even more disgusted when they discovered that, thanks to the flurry of suits and countersuits, they not only could no longer perform as the Turtles, but White Whale were laying legal claim to their own names. They couldn't perform under those names -- Howard Kaylan, Mark Volman, and the rest were the intellectual property of White Whale, according to the lawyers. The group split up, and Kaylan and Volman did some session work, including singing on a demo for a couple of new songwriters: [Excerpt: Steely Dan, "Everyone's Gone to the Movies"] When that demo got the songwriters a contract, one of them actually phoned up to see if Kaylan wanted a permanent job in their new band, but they didn't want Volman as well, so Kaylan refused, and Steely Dan had to do without him. Volman and Kaylan were despondent, washed-up, has-been ex-rock stars. But when they went to see a gig by their old friend Frank Zappa, it turned out that he was looking for exactly that. Of course, they couldn't use their own names, but the story of the Phlorescent Leech and Eddie is a story for another time...

tv love american new york history money president children english europe babies uk rock las vegas england guide star wars americans mexico british san francisco young football walk story speak white house zombies celebrate mexican kingdom of god vietnam rain harris jump mothers beatles cd hurricanes invitation capitol doors rock and roll disneyland foundations destruction turtles bob dylan bands bill cosby magicians invention bach frank sinatra morrison prima temptations neil young ventures charges davies johnny cash swan jimi hendrix john williams beach boys lodge herb cosby grassroots mecca t rex kinks jekyll george harrison lovin mixcloud hayward ray charles tilt howie frank zappa chong dewey ringo jim morrison monkees steely dan italian americans speakeasy stills rock music grim reaper bonner inglewood ciro hollywood bowl phil spector sunset strip zappa cheech byrds british invasion jive drifters spoonful brian jones sill george martin david crosby pons barri my girl moody blues warren zevon wrecking crew all you need coasters laurel canyon harry nilsson blimps mp3s married man spanky hollies sgt pepper redondo beach penny lane happy together three dog night decca pat boone buffalo springfield cheech marin graham nash dedications shellshock buddy rich white whale dixieland marc bolan ray davies bob harris louis prima utley tim buckley another side not there bill martin mouseketeers turnin louis jordan bobby vee pye kaylan roger mcguinn sid caesar colin blunstone king louis lovin spoonful derek taylor us steel jim tucker king curtis denny laine turtle soup alan gordon carl wilson gene clark john lodge barry mcguire jane asher nightriders our gang judee sill justin hayward david marks one potato you really got me tossin let me be found you anglophiles garrick theatre don murray this dvd herb cohen ernie kovacs henry diltz lady o chips moman volman very good year howard kaylan you know what i mean blunstone andrew oldham me babe i wanna be like you mark volman tollie flo and eddie all my trials tilt araiza
The Musical Innertube
The Musical Innertube - Talking About Walter Becker

The Musical Innertube

Play Episode Listen Later Sep 20, 2022 41:33


When Steely Dan co-founder Walter Becker died, the Musical Innertube was a comedy sketch show. Don and John decided to use an episode to remember Becker and Steely Dan, and changed the Innertube in the process.

SoundGirls Podcast
SoundGirls Living History Project with Lenise Bent Part 1 - Interviewed by Aline Bruijns

SoundGirls Podcast

Play Episode Listen Later Sep 20, 2022 37:21


Lenise Bent is one of the first women audio engineers & honed her skills on many iconic records including “Aja” by Steely Dan and “Breakfast in America” by Supertramp. She is the first woman engineer to receive a platinum album for Blondie's “AutoAmerican” album which includes “The Tide is High” and the very first hit rap song with music, “Rapture”. Lenise is also a post-production audio professional, specializing in recording and editing foley sound effects for many films and animated series and has traveled the world for Dreamworks supervising the foreign dialogue recording and producing the vocals for such animated features as “Shrek”, “Spirit: Stallion of the Cimmaron” and “Shrek 2”. She also archives and repairs audio, and instructs and consults for singer/songwriters. Lenise is a long-standing member of the Audio Engineering Society, the Producers & Engineers Wing of the Recording Academy, and a voting member of NARAS. She is also a proud member SoundGirls, Women's Audio Mission (WAM), Women in Music, the prestigious Hollywood Sapphire Group, The Blues Foundation, IASA (International Association of Sound Archivists), and ARSC (Assoc. of Recorded Sound Collectors). Though primarily working in digital recording formats, Lenise recently produced and engineered an all-analog recording with blues/rock/Indy band Primal Kings, recording to 2” tape, mixing to 1⁄2” and cut to vinyl from tape, all analog and entirely out of the box. To know more about Lenise Bent go to her website at www.lenisebent.com SoundGirls Feature Profile Lenise Bent https://soundgirls.org/giving-back-to... SoundGirls Living History Project Lenise Bent Part 1 https://youtu.be/lNM6seMROaI SoundGirls Living History Project Lenise Bent Part 2 https://youtu.be/0hCLBaqz51s Interviewed by Aline Bruijns Aline Bruijns (MPSE) Aline has a never-ending drive to create sound design that enriches a soundtrack and that elevates the story. As a jazz vocalist (and multi-instrumentalist), she obtained her Bachelor's Degree at the Conservatory in Enschede (the Netherlands) in 2004. She continued at the HKU (School of the Arts Utrecht) in Hilversum and got a Master of Arts Degree in Sound Design in 2007. Having experienced and been educated in so many layers of music and sound has enhanced her work and ability to collaborate and work within all audio postproduction departments. She has been the founder and sound designer of the audio post-production company AudioRally Sounddesign since 2009. In 2019 she was admitted as an International Member of the Motion Picture Sound Editors organization (MPSE), board member of the VCA (dutch film audio society), and became co-chapter head of SoundGirls Netherlands. For more information about Aline www.audiorallysounddesign.com Sponsored by QSC https://www.qsc.com  

107.9 The Fox Morning Show
Bowie Called It! 'Life On Mars?"~ MASH-UP! Steely Dan/Motley Crue~ Nations Nicest Drivers Live Where? 9-19-2022

107.9 The Fox Morning Show

Play Episode Listen Later Sep 19, 2022 42:09


The Upful LIFE Podcast
060: JOEL CUMMINS [co-founder/keyboards - Umphrey's McGee, author]

The Upful LIFE Podcast

Play Episode Listen Later Sep 19, 2022 89:15


Checking in from the Asking For A Friend Tour, Umphrey's McGee keyboardist/co-founder JOEL CUMMINS saddles up for an insightful chat. I was lucky to run right into Joel at Sacred Rose outside of Chicago at the end of August, where UM headlined with two sets on Saturday night. Turns out the multi-faceted artist was keen to come on this show! I'm a bit less familiar with this band's catalog than many of the guests who bless up these podwaves, yet I've always been friendly with Joel over the past decade or so. I have a tremendous respect for what he - and his brothers in Umphrey's McGee - have worked so diligently (and independently) to build over the course of twenty-five years. 2:45    - The Upful Update 7:00    - Introducing JOEL CUMMINS of Umphrey's McGee 14:00 - Interview- JOEL CUMMINS I was stoked to link up with Cummins right after Sacred Rose, and chop it up on the backstory on his band's new album and the latest on the tour behind it. We get into Umphrey's McGee road-dawg trends and preferences, the advantages to routing weekend runs, keeping an improv band fresh and focused onstage, getting along off of it. We hear about the music business book that Joel authored a couple of years ago, plus some wisdom and perspective on the back end of the pandemic experience. Cummins touches on his passion for the iconic Fender Rhodes electric piano. Nods to Keith Jarrett, Donny Hathaway, his love for Claude Debussy and classical music, as well as Metallica's 1988 prog-metal masterpiece ...And Justice For All. I was sure to sneak in a smidge of Steely Dan debate before our time ran out. Big thanks to Joel Cummins!   Vibe Junkie JAMZ "So Much" Umphrey's McGee - Asking For a Friend   "Tonberry" lespecial Live from Rick's House June 2022   EMAIL the SHOW! B.Getz@UpfulLIFE.cSom PLEASE LEAVE A REVIEW on Apple Podcasts! Listen to Upful LIFE on Spotify ! Theme Song: "Mazel Tov"- CALVIN VALENTINE

whatishipradio's podcast
Episode 228: What is Hip Radio - SUNDAY NIGHT JAZZ - Sept 18 22

whatishipradio's podcast

Play Episode Listen Later Sep 19, 2022 61:32


  | Oscar Peterson  | Nancy with the Laughing face | Wallace Rooney  | Dahood | Joey DeFrancesco  | Incognito | Poncho Sanchez  | Watermelon Man | Ray Barretto  | Exodus | Nicola Conte  | New Blues | Gabor Szabo  | Fire Dance | Joey DeFrancesco  | Vibrations in Blue | Steely Dan  | Do it Again

Whole 'Nuther Thing
Episode 699: Whole 'Nuther Thing September 18, 2022

Whole 'Nuther Thing

Play Episode Listen Later Sep 19, 2022 87:58


Today's program is abbreviated due to a technical glitch and is only 90 minutes. Joining us on the Sunday Edition Of Whole 'Nuther Thing are Beck, Tim Buckley, Renaissance, John Klemmer, Joe Walsh, Steely Dan, Ben Folds, Doobie Brothers, The Who, Gerry Rafferty, The Black Keys, Allman Brothers, Walter Egan, Quicksilver, and Jefferson Airplane.

Movie Meltdown
Attack of Tim Cappello!

Movie Meltdown

Play Episode Listen Later Sep 19, 2022 93:40


Attack of the Killer Soundtrack 65 Join us “live” from The Whirling Tiger as we talk with Tim Cappello. He's an accomplished multi-instrumentalist, a singer, a songwriter and a man who will forever be known as - the sexy sax man from “The Lost Boys”.  And while we consider pausing the interview to start looking for back issues of Interview Magazine, we also mention… Tina Turner, John Coltrane, Billy Crystal, Captain Beefheart, Charlie Parker, military bands, The New England Conservatory of Music, Michael Chapman, Lennie Tristano, The Raspberries, banned from CBGBs, The Marotta Brothers, Andy Warhol, throwing live bait into the audience, Elton John, clarinet, Saturday Night Live, Eric Carmen, tie-dye, Cameo, I know a guy that can do both, Peter Gabriel, we were doing McDonald's conventions, Joel Schumacher, being a meme, Steely Dan, Lester Young, Mad Max Beyond Thunderdome, Garland Jeffreys, Jon Hamm, head banging to sax, a wall of LPs, Aretha Franklin, you gotta have some wrong in what you are doing, Ornette Coleman, utility players, The Ken Dolls, Adolphe Sax and the ever-present cod-piece.  “That's just another night in Santa Cruz.”

Dad Band Land
DBL Ep 29 - “Aja” Miners

Dad Band Land

Play Episode Listen Later Sep 16, 2022 78:17 Very Popular


We dig deep into Steely Dan's “Aja,” which Kevin has somehow avoided all these years. And it's another listener-supplied Jeffy's Jukebox - great songs that have the same title as other great songs! And of course you can enjoy all today's tunes on our custom-built Apple Music playlist: https://music.apple.com/us/playlist/dad-band-land-ep-29-playlist/pl.u-JPAZB1qtl8KK Email: dadbandland@gmail.com Twitter: https://twitter.com/dadbandland Insta: https://instagram.com/dadbandland FB: https://www.facebook.com/dadbandland Learn more about your ad choices. Visit megaphone.fm/adchoices

Holmberg's Morning Sickness
09-16-22 - Entertainment Drill - FRI - Tracy Morgan Likes Fish Tank But Has Sharks In Them - Mashup Of Motley Crue And Steely Dan Is Kinda Cool

Holmberg's Morning Sickness

Play Episode Listen Later Sep 16, 2022 14:05


Holmberg's Morning Sickness - The Entertainment Drill - Friday September 16, 2022

Rock N Roll Pantheon
Rock's Backpages: Wayne Robins on Steely Dan + Donald Fagen + Denny Dias

Rock N Roll Pantheon

Play Episode Listen Later Sep 15, 2022 82:22


In this episode we invite former Creem editor and Newsday critic Wayne Robins to reminisce about his journalistic journey from the Berkeley Barb to NYU's graduate school of journalism — and to hold forth on his (and our) beloved Steely Dan.Wayne recalls the suburban East Coast childhood he had in common with the Dan's Donald Fagen— and the music that set them both free from it. Jumping forward to 1969, he describes the Rolling Stones show he saw in Oakland a month before Altamont. He also paints a vivid and amusing picture of Bard College, the upstate New York institution he attended at the same time as Fagen and Dan co-founder Walter Becker. Clips from RBP audio interviews with the duo and original Dan member Denny Dias accompany an in-depth discussion of every rock egghead's favourite group, not to mention Fagen's 40-year-old solo album The Nightfly.The episode concludes with a swift survey of recent additions to the RBP library, including  pieces about Juliette Gréco (1961), James Booker (1976), Mark E. Smith (1990), Limp Bizkit(2000), Soul Train's Don Cornelius (2012), Rolling Stone's Jann Wenner (2017)… and the "atomic" Count Basie (2020).Many thanks to special guest Wayne Robins. Sign up for his newsletter Critical Conditions at waynerobins49.substack.com.Pieces discussed: Rolling Stones, Steely Dan, Steely Dan II, Donald Fagen audio, Denny Dias audio, Donald Fagen, Steely Dan III, Juliette Gréco, The Beach Boys, David Bowie, Culture Club, James Booker, Tom Petty, The Sixties, The Fall, Jann Wenner, Among the Mooks, Don Cornelius and Count Basie. 

SCFB 327: Great Album from New Band from Poland "KLAWO". Funk, Steely Dan, Bad Bad Not Good. THIS IS A FREE PODCAST PLEASE SUBSCRIBE AND SHARE WITH OTHERS.

"SOMETHING...came from Baltimore"

Play Episode Listen Later Sep 15, 2022 16:24


Bandcamp:  Klawo (CNC014) | Klawo (bandcamp.com) Klawo's origins date back to the second half of 2019, when Konstanty Kostka was asked to arrange his “Flądra EP” (Latarnia Rec.) for his upcoming gig organized by Coastline Northern Cuts – with a live band instead of his beloved sampler. After four months of research and first collective rehearsals it turned out that these arrangements and the energy of an emerging project gave “Flądra” a totally fresh groove. Spontaneity of jazz improvisation resulted in an appetite for further cooperation and making new stuff together. In their own words: “Klawo is made up of good friends who spend their daily lives roaming the corridors of the Music Academy in Gdańsk… or hanging out on the beach”. To be precise, Klawo consists of: Alicja Sobstyl – flute, vocal Malina Midera – keys, synths Karol Tchórz – trumpet Tomasz Rafalski – drums Artur Szalsza – bass Konstanty Kostka – keys, synths THIS IS A FREE PODCAST. SCFB is found on:  Youtube, Itunes, Anchor, Spotify, Amazon Podcasts, Google Podcast, Overcast, Breaker, Castbox, Radio Public, Podbay, Stitcher....and more! Full Interview (unedited) with Jeff Coffin is on Youtube only:  https://www.youtube.com/watch?v=vMIDxdNRPac&t=1013s Tom Gouker is also featured on a limited-run podcast about the Beatles called, "The Beatles Come To America", Join Tom and the "Beatle Guru" Brooke Halpin as we chat about the US Album Releases of the Beatles ("65", "Yesterday & Today" and "Hey Jude"...they are all there.) How To Get a Hold of SOMETHING came from Baltimore: Contacts Information: Email:  somethingcamefrombaltimore@gmail.com Twitter: something came from baltimore (@tom_gouker) / Twitter Instagram: Something Came From Baltimore (@something.came.from.baltimore) Did You know that SOMETHING came from Baltimore is on "TheBocX.com". TheBocX.com - Something came from Baltimore is a Podcast and a 30-minute radio show and can be heard weekly (Thursday's at 7pm EST) it's called, SOMETHING came from Baltimore THE SHOW. Check out the Station: Jazz Music Radio - The BocX Streaming Jazzy Music Spotify Playlists: Are available under the name DJNormal (that is my DJ name) Spotify Playlist:    Here is a list of my favorite shows from 2021....Best Songs of 2021! https://open.spotify.com/playlist/16C... Support SOMETHING came from Baltimore: TIPS! Tom Gouker's Cash App Account:  $ThomasGouker Tom Gouker's Venmo Account:  Thomas-Gouker --- Send in a voice message: https://anchor.fm/somethingcame-from-baltim/message Support this podcast: https://anchor.fm/somethingcame-from-baltim/support

The Boozebuddy Update
9/8/22 - Vermont Crushing Goals, A Down Underdog Wins Big, & Canned Drunk Jokes

The Boozebuddy Update

Play Episode Listen Later Sep 8, 2022 3:02


#reuse #reusiverse #recycling #shiraz #australia #steelydan #steelycan #threesheets #cannedwine #winelover #winner #vinus #shiraz Brought to you by Green Mountain Payments - helping local business owners save thousands of dollars by providing complimentary credit card processing equipment and zero cost credit card processing. Visit greenmountainpayments.com or posandzero.com today! Vermont Crushing Goals! Also - yours truly got quoted in an article about Vermont's Reusiverse Goals. Vermont is now recycling about10,000 a month and is on target for 100,000 by the year's end. Read more about how Vermonters are reusing the carriers at https://ecofriendlybeer.com/vermonts-reusiverse-rescues-10000-can-carriers-every-month-on-pace-for-100000-by-years-end/ A Down Underdog Wins Big as Taylor's Estate Shiraz has won the award as the best wine in the world for 2022 at the annual VINUS International Wine & Spirits Competition in Argentina. https://7news.com.au/lifestyle/food-wine/grape-choice-a-22-bottle-of-australian-shiraz-is-crowned-the-best-wine-in-the-world-at-prestigious-show-c-8140037 Canned Drunk Jokes. A band called Three Sheets is a huge fan of Steely Dan and joked about making a canned wine and calling it ‘Steely Can'. Well, the joke's on them because they actually saw it through. Check out the full story at https://richmondbizsense.com/2022/09/06/sheet-canned-rock-band-three-sheets-to-the-wind-launches-wine-business/ Remember to like, comment & subscribe. Stay safe, drive sober and support the booze that supports your local community. Find me online - social media profiles & links at https://BoozebuddyUpdate.com Learn more about your host and voice over talent The Real Voice - Mel Allen at https://TheRealVoice.com --- Support this podcast: https://anchor.fm/boozebuddy/support

Tales Vinyl Tells-”stories record albums convey”
Ep 28.Thinking it was the end of Covid. Silly me. Celebrate anyway.

Tales Vinyl Tells-”stories record albums convey”

Play Episode Listen Later Sep 8, 2022 60:25


It's an exciting time in America! Nearing the end of the first month of a new year, we've inaugurated a new administration and a Covid-19 vaccine is rolling out, despite shortages, delays and bad governors' playing games with the pandemic. But I always found that music was a kind of salve, to help me through the good and bad and this episode's no exception. With Hendrix, Seals and Crofts, Steely Dan and more, there's plenty to celebrate here. Let me know what you think would be a good one to play, maybe a group of tunes that go together. Details in the podcast. The headphones I mention are the HD-6XX Sennheisers from Drop.com. Enjoy and happy listening.

St. Paul's Boutique
#87: Bitchin Bajas, Working Men's Club, New Order, Syreeta & meer.

St. Paul's Boutique

Play Episode Listen Later Sep 7, 2022 110:40


DJ St. Paul neemt de muzikale week door met liedjes van o.a. Bitchin Bajas, Working Men's Club & New Order. Deze keer in de albumrubriek een uitgebreid gesprek met journalist Gijsbert Kamer over Aja van Steely Dan. Benieuwd naar de tracklist en de shownotes? Check ze via: tivolivredenburg.nl/studio/podcast/st-pauls-boutique/

St. Paul's Boutique
#87: Bitchin Bajas, Working Men's Club, New Order, Syreeta & meer.

St. Paul's Boutique

Play Episode Listen Later Sep 7, 2022 110:40


DJ St. Paul neemt de muzikale week door met liedjes van o.a. Bitchin Bajas, Working Men's Club & New Order. Deze keer in de albumrubriek een uitgebreid gesprek met journalist Gijsbert Kamer over Aja van Steely Dan. Benieuwd naar de tracklist en de shownotes? Check ze via: tivolivredenburg.nl/studio/podcast/st-pauls-boutique/

THE MISTERman's Take
# steely dan my old school

THE MISTERman's Take

Play Episode Listen Later Sep 6, 2022 4:19


# steely dan my old school #one of the greatest bands ever # distinctive music,lyrics, subject matter# versatile # Donald Fagen and the late Walter Becker# classic song and vocals # Respect --- Support this podcast: https://anchor.fm/mr-maxxx/support

Party Like A Rockstar Podcast
Chris Adamson, Richard Fernandez - From Pink Floyd to Tom Petty and the Heartbreakers!

Party Like A Rockstar Podcast

Play Episode Listen Later Sep 5, 2022 106:23


Chris Adamson is a production manager. He has worked for John Mayer, Tom Petty, Neil Young, Steely Dan, Lionel Richie, Bette Midler, Diana Ross, Lenny Kravitz, Michael Bolton, Def Leppard, Frank Sinatra, Dead & Company, The Byrds in 1967, ELP in 1968, Pink Floyd from 1969 - 1984 & Fleetwood Mac from 1969 -2009. Chris is the recipient of the 2019 Parnelli Lifetime Achievement Award. Richard Fernandez is a tour manager. He's worked for the Faces, The Eagles, Frank Zappa, Dave Mason, Keith Richards, Ron Wood, Yes, Crosby, Still Nash, Fleetwood Mac, Neil Young, Bob Dylan, John Fogerty, Jeff Lynne, the Cars, Olivia Newton John, & Tom Petty and the Heartbreakers for 38 years. Richard is the recipient of the 2016 Parnelli Lifetime Achievement Award.

SWR1 Meilensteine - Alben die Geschichte machten

"Aja" ist nicht nur das sechste Studioalbum von Steely Dan, es ist auch ihr meistverkauftes Album überhaupt und eines der ersten Alben, die jemals Platinstatus erreicht haben. Bevor es die Band Steely Dan überhaupt gab, haben Walter Becker und Donald Fagen, die sich am College kennenlernten, schon für andere Musiker Songs geschrieben. Als Songwriter arbeiteten sie bei einer Plattenfirma und zogen für ihre Arbeit aus ihrer Heimat New York nach Los Angeles, vermissten aber stets ihre Heimat New York, was sie auch in einigen ihrer Songs thematisieren. Weil es den beiden aber nicht mehr ausreicht für andere Künstler Songs zu schreiben, bewerben sie sich 1971 auf eine Zeitungsanzeige bei einer Band und Steely Dan wird gegründet. Nach einigen Jahren Bandgeschichte und einigen Konzerten wurde das Bandprojekt Steely Dan ab 1975 nur noch von Walter Becker und Donald Fagen fortgeführt. Für ihr sechstes Studioalbum "Aja", hatten die beiden Masterminds Walter Becker und Donald Fagen vom Label ein sehr hohes Budget bewilligt bekommen, das die beiden auch ausnutzten. Mit dem Geld holten Steely Dan sich diverse Studio-Musiker-Legenden dazu, um das Album einzuspielen und auch zu produzieren. Darunter waren auch gleich mehrere Schlagzeuger wie zum Beispiel auch Steve Gadd, der schon mit Künstlern wie Paul McCartney, Ringo Starr, Peter Gabriel von Genesis oder auch Simon and Garfunkel zusammengearbeitet hatte. Auch Timothy B. Schmit, der später Teil der Eagles wurde, war bei den Aufnahmen mit dabei. Das besondere an der Musik und den Texten von Steely Dan ist die Mischung aus Rock, Pop, Blues, Funk und auch Jazz. In ihren Liedern erschaffen die beiden Songwriter ganze Welten, bzw. Filmszenen und erzählen Geschichten, in die man quasi eintauchen kann. Auf dem Album "Aja" gibt es zum Beispiel die Geschichte des namenlosen Verlierers im Song "Deacon Blues" oder auch die Geschichte des Models "Peg" aus dem gleichnamigen Song. In den Songs auf "Aja" haben Walter Becker und Donald Fagen stets nach dem bestimmten Momentum im Song gesucht, dass sie versucht haben mit der Vielzahl an Studiomusikern, die sie dafür engagiert haben zu erzeugen. Im Podcast sprechen wir über die Hintergründe und den Weg, wie sie genau das geschafft haben. __________ Über diese Songs vom Album “Aja” wird im Podcast gesprochen 07:12 Mins – “Black Cow” 23:05: Mins – “Aja” 42:25 Mins – “Home At Last” 45:59 Mins – “Deacon Blues” 56:59 Mins – “Peg” 1:11:46 Mins – “Josie” __________ Über diese Songs wird außerdem im Podcast gesprochen 1:10:27 Mins – “Rikki Don't Lose That Number” von Steely Dan 1:10:58 Mins – “Reeling In The Years” von Steely Dan __________ Links zum Podcast: Artikel zum 40sten Jubiläum (Engl.): https://www.spin.com/2017/09/steely-dan-aja-40-year-anniversary-essay/ Review bei Allmusic (Engl.): https://www.allmusic.com/album/mw0000191964 Rolling Stone Review zu “Aja”: http://www.rollingstone.com/artists/steelydan/albums/album/214470/rid/6067722/  Essay zur Aufnahme in die National Recording Registry (Engl): https://www.loc.gov/static/programs/national-recording-preservation-board/documents/aja--FINAL.pdf  Steely Dan Dictionary (Engl.): http://steelydandictionary.com/ Ausschnitt aus der “Classic Albums”-Folge zu “Aja” auf dem Kanal von Classic Albums mit Link zum Stream: https://www.loc.gov/static/programs/national-recording-preservation-board/documents/aja--FINAL.pdf __________ Ihr wollt mehr Podcasts wie diesen? Abonniert die SWR1 Meilensteine! Fragen, Kritik, Anregungen? Schreibt uns an: meilensteine@swr.de

Whole 'Nuther Thing
Episode 697: Whole 'Nuther Thing September 4, 2022

Whole 'Nuther Thing

Play Episode Listen Later Sep 5, 2022 115:27


"World pollution, there's no solution, institution, electrocutionJust black and white, rich or poor, them and usWe'll stop the war!I'd love to change the world - but I don't know what to doSo I'll leave it up to you... It's called luck"And 50 Years later, nothing has changed.I can't change the world but I might be able to change your mood. Please join me on the Labor Day Sunday Edition of Whole 'Nuther Thing, joining us are Terry Reid, Tears For Fears, Billy Cobham, Led Zeppelin, Dylan LeBlanc, Dire Straits, Blodwyn Pig, Pat Metheny Group, The Doors, Savoy Brown, Steely Dan, Python Lee Jackson, Stanley Clarke, The Yardbirds, Lenny Kravitz, Fleetwood Mac, Blind Faith, Firesign Theater and Ten Years After".

Ridiculous Rock Record Reviews
Episode 239- STEELY DAN- Pretzel Logic

Ridiculous Rock Record Reviews

Play Episode Listen Later Sep 2, 2022 68:49 Very Popular


Aaron is joined by returning guest co-pilot and fellow podcaster Tom Kwei from the Alphabetallica Podcast, the Tom Waits Podcast, the Battle Rap Resume Podcast, the Punnit Gameshow Podcast, and The Royle Ramble Podcast as they review Steely Dan's 1974 album Pretzel Logic! Rock on!Website: https://ridiculousrockrecordreviews.buzzsprout.comBecome a Patron and help support the show!Patreon: https://www.patreon.com/R4podcast?fan_landing=trueContact us! e-mail: ridiculousrockrecords@gmail.comFacebook: https://www.facebook.com/R4podcastTwitter: @R4podcastAaronInstagram: https://www.instagram.com/r4podcaster/Check out Tom's podcasts!  Alphabetallica: https://metallicapodcast.podbean.com Tom Waits Podcast: https://tomwaits.podbean.com Battle Rap Resume: https://battlerapresume.podbean.com Punnit Gameshow Podcast:  https://podbay.fm/p/punnit-the-pun-gameshow-podcastThe Royle Ramble Podcast: https://theroyleramble.podbean.com

Time to Lean...And Here's a Song!
Back From the Dentist

Time to Lean...And Here's a Song!

Play Episode Listen Later Sep 2, 2022 59:59


Episode 78 begins with the amazing news that Phil has 2 weeks off from work.  Phil doesn't quite seem able to tell Steely Dan and Supertramp apart this evening.  After the booze introductions, we move onto talking about Star Trek Picard along with other stuff we've been watching, including Phil's new find: Glen and Friends Cooking.   Phil reports on the happenin' scene on West 7th St. [Tori, Emerald Lounge, etc.] and on his night out at an Adrian Belew concert.  John's Iowa Travel Tips™ John is having trouble deciding whether or not to buy a PS5.    The Song:  “Creepin' Down”  

New World Podcast
110: Ep. 67: Angel III: The Final Chapter

New World Podcast

Play Episode Listen Later Sep 1, 2022 89:29


As we are want to do here at the NWPP, we start at the end of the franchise and work our way back, which is why we are dipping our toes into the ANGEL franchise first with ANGEL III: THE FINAL CHAPTER! For part III, writer/director Tom DeSimone (REFORM SCHOOL GIRLS) steps in to guide Molly/Angel in her next adventure which goes all the way to New York City and straight back to Hollywood so Angel (Mitzi Kapture) can save her sister from a drug smuggling, human trafficker (Maud Adams). In this episode, we discuss our various forms of face blindness, attempt to rename Spanky's Ice Cream company, and how Richard Roundtree smartly outsourced police work! Plus, Erica learns a little about Steely Dan! 

Erica Lee's Podcasts
Episode 193: Yacht Rock 26

Erica Lee's Podcasts

Play Episode Listen Later Sep 1, 2022 55:49


Erica in her element, playing a baker's dozen smooth rock tunes of the 70's & 80's that are a hallmark of the format. Steely Dan, Pablo Cruise, Boz Scaggs, Kenny Loggins, The Doobie Brothers, Toto and more..

If You're an Old Soul
Hairy Eyeball: The historic albums of 1972, Elton and Britney, Billy and Olivia, and the greatest Olivia of all, Olivia Newton-John

If You're an Old Soul

Play Episode Listen Later Aug 30, 2022 55:47


David Bowie, The Rolling Stones, Elton John, Stevie Wonder, The Grateful Dead, Neil Young, Al Green, Steely Dan, Curtis Mayfield, and Paul Simon. Somehow, all of these legendary artists released one of their quintessential albums in the exact same year, 1972. Danny and Speedy peruse this iconic catalog from exactly 50 years ago, and explore how influential these pieces of art still are today. Plus, the "Piano Men" are still at it! Elton John drops a song with Britney Spears to ignite her return to music, and Billy Joel welcomes Olivia Rodrigo onstage at Madison Square Garden. And, most importantly, the podcast must pay tribute to the most angelic singer of any Old Soul millennial's VHS-filled childhood, Olivia Newton-John. As always, If you have comments, questions, or personal misheard-lyric stories, you can send them to IfYoureAnOldSoul@gmail.com.

We Dig Music
We Dig Music - Series 5 Episode 8 - Best of 1972

We Dig Music

Play Episode Listen Later Aug 28, 2022 99:16


This month we've gone back half a century to 1972, where only one of us exists, to talk about the best ear slicing soundtracks, epic prog, shiny glam, & spooky folk.We've each chosen our 10 favourite songs of the year and sent them over to Ian's wife Lydia, who put the playlists together and distributed them so we were each given a playlist of the 20 songs from the other two hosts, along with our own 10. We then ranked the playlists in order of preference and sent them to Colin's wife Helen, who totalled up the points and worked out the order. Helen also joined us on the episode to read out the countdown, which we found out as we recorded so all reactions are genuine.Now, admittedly, in parts we're a little bit brutal to some of the songs in the list as we're three separate people with differing music tastes, but please remember that to be in this episode at all the songs have to have been in one of our top 10's of that year. Bands featured in this episode include (In alphabetical order, no spoilers here!) - Aphrodite's Child, Big Star, Black Sabbath, David Bowie, Can, Alice Cooper, Deep Purple, Nick Drake, Marvin Gaye, Genesis, Al Green, Hot Butter, Curtis Mayfield, Don McLean, Mott The Hoople, Harry Nilsson, The Osmonds, Pentangle, Lou Reed, The Rolling Stones, Slade, Roxy Music, Todd Rundgren, Stealers Wheel, Steeleye Span, Steely Dan, Sweet, Thin Lizzy, Yes, & Neil Young.Find all songs in alphabetical order here - https://open.spotify.com/playlist/0cr59AKYiK51LKpWSVYGtf?si=ec1b554e5fe14af5Find our We Dig Music Pollwinners Party playlist (featuring all of the winning songs up until now) here - https://open.spotify.com/playlist/45zfDHo8zm6VqrvoEQSt3z?si=Ivt0oMj6SmitimvumYfFrQ If you want to listen to megalength playlists of all the songs we've individually picked since we started doing best of the year episodes, you can listen to Colin's here – https://open.spotify.com/playlist/5x3Vy5Jry2IxG9JNOtabRT?si=HhcVKRCtRhWCK1KucyrDdg Ian's here - https://open.spotify.com/playlist/2H0hnxe6WX50QNQdlfRH5T?si=XmEjnRqISNqDwi30p1uLqA and Tracey's here - https://open.spotify.com/playlist/2p3K0n8dKhjHb2nKBSYnKi?si=7a-cyDvSSuugdV1m5md9Nw The playlist of 20 songs from the other two hosts was scored as usual, our favourite song got 20 points, counting down incrementally to our least favourite which got 1 point. The scoring of our own list of 10 is now slightly more complicated in order to give a truer level of points to our own favourites. So rather than them only being able to score as many points as our 10th favourite in the other list, the points in our own list were distributed as follows -1st place - 20 points2nd place - 18 points3rd place – 16 points4th place – 14 points5th place – 12 points6th place – 9 points7th place – 7 points8th place – 5 points9th place – 3 points10th place -1 pointHosts - Ian Clarke, Colin Jackson-Brown & Tracey BGuest starring Helen Jackson-Brown.Playlist compiling/distributing – Lydia ClarkeRecorded/Edited/Mixed/Original Music by Colin Jackson-Brown for We Dig PodcastsThanks to Peter Latimer for help with the scoring system.Say hello at www.facebook.com/wedigmusicpcast or tweet us at http://twitter.com/wedigmusicpcast or look at shiny pictures on Instagram at http://instagram.com/wedigmusicpcast Part of the We Made This podcast network. https://twitter.com/wmt_network You can also find all the We Dig Music & Free With This Months Issue episodes at www.wedigpodcasts.com