Podcasts about Sun Records

Show #1111 Summertime Blues: Ashamed 01. Billy Branch - Begging For Change (3:45) (Single, Rosa's Lounge Records, 2025) 02. Kip London - Useless (3:05) (The Last Dance, MoMojo Records, 2025) 03. Larry McCray - Crazy World (4:37) (Heartbreak City, Keeping The Blues Alive Records, 2025) 04. The Boneshakers - Ain't Good Enough For Me (3:55) (Live To Be This, Gulf Coast Records, 2025) 05. Jad Tariq - No Sleepin'est Woman (3:15) (Jad Tariq Sings, MoMojo Records, 2025) 06. Eddie Dee Live & the Experience - Angel Devil (3:03) (I Got A Thang For You, self-release, 2025) 07. Kyle Culkin - She's Evil (4:20) (Shades of Trouble, Tonebucker Records, 2025) 08. Jola Recchioni - Surrender To The Blues (4:50) (Single, self-release, 2025) 09. Woody Crabapple - It's A Lot Of Fun Till It Sucks (2:00) (Cool, Fine And Jumpin', self-release, 2025) 10. Kirk Fletcher - Croke (2:55) (Keep On Pushing, VizzTone Records, 2025) 11. Emilia Quinn - Dirty Little Lie (4:36) (Dented Halos, self-release, 2025) 12. Ryan T Higgins & Joe Cook - I Drink Alone (3:26) (Tall Tails, self-release, 2025) 13. One Dime Band (ft.Toni Lynn Washington) - Here To You (4:56) (Single, self-release, 2025) 14. Chambers Deslauriers - Temperature Of One-O-Nine (3:05) (Our Time To Ride, Forty Below Records, 2025) 15. Pat Sheridan Band - Hoo Doo (3:51) (Leaches, Losers & Heroes, self-release, 2025) 16. Mick Clarke - Care Home Blues (2:29) (Rust Busters (the Collection), Rockfold Records, 2025) 17. Mike Farris - Before There Was You & I (5:42) (The Sound Of Muscle Shoals, Malaco Records, 2025) 18. Todd Sharpville - Just Because (3:50) (Sweet Redemption, self-release, 2025) 19. ZZ Ward - Clairvoyant (3:25) (Liberation, Sun Records, 2025) 20. Cody Steinmann - Stray Bullet Blues (5:54) (Stray Bullet Blues, Two For The Show Media, 2025) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

We reconnect with local historian Steven Rogstad about his latest book "The Million Dollar Quartet and the Challenges of Oral Testimony." The title refers to four legendary musicians- Elvis Presley, Johnny Cash, Carl Perkins and Jerry Lee Lewis- who converged on a Sun Records studio in Memphis, Tennessee in 1956 for what turned out to be a spontaneous jam session .... some of which was recorded and ultimately shared with the world. In the book, Rogstad seeks to gain some clarity on what exactly happened on that memorable occasion- and how a serious historian goes about such a task.

In the long view, rock ‘n roll's rise was no surprise as it's sound had been peeking through the tall grass since the 1930s with some risque (and risky) rhythm and blues, gospel celebrations and fast-paced swinging country sounds. When Sam Phillips' small operation in Memphis kicked off, who would have guessed that the fusion of all these sounds would somehow resonate with it's blend of hillbilly, blues, rhythm and gospel influences. But it did. And here we are. Tune into Deeper Roots as we go a bit deeper into the sounds of Sun Records, beyond the Elvis, Roy, Johnny, Carl and Jerry Lees. We'll turn our attention to others from the early years including The Miller Sisters, Slim Rhodes, Barbara Pittman and The Prisonaires. The music we've got is sometimes raw, sometimes wild and always headed in the same direction. Don't miss this one!

Bands Across America: ArkansasJohnny Cash – With His Hot and Blue Guitar (1957) & Al Green – Call Me (1973)Our summer road trip rolls through Arkansas, the Natural State, where the roots of American music run deep. This week, we spotlight two legendary artists whose Arkansas origins helped shape the sound of country and soul: Johnny Cash and Al Green. We dig into Cash's stark, game-changing debut and Green's lush, emotionally rich soul masterpiece—two albums that capture the spirit and complexity of Arkansas music.What's Inside:- Johnny Cash's Raw Beginnings: Explore the minimalist, haunting sound of With His Hot and Blue Guitar, the Sun Records debut that introduced the world to the “boom-chicka-boom” rhythm and set the stage for outlaw country.- Al Green's Soulful Perfection: Dive into Call Me, a concise, elegant soul record that blends romance, heartbreak, and spiritual yearning, all delivered with Green's iconic falsetto and Willie Mitchell's golden production touch.- Our Takes: We break down each album's vibe, killer tracks, production quirks, and lasting influence—plus, which one best embodies Arkansas's musical legacy.- Deep Questions: Don probes deeply into Arkansas culture.- Reflections: Why these albums are essential listening for any road trip through the Ozarks and beyond.Diggin':- Oliver Anthony – “Scornful Woman” (2025): A raw, post-divorce anthem from the viral country-folk singer. Honest, bitter, and deeply personal—therapy set to twang.- Sly and the Family Stone – There's a Riot Goin' On (1971): Funk and soul take a dark, introspective turn. Murky grooves, political unrest, and the weary brilliance of “Family Affair.”- SMiLE: The Rise, Fall, and Resurrection of Brian Wilson by David Leaf (2025): The definitive book on the Beach Boys' lost masterpiece, told by those who lived it.- Nitzer Ebb – That Total Age (1987): English EBM pioneers lay down industrial beats and aggression. “Murderous” is a dancefloor classic.Podcast Shout-Out:Don't miss the Astrovert Podcast—Jake and Mike from the band Astroverts dive into band journeys, rock news, and music from underground and underheard artists worldwide. Find Astrovert wherever you get your podcasts.Join the Conversation!What's your favorite Arkansas album? What are you spinning lately? Let us know on Instagram, Facebook, BlueSky, and Threads @albumnerds, or email us at podcast@albumnerds.com.Thanks for listening—see you on the road! Next stop: Indiana, the Hoosier State.

Sintonía: "Slat Key Soquel Rag" - The Doobie Brothers1.- "Lonely Weekends", "Come Back", "Gonna Be Waitin´", "That´s How Much I Love You", "Rebound", "Philadelphia Baby" (bonus track), "Midnite Blues" (bonus track) y "Finally Found Out" (bonus track), extraídas de la reedición en vinilo del primer álbum de Charlie Rich, titulado "Lonely Weekends" (Sound Factory-Vinyl Passion, 2019)2.- La cara A del álbum "Million Dollar Quartet": una "jam session" improvisada y registrada (en 1956) en los míticos estudios Sun Records, con Elvis Presley (cantando y al piano), Carl Perkins (cantando y a la guitarra), Jerry Lee Lewis y Johnny Cash (1956/Destination Moon, 2024). Fue la primera y última vez que los cuatro astros coincidieron en un estudio de grabación 3.- "O Ken Karanga", "Greenback Dollar" (bonus track) y "Long Black Veil" (bonus track), extraídas de la reedicion del álbum "College Concert" de The Kingston Trio; grabado en directo en 1961 (Sound Factory/Vinyl Passion, 2017)Escuchar audio

Episode 324: It's hard to believe that Nashville's SteelDrivers have been making their unique brand of hard-core string band music for nearly twenty years. They were the vehicle through which many of us were introduced to the epic voice of Chris Stapleton, back when he and Mike Henderson co-wrote that band's high impact debut album of 2008. When Henderson and Stapleton had to move on, the band pulled its greatest trick, bringing on great new voices, growing bigger, and building a legacy that's like nothing else in 21st century bluegrass. In Episode 324 of  The String, Craig talks with original members Mike Fleming, bass player and baritone vocal, and Tammy Rogers, the fiddler and harmony singer who now leads the way with the band's songwriting. We talk about the whole ride, up to the new album Outrun, out now on a revived Sun Records.   

The Sharon Playhouse is launching its 2025 summer season with the musical “Million Dollar Quartet,” opening Friday night and run through July 6th, including a special holiday performance on July 4th at 4pm.This show brings to life the unforgettable night in 1956 when rock and roll legends Elvis Presley, Johnny Cash, Jerry Lee Lewis, and Carl Perkins gathered at Sun Records to create musical history.The season will continue with three other shows including Annie, Sylvia and The Mousetrap.

Send us a textJonathan McHugh is the director of a new documentary, “Long Live Rock: Celebrate the Chaos,”  now available on demand.  (From 3-12-21)Jonathan McHugh has been producing, directing and music supervising films and TV for decades. He has produced over 35 films and TV shows, music supervised over 75 films and produced many gold, platinum, Emmy and Oscar-nominated film and TV show soundtracks. McHugh has produced quality content while working at great companies like New Line Cinema/ Warner Brothers films, as well as Universal Records and Sony Records. As a director, McHugh's first subculture documentaryLong Live Rock.Celebrate the Chaos will be released in 2021 by Abramorama Entertainment. McHugh is currently producing "City of Ali," a documentary about Muhammad Ali and the relationship to his hometown. He has produced hit films like Paramount's "Justin Bieber: Never Say Never," "Crossroads" starring Britney Spears, as well as the highly-regarded documentary, "Janis: Little Girl Blue." As a TV producer McHugh has produced many shows including Viacom's "Sun Records" and Discovery's "Battleground Earth."

Derek explores statutory rape rock, aka the 1960s music genre. One musician stood out as a unique character who lived a crazy tragedy. June 1, 2025. Ep 138. LIMITED TIME OFFER!!! Download 21 Blitz and use promo code "DEREKIZZI" to get $5 free when you make your first deposit. Play 21 for real money against real people.

Ryan Droste returns to TCBCast, this time to guide us through his response to an intriguing listener email all about how history teachers like him may choose to discuss Elvis's place in the broader story of American history, and how he specifically teaches his teenage students about Elvis, Sun Records, race relations and the music industry of the 1950s. For Song of the Week, Ryan picks the beautifully sung ballad "Today Tomorrow and Forever" from one of his all-time favorite Elvis movies, Viva Las Vegas, both as a solo cut and as a duet with Ann-Margret. Then, Justin pieces together an unexpectedly heartbreaking story behind the cheerful Olivia Newton-John hit "Let Me Be There" that Elvis famously covered in his March 20, 1974, Memphis concert (released as an album itself) as well as resurfacing a few years later again on the Moody Blue album. This is a Song of the Week that you do not want to miss - it may change how you think of the song entirely. uge thanks goes out to David "Ghosty" Wills of "We Say Yeah" for his assistance with research materials for this Song of the Week. You can check out more of Ryan's history content at youtube.com/MrDrosteHistory as well as find him as usual discussing pro wrestling on Top Rope Nation. CONTENT WARNING: the SOTW segment starting at 1:39:15 contains discussion about suicide. If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy. Patrons receive early access to episodes, exclusive new bonus episodes and an extensive archive of over 4 years of bonus episodes covering a range of topics related to Elvis and early rock and roll!

Today, the Spotlight shines On Mike Scott, founder of The Waterboys.In 2014, Mike stumbled upon Dennis Hopper's photography in a London gallery and fell into a rabbit hole that led to Life, Death and Dennis Hopper, a bold concept album that tells the story of the Easy Rider star from childhood to beyond the grave. It's a sonic movie with guest turns from Bruce Springsteen, Fiona Apple, and Steve Earle that chronicles not just Hopper's journey but the cultural shifts he witnessed and helped create.This marks a new peak in Mike's ever-changing four-decade career with The Waterboys, from their ‘Big Music' beginnings to Celtic folk explorations and genre-blending surprises to come.(The musical excerpts heard in the interview are from The Waterboys' album Life, Death and Dennis Hopper)–Dig DeeperVisit Mike Scott and The Waterboys at mikescottwaterboys.comPurchase The Waterboys' Life, Death and Dennis Hopper from Sun Records or Qobuz and listen on your streaming platform of choiceFollow The Waterboys on Patreon, Instagram, Facebook, and YouTubeDennis Hopper's Lost Album: life both sides of the lensThe Last Movie: Dennis Hopper's Curiously Frustrating ExperimentDig into this episode's complete show notes at spotlightonpodcast.com–• Did you enjoy this episode? Please share it with a friend! You can also rate Spotlight On ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts.• Subscribe! Be the first to check out each new episode of Spotlight On in your podcast app of choice.• Looking for more? Visit spotlightonpodcast.com for bonus content, web-only interviews + features, and the Spotlight On email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn.• Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Today, the Spotlight shines On Mike Scott, founder of The Waterboys.In 2014, Mike stumbled upon Dennis Hopper's photography in a London gallery and fell into a rabbit hole that led to Life, Death and Dennis Hopper, a bold concept album that tells the story of the Easy Rider star from childhood to beyond the grave. It's a sonic movie with guest turns from Bruce Springsteen, Fiona Apple, and Steve Earle that chronicles not just Hopper's journey but the cultural shifts he witnessed and helped create.This marks a new peak in Mike's ever-changing four-decade career with The Waterboys, from their ‘Big Music' beginnings to Celtic folk explorations and genre-blending surprises to come.(The musical excerpts heard in the interview are from The Waterboys' album Life, Death and Dennis Hopper)–Dig DeeperVisit Mike Scott and The Waterboys at mikescottwaterboys.comPurchase The Waterboys' Life, Death and Dennis Hopper from Sun Records or Qobuz and listen on your streaming platform of choiceFollow The Waterboys on Patreon, Instagram, Facebook, and YouTubeDennis Hopper's Lost Album: life both sides of the lensThe Last Movie: Dennis Hopper's Curiously Frustrating ExperimentDig into this episode's complete show notes at spotlightonpodcast.com–• Did you enjoy this episode? Please share it with a friend! You can also rate Spotlight On ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts.• Subscribe! Be the first to check out each new episode of Spotlight On in your podcast app of choice.• Looking for more? Visit spotlightonpodcast.com for bonus content, web-only interviews + features, and the Spotlight On email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn.• Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Charlamos con Empar Fernández, autora de "El instante en que se encienden las farolas", una novela negra ambientada en Barcelona; Después, recibimos a Cristian Salomoni, que explica la importancia de la distancia física en comunicación no verbal; Para terminar esta hora, Fernando Ballesteros nos acerca a la historia de la discográfica "Sun Records" Escuchar audio

Akua Shabaka, along with her mother, Rebecca Henry, established House of Aama in 2015. Akua and her mother are world builders and weavers of visual stories. They create stunning, often ethereal collections like Salt Water, that introduced a fictional Black resort called Camp Aama, and like Sun Records, inspired by Akua’s father’s life. House of Aama is the output of Akua digging into her past (culture, identity, heritage) and sitting in her present. The brand and the pieces become a form of spiritual expression that add to the public archive. Hear how Akua and her mother quickly grew their personal project into an in-demand business. You’ll be as in awe as we were.See omnystudio.com/listener for privacy information.

The rockabilly guitarist and singer brought a unique and driving style to Sun Records, the label that launched the careers of Elvis Presley, Carl Perkins, and Jerry Lee Lewis, among others. 

Album de la semaine: "Please please me" -Beatles 1963 Beatles-I saw her standing there-Please please me (63)P.McCartney-Another day-Single (71)J.Lennon-Crippled inside (ultimate mix)-Imagine (Ultimate Mixes Deluxe) (18-71)G.Harrison-Wah wah-All things must pass (70)R.Starr-Oo-wee-Goodnight Vienna (74)Beatles-Chains-Please please me (63)J.Lennon-Meat city-Mind games (73)J.Lennon-Old dirt road-Walls and bridges (74)P.McCartney-Good Times coming/Feel the sun-Press to play (86)P.McCartney-I'm carrying-London Town (78)Beatles-Boys-Please please me (63)Beatles-One after 909 (2021 mix)-Let it be (Super Deluxe) (21-70)R.Starr-In a heartbeat-Time takes time (92)J.Lennon-To know her is to love her-Menlove Ave. (86)Beatles-Lovely Rita (2017 mix)-Sgt Pepper's Lonely Hearts Club Band (Super Deluxe Edition) (17-67)Beatles-Love me do-Please please me (63)Queatles and Been-Revolution (cover)-USBThe Rutles-Ouch ! (almost Help !)-All you need is cash (78)P.McCartney-No values/No more lonely nights (ballad reprise)-Give my regards to Broadstreet (84)Beatles-Penny Lane (2017 mix)-The Beatles 1967-1970 (2023 edition)Beatles-Please please me-Please please me (63)Beatles-The fool on the hill-Magical Mystery Tour (67)Beatles-Anna (go to him)-Please please me (63)G.Harrison-Sue me, sue you blues (2024 mix)-Living in the Material World (50th anniversary)(24-73)G.Harrison-This guitar (can't keep from crying)-Extra texture (read all about it) (75)P.McCartney-New-New (13)Beatles-Twist and shout-Please please me (63)P.McCartney-That's all right (feat. Scotty Moore & DJ Fontana)-Good rockin' tonight: The legacy of Sun Records (01)G.Harrison-Stuck inside a cloud-Brainwashed (02)R.Starr-Rewind forward-Rewind forward (23)R.Starr-Breathless-Look up (25)P.McCartney-Party-Run Devil run (99)P.McCartney-Maybe baby-B.O. "Maybe baby" (00)P.McCartney-High-heels sneakers (live)-Secret show (02)P.McCartney-Rockestra theme-Back to the egg (79)-GénériqueP.McCartney-Band on the run (One hand clapping sessions)-One hand clapping (live sessions) (24-74)

One of the most profound lessons ZZ Ward learned from growingup listening to the blues greats was to be authentic to your story. When the LA-based singer-songwriter and multi-instrumentalist began to write new music, she found herself in the midst of one of the biggest life changes a person will ever experience: motherhood. Learn more about this amazing artist at https://www.ZZWard.com  Social media: www.Instagram.com/ZZWard About Music Matter with Darrell Craig Harris Music Matters Podcast is hosted by globally published music journalist, Pro musician, and Getty Images photographer Darrell Craig Harris! Music Matters with Darrell Craig Harris is now on Spotify, iTunes, Podbean and more! Darrell interviews globally known artists, musicians, music journalists, music business insiders, and more on a weekly basis!  https://www.MusicMattersPodcast.com https://www.Twitter.com/musicmattersdh contact: musicmatterspodcastshow@gmail.com   

ZZ Ward was born in 1986 and is an American Singer-Songwriter from Roseburg, Oregon. She signed with Hollywood Records to release here debut EP, Criminal in 2012, which preceded the release of her debut studio album, Til The Casket Drops, that same year. Her second studio album, The Storm was released in 2017, which peaked atop the Billboard Blues Albums Chart. Her third studio album, Dirty Shine (2023), was released independently and met with cricital acclaim. On Friday, March 14 (2025) ZZ will be releasing her next album which is on the famous blues label: Sun Records, titled Liberation. 

Nos adentramos en Sun Records, el estudio en Memphis que se convirtió en una fábrica de estrellas como Johnny Cash, Roy Orbison, y Jerry Lee Lewis, y transformó las barreras sociales y culturales a través de la música.

Viajamos a Memphis, Tennessee. Estaremos junto a Elvis Presley, Jerry Lee Lewis y quienes protagonizaron el nacimiento del Rock 'n' Roll. Hoy, iniciamos un viaje que nos llevará a conocer los lugares y los artistas más importantes de las últimas décadas.

We wanna hear from you! Send us a message here :) When country music lovers talk about the greatest groups in the genre, Shenandoah is always at the forefront of any discussion. Fueled by Marty Raybon's distinctive vocals and the band's skilled musicianship, Shenandoah became well known for delivering such hits as “Two Dozen Roses”, “Church on Cumberland Road” and “Next to You, Next to Me” as well as such achingly beautiful classics as “I Want to be Loved Like That” and the Grammy winning “Somewhere in the Vicinity of the Heart” duet with Alison Krauss. Today that legacy continues as original members Raybon and Mike McGuire reunite to launch a new chapter in Shenandoah's storied career. It all began when the guys got back together to perform a benefit  concert for  a  friend battling  cancer.  “We saw how folks reacted,” Raybon says of the response to their reunion. “And then Jerry Phillips, son of legendary Sun Records producer Sam Phillips, said ‘You guys need to make a run at this. People   still love what you do. You can tell by the reaction. There's a lot of excitement in the air.'”The Oak Ridge Boys have sold over 41 million units worldwide and are synonymouswith “America, apple pie, baseball, and country music.” In addition to their awards and accolades in the country music field, the Oaks have garnered five GRAMMY® Awards, nine GMA DOVE Awards, and two American Music Awards. The group—Duane Allen, Joe Bonsall, William Lee Golden, and Richard Sterban—was inducted into the prestigious Country Music Hall of Fame (2015 Inductees) and the Grand Ole Opry (since 2011)—and is known worldwide as one of recording history's most extraordinary musical successes.  For more information on The Oak Ridge Boys and their 2025 tour, please visit oakridgeboys.comSupport the show

Sun Records in Memphis, Tennessee claims to be the birthplace of Rock and Roll.But just what does it mean to be “The Birthplace of Rock and Roll”? Can we accept such a claim without first diving even deep into the murky depths of American musical history. Noodles and I head to Memphis to find out … (Beneath the shadow of Graceland and within earshot of the blues of Beale street - the small label hosted musical greats like Howlin' Wolf, B. B. King,  Jerry Lee Lewis, Johnny Adams , Carl Perkins, Johnny Cash and a young Elvis Presley.)Works Cited:Great book:The Birth of Rock 'n' Roll: The Illustrated Story of Sun Records and the 70 Recordings That Changed the WorldFantastic documentary produced by Quincy Jones:The History of Rock 'n' Roll - TV Mini Series (1995) - https://www.youtube.com/watch?v=U2Ptv_7VqO4&list=PLIhBC_-F81kxTgSYJUMVXmjPwrLf8aXTPAdditional articles and references: https://www.jstor.org/stable/30003142?read-now=1&seq=7#page_scan_tab_contentshttps://www.jstor.org/stable/1214792?read-now=1&seq=17#page_scan_tab_contentshttps://www.jstor.org/stable/494739?read-now=1&seq=2#page_scan_tab_contentshttps://www.newyorker.com/magazine/2015/11/16/the-elvic-oraclehttps://sunrecords.com/history/https://www.youtube.com/watch?v=YXGubLQcnAghttps://wearememphis.com/play/music/brief-history-memphis-music/https://musicmecca.org/a-brief-history-of-memphis-music/https://timeline.carnegiehall.org/genres/rock-n-rollhttps://timeline.carnegiehall.org/genres/boogie-woogiehttps://www.classical-music.com/articles/blues-musichttps://www.masterclass.com/articles/blues-music-guidehttps://www.strathmore.org/community-education/public-education/shades-of-blues/blues-clues/https://www.masterclass.com/articles/gospel-music-guidehttps://thegoldenageofrock.com/rock/the-influence-of-gospel/https://www.history.com/news/race-records-bessie-smith-big-bill-broonzy-music-businesshttps://www.rollingstone.com/music/music-features/500-greatest-songs-podcast-hound-dog-elvis-presley-1234998378/https://faroutmagazine.co.uk/the-whitewashing-of-black-music-five-singles-mNoah and Noodles here! We want to extend a heartfelt thanks to every listener of Backroad Odyssey. Your support fuels our passion and inspires us to keep sharing stories and discover overlooked locations. Follow each adventure visually at:https://www.instagram.com/backroadsodyssey/

fWotD Episode 2805: Elvis Presley Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Wednesday, 8 January 2025 is Elvis Presley.Elvis Aaron Presley (January 8, 1935 – August 16, 1977), known mononymously as Elvis, was an American singer and actor. Known as the "King of Rock and Roll", he is regarded as one of the most significant cultural figures of the 20th century. Presley's energized performances and interpretations of songs, and sexually provocative performance style, combined with a singularly potent mix of influences across color lines during a transformative era in race relations, brought both great success and initial controversy.Presley was born in Tupelo, Mississippi; his family relocated to Memphis, Tennessee, when he was 13. His music career began there in 1954, at Sun Records with producer Sam Phillips, who wanted to bring the sound of African-American music to a wider audience. Presley, on guitar and accompanied by lead guitarist Scotty Moore and bassist Bill Black, was a pioneer of rockabilly, an uptempo, backbeat-driven fusion of country music and rhythm and blues. In 1955, drummer D. J. Fontana joined to complete the lineup of Presley's classic quartet and RCA Victor acquired his contract in a deal arranged by Colonel Tom Parker, who managed him for the rest of his career. Presley's first RCA Victor single, "Heartbreak Hotel", was released in January 1956 and became a number-one hit in the US. Within a year, RCA Victor would sell ten million Presley singles. With a series of successful television appearances and chart-topping records, Presley became the leading figure of the newly popular rock and roll; though his performative style and promotion of the then-marginalized sound of African Americans led to him being widely considered a threat to the moral well-being of white American youth.In November 1956, Presley made his film debut in Love Me Tender. Drafted into military service in 1958, he relaunched his recording career two years later with some of his most commercially successful work. Presley held few concerts, however, and guided by Parker, proceeded to devote much of the 1960s to making Hollywood films and soundtrack albums, most of them critically derided. Some of Presley's most famous films included Jailhouse Rock (1957), Blue Hawaii (1961), and Viva Las Vegas (1964). In 1968, he returned to the stage in the acclaimed NBC television comeback special Elvis, which led to an extended Las Vegas concert residency and a string of highly profitable tours. In 1973, Presley gave the first concert by a solo artist to be broadcast around the world, Aloha from Hawaii. However, years of prescription drug abuse and unhealthy eating severely compromised his health, and Presley died unexpectedly in August 1977 at his Graceland estate at the age of 42.Presley is one of the best-selling music artists of all time, with sale estimates ranging from 500 million records to over a billion worldwide. He was commercially successful in many genres, including pop, country, rock and roll, rockabilly, rhythm and blues, adult contemporary, and gospel. He won three Grammy Awards, received the Grammy Lifetime Achievement Award at age 36, and has been inducted into multiple music halls of fame. He holds several records, including the most RIAA-certified gold and platinum albums, the most albums charted on the Billboard 200, the most number-one albums by a solo artist on the UK Albums Chart, and the most number-one singles by any act on the UK Singles Chart. In 2018, Presley was posthumously awarded the Presidential Medal of Freedom.This recording reflects the Wikipedia text as of 00:58 UTC on Wednesday, 8 January 2025.For the full current version of the article, see Elvis Presley on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Niamh.

Bec joins Justin for a look back at one of the few Elvis albums she had early in her fandom, the iconic 1959 release "A Date With Elvis." Released while Elvis was overseas in Germany during his military service, "A Date" in some respects serves as a companion piece to the earlier "For LP Fans Only," compiling a handful of tracks previously unavailable on the LP format, while also having a more intriguing and novel design: a gatefold that allowed you to hang the album over and count the days until Elvis' return, or even more photos and thoughts from "Elvis" inside! And how does this oddball collection of tracks from Sun Records, Jailhouse Rock, Love Me Tender and a random EP hold up as a listening experience? All that and more on this episode! Then, for Song of the Week, Bec gets in the holiday spirit with "Who Needs Money?" from "Clambake" and Justin doubles down, going deep on Elvis' 1971 version of the traditional 18th century Christmas hymn, "O Come All Ye Faithful." If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy.

On this "Album Dive" bonus episode, I am joined by singer / songwriter ZZ Ward to dig into the stories behind all of the songs on her new EP “Mother,” which was just released via the legendary Sun Records. We also discuss: the stylistic differences between “Mother” and her other 2024 EP “Where Did All The Love Go?;” her stint on Slash's 2024 S.E.R.P.E.N.T. tour; her new, limited pressing, Record Store Day exclusive / guitar pick shaped vinyl single for “Put The Gun Down (Dirty Sun Version)” & “Cadillac Man;” her 2024 / 2025 Dirty Sun Tour & so much more! Be sure to visit http://www.MyWeeklyMixtape.com to hear all of the songs we discussed in this episode, and join the My Weekly Mixtape Discord Server via the link on the episode page! FOR MORE ON MY WEEKLY MIXTAPE Website: http://www.myweeklymixtape.com  Patreon: https://www.patreon.com/myweeklymixtape  Facebook: http://www.facebook.com/myweeklymixtape  Twitter/X: https://twitter.com/myweeklymixtape  Instagram: https://www.instagram.com/myweeklymixtape  TikTok: https://www.tiktok.com/@myweeklymixtape  Learn more about your ad choices. Visit megaphone.fm/adchoices

Six String Hayride - Classic Country Music and Beyond, the Midwest's Finest Award Winning Music Podcast is completing our Decades in Country Music Series with Six String Hayride Podcast Episode 46, The 2000's: Johnny, June, and The Great Beyond. Johnny and June pass away in 2003 as Johnny's American Recording album series is cementing his musical legacy and bringing his music to a new generation. Merle Haggard, Waylon Jennings, Chet Atkins, Loretta Lynn and Chuck Berry are among the Musical Masters who leave us, ending an era that started with The Carter Family in 1927. The future of Country Music is filled with brilliant options in every town. Clubs like Carol's Pub and Fitzgeralds in the Chicago area and musicians like The Waco Brothers, Dean Schlabowske, Jo Walston, and Chicago's Cowboy Crooner, Andrew Sa are just a hint at what Country Music is doing in the present. Look around your town and find the next groovy thing to listen to, invite your friends over for a listening party (I recommend anything from SUN Records, STAX Records, or this here podcast), find an unsuspecting youngster and tell them about Johnny, June, Willie, and Loretta, get a George Jones Flat Top Haircut, and keep spreading the good word of our unbroken circle.https://www.patreon.com/user?u=81625843

The milestone tenth studio album from folk-blues luminary Ruthie Foster, Mileage finds the singer-songwriter reflecting on a life that's been full of professional triumphs, courtesy of a musical journey that took a self-described “little Black girl with a guitar” from singing at churches in rural Texas to chalking up multiple Grammy nominations. With this album in particular, Ruthie shares a collection of songs that was inspired by heartfelt conversations with producer Tyler Bryant and Rebecca Lovell, Bryant's wife and one-half of the duo Larkin Poe. In that regard, Mileage was borne from a unique and very personal experience, one that found the music emerging organically and in ways that were both real and illuminating. The result is an album flush with creative synergy and symmetry, a snapshot of a career well spent.Consequently, Mileage also marks for a profound collaboration with the legendary Sun Records, one that allows Ruthie's narrative to intertwine with the legendary label's rich tapestry of musical history courtesy of a soul-stirring journey through America's musical heartland. In that regard, it's more than merely an album — rather, it's an invitation to take part in a conversation about memories, emotions, and shared humanity. Speaking with Lee and Billy, Ruthie describes the ways in which she was able to dig deep into her own life story and bring to life her dreams, desires and aspirations. With both verve and vulnerability, she shares her story. No matter whether she's singing blues, gospel, R&B, or rock and roll, on records or in conversation, Ruthie Foster makes it an honor to simply be in her presence. Learn more about Ruthie Foster at http://www.ruthiefoster.comPodcast producer/cohost Billy Hubbard is an Americana Singer/Songwriter and former Regional Director of A&R for a Grammy winning company. Billy is a signed artist with Spectra Music Group and co-founder of the iconic venue The Station in East TN. Billy's album was released by Spectra Records Oct 2023! Learn more about Billy at http://www.BillyHubbard.com Outro credit: Billy Hubbard "Lonesome When I'm With You" Intro credit: Billy Hubbard "Waitin' On The Wind" Host Lee Zimmerman is a freelance music writer whose articles have appeared in several leading music industry publications. Lee is a former promotions representative for ABC and Capital Records and director of communications for various CBS affiliated television stations. Lee recently authored the book "Thirty Years Behind The Glass" about legendary producer and engineer Jim Gains.Send us a textSupport the showIf you'd like to support My Backstage Pass you can make a donation to Billy & Lee's coffee fund at this link https://www.buymeacoffee.com/MyBackstagePassMy Backstage Pass is sponsored by The Alternate Root Magazine! Please subscribe to their newsletter, read the latest music reviews and check out their weekly Top Ten songs at this link http://www.thealternateroot.com

WE LIVE... AGAIN. Terminus is back from summer break with a hot-ass episode of PURE BRUTAL DEATH METAL. To celebrate the start of Slam Boy Summer we have a four-banger of high profile records that we've been meaning to get to. First up- the sophomore record by 200 Stab Wounds- can they navigate the switch to a major metal label with their sound intact. Next up, Wormed, who attempt to bring their unique style of brutal death up to date with high profile influences. Third, the shocking return of Cephalotripsy, whose new record bears traces of the old but kicks off in a substantially different direction. And last but not least, Carnivore Diprosopus returns with a new record featuring a monster truck on the cover. That's it, that's the review. 0:00:00 - Intro 0:02:25 - 200 Stab Wounds - Manual Manic Procedures (Metal Blade) 0:45:37 - Interlude - Watchmaker - “Failing Upwards,” fr. Erased from the Memory of Man (Willowtip, 2005) 0:47:48 - Wormed - Omegon (Season of Mist) 1:28:13 - Interlude - Dephosphorus - “Storming The Sloan Wall,” fr. Ravenous Solemnity (7 Degrees Records, 2012) 1:31:06 - Cephalotripsy - Epigenetic Neurogenesis (...Independent. Seriously.) 2:12:55 - Interlude - Corpse Carving - “Drenched in Visceral Excretions and Excrement: Aftermath of Emasculation” fr. Grotesque Goratorium: Disemboweled Gorific Feast (Despise the Sun Records, 2005) 2:14:25 - Carnivore Diprosopus - Rise of the Insurrection (Comatose Music) 2:52:38 - Outro - Amputated Genitals - “Chessman Red Monday” fr. Human Meat Gluttony (Gore and Blood Productions, 2005) Terminus links: Terminus on Youtube Terminus on Patreon Terminus on Instagram Terminus on Facebook thetrueterminus@gmail.com

John Heath of EAP Society joins Justin for an extensive (but still HIGHLY abbreviated!) discussion about the history of the music industry in Memphis before and during Elvis' career, from early blues recordings made by Ralph Peer to Sam Phillips' Sun Records, from indie labels inspired by Sun's success to the monumental Stax Records, how Chips Moman's American Sound came together, and up through Elvis's Jungle Room recordings as the city's music industry wound down in the late 70s. It's all explored through a playlist of about two dozen tracks compiled by John, linked below. If you've been exploring the 2024 Sony box set release "Memphis," you will find this a great supplemental discussion. There are no specific songs of the week this week, just a ton of amazing music history to delve into. https://open.spotify.com/playlist/0a1G2qR6gFfQT13UzrBTLg?si=09505e6244c44da8&fbclid=IwY2xjawEdLxBleHRuA2FlbQIxMAABHTrNyBF-6SkoS9goKzglqEqOstRBysdp99mM1miKBy5StaEBDUZ1HVJJjw_aem_hAjH3ZILor4p4CAcxsoarw&nd=1&dlsi=f85c2bdb288d4a43 You can also find the final track intended for this playlist, which is not on Spotify, on YouTube at this link (current as of release): https://www.youtube.com/watch?v=Ipqz1oIt4TA If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy. 

Justin is joined by John Michael Heath of EAP Society (youtube.com/EAPSociety) to give their first impressions of the new Sony Legacy box set, "Memphis" which released today, August 9, 2024.  Marketed as "a comprehensive collection" of 111 recordings of Elvis made in his adoptive hometown from his time at Sam Phillips's Sun Records through to Chips Moman's American Sound, the iconic Stax, live at the Mid-South Coliseum and at his home, Graceland, "Memphis" is said to contain "newly mixed versions of the select recordings, pure and without overdubs" overseen by award-winning engineer Matt Ross-Spang and producer Ernst Jorgensen.  Spoilers: there's good news for those who want to re-experience the 1973, 1974 and 1976 material in a different light than you may be familiar with, and a faithful collection of the Sun material... but this set's presentation of the 1969 American Sound music is a different story altogether. And that "pure and without overdubs" claim? Well, you'll hear. The guys also answer listener feedback on this episode, including several about a recent Song of the Week, but since this discussion ran long, Justin and John will be back later with a separate, full length episode for the main topic intended to supplement and compliment the "Memphis" set, focused on the history of the music industry in Memphis, how Elvis was influenced by it, and how he in turn helped reshape it. 

Rockabilly music and culture have left an indelible mark on American music and style. From the pioneering work of Sam Phillips and the legendary Sun Records artists to its lasting influence on punk, Americana, and beyond, rockabilly continues to inspire and captivate new generations. The blend of music, fashion, and car culture ensures that rockabilly remains a vibrant and dynamic part of the cultural landscape.

Please welcome to the set, actor and country musician, Drake Milligan. Drake shares his wild journey from dropping out of high school to landing the role of Elvis in CMT's "Sun Records" to pursuing his true passion: country music. From American Idol, to Americas Got Talent, Drake has gone from Forth Worth, TX to the big stage. His new EP, "Jukebox Songs” has taken off globally, and he isn't stopping any time soon. Learn more about where he gets his passion and where he plans to go from here. Shop Like a Farmer merch at https://agamericashop.com/ Follow along: IG: https://www.instagram.com/likeafarmerpodcast/ FB: https://facebook.com/likeafarmer TikTok: https://www.tiktok.com/@likeafarmerpodcast Twitter: https://twitter.com/likeafarmer_ About Like A Farmer: Like a Farmer is a podcast and video series that spotlights accomplished individuals from diverse industries and their inspiring stories of overcoming adversity and achieving success. Come along for this fun ride and meet some inspiring folks along the way: https://likeafarmer.com/ Contact us at: info@likeafarmer.com Powered by: AgAmerica Media Our Supporters: Field Tested. Farmer approved. Shop the Like A Farmer Blue Otter Sunglasses. 10% of all proceeds go to the AgAmerica Giving foundation to help farmers and ranchers in rural communities. https://blueotterpolarized.com/collections/like-a-farmer-collection AgAmerica is supporting agriculture nationwide, with personnel that know the industry best. Learn more by visiting: https://agamerica.com/

Hello friends! Songwriter, producer, and business woman extraordinaire Brandi Warden is my guest for episode 1406! Brandi comes from a music industry family that has had 8 decades of someone in the family having a song on the billboard charts. Brandi is no different. She most recently co-wrote and co-produced the album Jackpot! by her husband's band, Monte Warden and the Dangerous Few, which is currently at #47 on the Americana chart and their song "Waxahatchee Hoochie Coo" is currently at #42 on the Americana singles chart. We have an amazing conversation about her incredible family from her uncle working at Sun Records in the 50's and recording "Great Balls of Fire" for Jerry Lee Lewis and "I Walk the Line" for Johnny Cash and more, her grandparents had hits with Johnny Paycheck and others, her dad wrote from Johnny Paycheck, Garth Brooks, George Strait and more and sold over 35 millions albums (and that's not even all of it), her journey in the publishing part of music, songwriting, producing and much more. I had a blast hanging with Brandi. I'm sure you will too. Let's get down!   Follow us on Instagram, Facebook, Spotify, Apple Podcasts, or anywhere you pod.   If you feel so inclined. Venmo: www.venmo.com/John-Goudie-1  Paypal: paypal.me/johnnygoudie 

July 5, 1954. Elvis Presley records his first single "That's All Right" at Sun Records in Memphis, introducing rock n' roll to mainstream American culture. This episode originally aired in 2022.Support the show! Join Into History for ad-free listening and more.History Daily is a co-production of Airship and Noiser.Go to HistoryDaily.com for more history, daily.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

What do you know about the King, baby? Did you know how poor he was growing up? How quickly he became famous as an adult? Did you know he had a pet chimp, Scatter, that he let get drunk and terrorized costars on some of his movie sets? A lot about Elvis and a little bit on the history of Rock n Roll this week!  Thank ya very much. Watch the Suck on YouTube: https://youtu.be/pd-Dm1tfkOUMerch and more: www.badmagicproductions.com Timesuck Discord! https://discord.gg/tqzH89vWant to join the Cult of the Curious PrivateFacebook Group? Go directly to Facebook and search for "Cult of the Curious" to locate whatever happens to be our most current page :)For all merch-related questions/problems: store@badmagicproductions.com (copy and paste)Please rate and subscribe on Apple Podcasts and elsewhere and follow the suck on social media!! @timesuckpodcast on IG and http://www.facebook.com/timesuckpodcastWanna become a Space Lizard? Click here: https://www.patreon.com/timesuckpodcast.Sign up through Patreon, and for $5 a month, you get access to the entire Secret Suck catalog (295 episodes) PLUS the entire catalog of Timesuck, AD FREE. You'll also get 20% off of all regular Timesuck merch PLUS access to exclusive Space Lizard merch. And you get the download link for my secret standup album, Feel the Heat.

Welcome to our podcast where we discuss and deliberate over memoirs and biographies found in thrift shops. This is a great way to do things as we are not choosing who to read about. We may not be fans of the person, we may never have heard of the person and we never know who we are going to find next...There are only 2 rules to this podcast. The book has to be found in a thrift shop and we are not allowed to talk about the book until we press record, which is sometimes agonising.We have lots of episodes coming up so if you find yourself enjoying our podcast, please be sure to subscribe to be among the first to hear about each episode.Support the Show.

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Six String Hayride Classic Country Podcast Episode 40. The 1950's Episode. The Death of Hank Williams and The Rise of Johnny Cash. Musicals rule with Singing in the Rain and The King and I. The LONE RANGER becomes one of the early hits for Television. Webb Pierce, Eddy Arnold, Red Foley, Kitty Wells, and Tennessee Ernie Ford rule the record charts. Young Upstarts at SUN RECORDS give us Country, Gospel, Blues, and Rock all at once. Rockabilly and Blue Grass Music blow our minds with musical virtuosos like Carl Perkins and Bill Monroe. Kitty Wells teaches Hank Thompson some manners. Wanda Jackson tells us to have a party and Eddie Cochran climbs twenty flights of stairs. Anne Francis stars in Forbidden Planet. The Great Movies of the 1950's and Johnny Cash's Honey Glaze Pulled Pork Recipe. The World Mourns Buddy Holly. All this and More from the Fabulous Fifties with Chris and Jim.https://www.facebook.com/profile.php?id=100086513555749https://www.patreon.com/user?u=81625843

I love that the new home owner portrayed in this song squares off against a threatening demon, declaring: “Ain't no Ha'nt gonna run me off!” This is one ballsy gentleman, Mr. Jumpin' Gene Simmons. And, fittingly Mr. Chaim Witz of Kiss fame, (another ballsy guy),  took his name in tribute to this man. Morris Eugene Simmons (1937-2006) started his career in 1956, at Sun Records, and opened for Elvis Presley, but he hit pay dirt after leaving that label and landing at the fledgling company of Hi, where he made this recording, which peaked at #11 on the Billboard chart. It's simple, repetitive, and silly, but, man, does it cook! And, when he croons “I'll be right here when the morning comes….” It's a statement of unshakeable positivity, a guarantee by a man standing his ground against supernatural forces, and you just know that even if they have to end up living together, Gene ain't gonna be the one leavin'.

Over the years, The Kitchen Sisters have zeroed in on Memphis, Tennessee in a big way. The inspiration for that and the inspiration for some of our favorite stories is Knox Phillips. Davia met Knox in 1997 in Memphis when she was doing casting for Francis Ford Coppola's film The Rainmaker. She was on the set standing next to a guy. Cool hair, great smile. During the long set up between takes they started talking. About Memphis, about music, about radio. She told him about a new series we were starting to produce for NPR — Lost & Found Sound. Stories about sonic pioneers and people possessed by sound. The guy with the cool hair listens. “Girl, I think you better come over to the house and meet my parents. My dad, Sam, started the Memphis Recording Service and Sun Records. He recorded Elvis Presley, Johnny Cash, Jerry Lee Lewis, Roy Orbison, Howlin' Wolf.... When he sold Elvis' contract he and my mother, Becky, used the money to start the first all-girl radio station in the nation, WHER: 1000 Beautiful Watts.”Nikki was on a plane to Memphis the next day and we drove to the Phillips family house that night. Knox, Sam, Becky and Sam's girlfriend Sally were all there and the stories started pouring out. We walked in at 7:00 and left after midnight, recording the whole time. Those interviews became the basis of some of the most groundbreaking Kitchen Sisters pieces. Knox Phillips — producer, promoter of Memphis music, Keeper of his family's legacy, died in April 2020, right at the beginning of the pandemic, and never really got his due. His massive spirit, love and music live on.

Wrapping up our coverage of Sam Phillips' cadre of rock pioneers, we will look at the last two artists to come out of that cohort: Roy Orbison and Jerry Lee Lewis. However, other than recording with Sun Records, these two men had almost nothing else in common. One was a reluctant rocker pining for a career recording soulful ballads, while the other was an impulsive-yet-repressed sex addict who lived a life filled with equal parts pleasure and guilt.

Discover the heartbeat of acting with the extraordinary Ann Mahoney, as she shares her profound insights into the art of performance. From nurturing the unique spark within each actor to embracing the stark realities of self-taping in our digital age, Ann's wisdom as an actor, educator, and writer radiates through every word. She delves into the power of an actor's personal narrative in shaping their on-screen presence and unwraps the complex layers actors must navigate when embodying characters that test their moral compass. It's an education in authenticity, and Ann's masterclass in acting is not to be missed.  Have you ever wondered how actors find the truth in their portrayal? Ann brings to light the transformative Suzuki method, emphasizing the actor's physicality to cultivate a compelling 'neutral' face that allows their true essence to shine. Her stories of character exploration and the importance of a support network remind us that acting is not just a solitary craft but a communal journey. Her candid reflections on the emotional and moral quandaries of the profession offer a rare glimpse into the actor's world, where humor and humanity intertwine with the characters they bring to life.  Not only does Ann enlighten us with tales of her storied career, including her role as Gladys Presley in "Sun Records" and her foray into the Shakespearean realm as Hamlet, but she also peels back the curtain on "The Walking Dead" and the famous "slap" scene. Her passion for both performing and playwriting pulsates throughout our conversation, culminating in an exclusive look at her work on and off the screen. Ann's dedication to her craft and the joy she finds in teaching are testaments to the enduring power of storytelling, leaving us with inspiration long after the final curtain call.Support the showFollow us on IG @nolafilmscene, @kodaksbykojack, and @tjsebastianofficial.

Walk the Line is a film directed by James Mangold based on Johnny Cash's book of the same name. The film follows Johnny's life from his early days on a Arkansas cotton farm to his rise of fame at Sun Records. It also showcases the love story between Johnny and June Carter.   Timecodes: 00:00 - DMP Ad :30 - Introduction :46 - The Film Facts 7:52 - The Pickup Line 9:00 - Johhny's childhood 14:08 - Actors portraying villains 18:47 - Stars trying to kick drugs 25:40 - Actors process to get into character 39:19 - Head Trauma 39:51 - Smoochie, Smoochie, Smoochie 40:12- Driving Review 42:10 - To the Numbers   References from the episode: Mid Mangold direct the last Indian Jones film? - Yes Where was Phedon Papamichael? Athens Greece What is the Etymology of stupid? Sweat gloss     Next week's film will be The Sixth Sense (1999)   Subscribe, Rate & Share Your Favorite Episodes! Thanks for tuning into today's episode of Dodge Movie Podcast with your host, Mike and Christi Dodge. If you enjoyed this episode, please head over to Apple Podcasts to subscribe and leave a rating and review. Don't forget to visit our website, connect with us on Instagram, Facebook, LinkedIn, and share your favorite episodes across social media. Email at christi@dodgemediaproductions.com Need help editing or producing your podcast, let us help you. Also, you can get 2 months free on Libsyn click here: https://signup.libsyn.com/?promo_code=SMOOCHIE

Johnny Cash was a prolific hitmaker in the mid 50's to early 60's.  In the late 60's  he released a couple of live albums which had crossover appeal:  "Johnny Cash at Folsom Prison," and "Johnny Cash at San Quentin."  By 1969, Johnny Cash had become an international musical success, selling more records than the Beatles at the time.Cash had left his original label, Sun Records, back in 1958.  However, he had left an extensive catalogue of songs with Sam Phillips at Sun.  Given his success and the upcoming Johnny Cash TV show, Sun Records decided it would be a good time to release a compilation of his earlier hits from 1954 through 1958.  This compilation was released on two albums, "Original Golden Hits, Volume I" and "Original Golden Hits, Volume II," which reached numbers 4 and 3 on the US Country charts respectively.  Cash would go on to fame in TV and film in the 70's, and would continue recording up until his death in 2003.While not strictly rock music, the Man in Black was an icon of American music and an inspiration for many in country, rock, and pop genres.  It is also a special memory for Wayne, as he listened to this  8-track as he traveled with his father out of California to Alabama.Wayne takes us through this greatest hits album for today's podcast. Home of the BluesThe inspiration for this song was the "Home of the Blues" record shop on Beale Street in Memphis, Tennessee.  The store which was open from the late 40's until the mid 70's was a place he used to hang out, buy records, and meet other musicians. Hey PorterThis is Cash's first recorded song.  The setting is just after World War II, and the song focuses on a man returning home from overseas who feels elated to be returning to his native South, the last leg of which is by train.  Note that there is no percussion in this song, but Cash played his guitar with dampened strings to acquire a percussive effect.I Walk the LineJohnny Cash's first number 1 hit on the Billboard country charts eventually crossed over to the US pop charts, reaching number 17 and selling over 2 million copies in the United States.  The lyrics reflect temptations and the need to be accountable for your actions.  The frequent key changes make this song distinctive.Get RhythmThis was the B-side to "I Walk the Line."  It was re-released in 1969 as an A-side, and went to number 60 on the Billboard pop chart.   ENTERTAINMENT TRACK:Main theme from the television series “Fat Albert”The origin of Bill Cosby's animated series was an animated primetime television special that first aired on NBC on November 12, 1969.  STAFF PICKS:Birthday by Underground SunshineRob starts off the staff picks with a cover of the Beatles song by a group from Wisconsin.  The band had been around for a few years, but this cover helped them attain greater success.  Their cover made it to number 26 on the Billboard Hot 100.  Down on the Corner by Credence Clearwater RevivalLynch's staff pick is one of the best known songs by CCR.  The song talks about a band called "Willy and the Poor Boys" playing in the street for spare change.  It went to number 3 on the Billboard Hot 100 by the end of 1969.  I Can't Get Next to You by The Temptations Bruce gets us all moving with the number 1 single from David Ruffin, Melvin Franklin, Otis Williams, Eddie Kendricks, and Paul Williams - better known as The Temptations.  This was the second of four number 1 hits from the group, and was written by Norman Whitfield and Barrett Strong for the Motown label. I'm Tired by Savoy BrownWayne's staff pick charted at number 74 on the top 100, and has a very heavy electric blues feel.  Three members of this group out of London would go on to form Foghat.  The group's name came from American Blues label Savoy Records - a name that had an elegant sound.  "Brown" was added as an extremely plain word that contrasted nicely with the elegance of "Savoy." INSTRUMENTAL TRACK:Treat by SantanaSantana would produce a number of excellent instrumental hits during his decades in the rock scene, and this one is from his debut album. Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

You're about to be taken on a journey...  Justin is joined by Rabia of Suddenly: A Frank Sinatra Podcast to tackle Australia's near-exclusive 1983 compilation "Elvis Blue" (also released in Japan & South Africa) which compiles all 19 songs Elvis released during his lifetime with the word "blue" in the title.  This strange collection of songs that, when initially described, sounds like a novelty cash-in, ends up becoming a compelling, thoughtful alternate exploration of the span of Elvis' entire artistic journey, from Sun Records to the last song he ever sang. Justin & Rabia examine the lyrics of these songs and spend time reflecting on the themes of loss, loneliness, sadness, love-gone-wrong and - surprisingly - a sort of disaffected, comedic flippancy in there, too.  For Song of the Week, the theme is carried forward, with Justin picking two Red West-penned 1966 home recordings "I've Been Blue" and "It's No Fun Being Lonely," one of which explicitly would fit the main topic's subject, and another that fits tonally. Rabia selects "I Need Somebody to Lean On," the understated, jazzy ballad from "Viva Las Vegas" and tries to root out some potential inspirations Pomus/Shuman may have had for it, and together Justin & Rabia ponder the potential influence of Ol' Blue Eyes himself on Elvis' crooning. Rabia's show "Suddenly: A Frank Sinatra Podcast" is available on all major podcast platforms where you can find TCBCast, with more info at suddenlypod.gay. If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy. 

We're pulling out all the big guns at once for this one. You want legends? Psh, how about five of them? No big deal. Here's a few names you might have heard: Jeff Lynne, Bob Dylan, Roy Orbison, Tom Petty, and George freakin' Harrison.Cody and Hilary chat about this most super of the supergroups; from the storybook way they came together to the brilliance of their songwriting. But mainly, they talk about how much they love Roy Orbison. Because who doesn't?!With a musical pedigree that covers Sun Records, Greenwich Village, Liverpool and peak British Invasion, and everything in between, this album shows what we all already knew. These dudes can write catchy songs.Traveling Wilburys Vol. 1 is a testament to iron sharpening iron, and the spirit of collaboration for the sole purpose of having a good time with your friends.Thanks for listening! Check out everything we have going on via the info below: Instagram: @earwaxpod TikTok: @earwaxpod Amoeba on Instagram: @amoebahollywood @amoebasf @amoebaberkeley Questions, Suggestions, Corrections (surely we're perfect): earwaxpodcast@amoeba-music.com Credits:Edited by Claudia Rivera-TinsleyAll transition music written and performed by Spencer Belden"EarWax Main Theme" performed by Spencer Belden feat. David Otis

Last episode we left off with Elvis' family leaving their familiar surroundings in Tupelo, Mississippi for the big city life in Memphis, Tennessee. This episode we'll pick up where we left off and see him make his first recordings with Sun Records!

Today we discover the iconic jamming session that birthed ‘The Million Dollar Quartet' - Elvis Presley, Jerry Lee Lewis, Johnny Cash and Carl ‘Blue Suede Shoes' Perkins - who spent the day making music together at Sun Studios, Memphis on 4th December, 1956. Although the event began as an impromptu get-together, Sun's Sam Phillips was quick to call a press photographer to document the troupe, which also included Elvis's then-girlfriend, Marilyn Evans. Luckily, a savvy recording engineer also switched on the mics. In this episode, Arion, Rebecca and Olly consider why this rock n' roll quartet quickly reverted to gospel, bluegrass, blues, and country; unpick Johnny Cash's claim that he can't be heard on-mic because he was matching Presley's higher register; and marvel at Elvis's impression of Jackie Wilson… Further Reading: • ‘Million Dollar Quartet - Dec. 4 1956' (Sun Records, 2008): https://sunrecords.com/million-dollar-quartet-dec-4-1956/ • ‘Johnny Cash Elvis Presley: The story behind their epic recording session' (Daily Express, 2021): https://www.express.co.uk/entertainment/music/1424775/Johnny-Cash-Elvis-Presley-story-behind-recording-session-the-million-dollar-quartet-evg • ‘The Million Dollar Quartet' (Sun Records, 1956): https://www.youtube.com/watch?v=cOorJPVc6_M This episode first premiered in 2022, for members of

Episode one hundred and sixty-seven of A History of Rock Music in Five Hundred Songs looks at “The Weight" by the Band, the Basement Tapes, and the continuing controversy over Dylan going electric. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode available, on "S.F. Sorrow is Born" by the Pretty Things. 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/ Also, a one-time request here -- Shawn Taylor, who runs the Facebook group for the podcast and is an old and dear friend of mine, has stage-three lung cancer. I will be hugely grateful to anyone who donates to the GoFundMe for her treatment. Errata At one point I say "when Robertson and Helm travelled to the Brill Building". I meant "when Hawkins and Helm". This is fixed in the transcript but not the recording. Resources There are three Mixcloud mixes this time. As there are so many songs by Bob Dylan and the Band excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here — one, two, three. I've used these books for all the episodes involving Dylan: Dylan Goes Electric!: Newport, Seeger, Dylan, and the Night That Split the Sixties by Elijah Wald, which is recommended, as all Wald's books are. Bob Dylan: All The Songs by Phillipe Margotin and Jean-Michel Guesdon is a song-by-song look at every song Dylan ever wrote, as is Revolution in the Air, by Clinton Heylin. Heylin also wrote the most comprehensive and accurate biography of Dylan, Behind the Shades. I've also used Robert Shelton's No Direction Home, which is less accurate, but which is written by someone who knew Dylan. Chronicles Volume 1 by Bob Dylan is a partial, highly inaccurate, but thoroughly readable autobiography. Information on Tiny Tim comes from Eternal Troubadour: The Improbable Life of Tiny Tim by Justin Martell. Information on John Cage comes from The Roaring Silence by David Revill Information on Woodstock comes from Small Town Talk by Barney Hoskyns. For material on the Basement Tapes, I've used Million Dollar Bash by Sid Griffin. And for the Band, I've used This Wheel's on Fire by Levon Helm with Stephen Davis, Testimony by Robbie Robertson, The Band by Craig Harris and Levon by Sandra B Tooze. I've also referred to the documentaries No Direction Home and Once Were Brothers. The complete Basement Tapes can be found on this multi-disc box set, while this double-CD version has the best material from the sessions. All the surviving live recordings by Dylan and the Hawks from 1966 are on this box set. There are various deluxe versions of Music From Big Pink, but still the best way to get the original album is in this twofer CD with the Band's second album. Transcript Just a brief note before I start – literally while I was in the middle of recording this episode, it was announced that Robbie Robertson had died today, aged eighty. Obviously I've not had time to alter the rest of the episode – half of which had already been edited – with that in mind, though I don't believe I say anything disrespectful to his memory. My condolences to those who loved him – he was a huge talent and will be missed. There are people in the world who question the function of criticism. Those people argue that criticism is in many ways parasitic. If critics knew what they were talking about, so the argument goes, they would create themselves, rather than talk about other people's creation. It's a variant of the "those who can't, teach" cliche. And to an extent it's true. Certainly in the world of rock music, which we're talking about in this podcast, most critics are quite staggeringly ignorant of the things they're talking about. Most criticism is ephemeral, published in newspapers, magazines, blogs and podcasts, and forgotten as soon as it has been consumed -- and consumed is the word . But sometimes, just sometimes, a critic will have an effect on the world that is at least as important as that of any of the artists they criticise. One such critic was John Ruskin. Ruskin was one of the preeminent critics of visual art in the Victorian era, particularly specialising in painting and architecture, and he passionately advocated for a form of art that would be truthful, plain, and honest. To Ruskin's mind, many artists of the past, and of his time, drew and painted, not what they saw with their own eyes, but what other people expected them to paint. They replaced true observation of nature with the regurgitation of ever-more-mannered and formalised cliches. His attacks on many great artists were, in essence, the same critiques that are currently brought against AI art apps -- they're just recycling and plagiarising what other people had already done, not seeing with their own eyes and creating from their own vision. Ruskin was an artist himself, but never received much acclaim for his own work. Rather, he advocated for the works of others, like Turner and the pre-Raphaelite school -- the latter of whom were influenced by Ruskin, even as he admired them for seeing with their own vision rather than just repeating influences from others. But those weren't the only people Ruskin influenced. Because any critical project, properly understood, becomes about more than just the art -- as if art is just anything. Ruskin, for example, studied geology, because if you're going to talk about how people should paint landscapes and what those landscapes look like, you need to understand what landscapes really do look like, which means understanding their formation. He understood that art of the kind he wanted could only be produced by certain types of people, and so society had to be organised in a way to produce such people. Some types of societal organisation lead to some kinds of thinking and creation, and to properly, honestly, understand one branch of human thought means at least to attempt to understand all of them. Opinions about art have moral consequences, and morality has political and economic consequences. The inevitable endpoint of any theory of art is, ultimately, a theory of society. And Ruskin had a theory of society, and social organisation. Ruskin's views are too complex to summarise here, but they were a kind of anarcho-primitivist collectivism. He believed that wealth was evil, and that the classical liberal economics of people like Mill was fundamentally anti-human, that the division of labour alienated people from their work. In Ruskin's ideal world, people would gather in communities no bigger than villages, and work as craftspeople, working with nature rather than trying to bend nature to their will. They would be collectives, with none richer or poorer than any other, and working the land without modern technology. in the first half of the twentieth century, in particular, Ruskin's influence was *everywhere*. His writings on art inspired the Impressionist movement, but his political and economic ideas were the most influential, right across the political spectrum. Ruskin's ideas were closest to Christian socialism, and he did indeed inspire many socialist parties -- most of the founders of Britain's Labour Party were admirers of Ruskin and influenced by his ideas, particularly his opposition to the free market. But he inspired many other people -- Gandhi talked about the profound influence that Ruskin had on him, saying in his autobiography that he got three lessons from Ruskin's Unto This Last: "That 1) the good of the individual is contained in the good of all. 2) a lawyer's work has the same value as the barber's in as much as all have the same right of earning their livelihood from their work. 3) a life of labour, i.e., the life of the tiller of the soil and the handicraftsman is the life worth living. The first of these I knew. The second I had dimly realized. The third had never occurred to me. Unto This Last made it clear as daylight for me that the second and third were contained in the first. I arose with the dawn, ready to reduce these principles to practice" Gandhi translated and paraphrased Unto this Last into Gujurati and called the resulting book Sarvodaya (meaning "uplifting all" or "the welfare of all") which he later took as the name of his own political philosophy. But Ruskin also had a more pernicious influence -- it was said in 1930s Germany that he and his friend Thomas Carlyle were "the first National Socialists" -- there's no evidence I know of that Hitler ever read Ruskin, but a *lot* of Nazi rhetoric is implicit in Ruskin's writing, particularly in his opposition to progress (he even opposed the bicycle as being too much inhuman interference with nature), just as much as more admirable philosophies, and he was so widely read in the late nineteenth and early twentieth centuries that there's barely a political movement anywhere that didn't bear his fingerprints. But of course, our focus here is on music. And Ruskin had an influence on that, too. We've talked in several episodes, most recently the one on the Velvet Underground, about John Cage's piece 4'33. What I didn't mention in any of the discussions of that piece -- because I was saving it for here -- is that that piece was premiered at a small concert hall in upstate New York. The hall, the Maverick Concert Hall, was owned and run by the Maverick arts and crafts collective -- a collective that were so called because they were the *second* Ruskinite arts colony in the area, having split off from the Byrdcliffe colony after a dispute between its three founders, all of whom were disciples of Ruskin, and all of whom disagreed violently about how to implement Ruskin's ideas of pacifist all-for-one and one-for-all community. These arts colonies, and others that grew up around them like the Arts Students League were the thriving centre of a Bohemian community -- close enough to New York that you could get there if you needed to, far enough away that you could live out your pastoral fantasies, and artists of all types flocked there -- Pete Seeger met his wife there, and his father-in-law had been one of the stonemasons who helped build the Maverick concert hall. Dozens of artists in all sorts of areas, from Aaron Copland to Edward G Robinson, spent time in these communities, as did Cage. Of course, while these arts and crafts communities had a reputation for Bohemianism and artistic extremism, even radical utopian artists have their limits, and legend has it that the premiere of 4'33 was met with horror and derision, and eventually led to one artist in the audience standing up and calling on the residents of the town around which these artistic colonies had agglomerated: “Good people of Woodstock, let's drive these people out of town.” [Excerpt: The Band, "The Weight"] Ronnie Hawkins was almost born to make music. We heard back in the episode on "Suzie Q" in 2019 about his family and their ties to music. Ronnie's uncle Del was, according to most of the sources on the family, a member of the Sons of the Pioneers -- though as I point out in that episode, his name isn't on any of the official lists of group members, but he might well have performed with them at some point in the early years of the group. And he was definitely a country music bass player, even if he *wasn't* in the most popular country and western group of the thirties and forties. And Del had had two sons, Jerry, who made some minor rockabilly records: [Excerpt: Jerry Hawkins, "Swing, Daddy, Swing"] And Del junior, who as we heard in the "Susie Q" episode became known as Dale Hawkins and made one of the most important rock records of the fifties: [Excerpt: Dale Hawkins, "Susie Q"] Ronnie Hawkins was around the same age as his cousins, and was in awe of his country-music star uncle. Hawkins later remembered that after his uncle moved to Califormia to become a star “He'd come home for a week or two, driving a brand new Cadillac and wearing brand new clothes and I knew that's what I wanted to be." Though he also remembered “He spent every penny he made on whiskey, and he was divorced because he was running around with all sorts of women. His wife left Arkansas and went to Louisiana.” Hawkins knew that he wanted to be a music star like his uncle, and he started performing at local fairs and other events from the age of eleven, including one performance where he substituted for Hank Williams -- Williams was so drunk that day he couldn't perform, and so his backing band asked volunteers from the audience to get up and sing with them, and Hawkins sang Burl Ives and minstrel-show songs with the band. He said later “Even back then I knew that every important white cat—Al Jolson, Stephen Foster—they all did it by copying blacks. Even Hank Williams learned all the stuff he had from those black cats in Alabama. Elvis Presley copied black music; that's all that Elvis did.” As well as being a performer from an early age, though, Hawkins was also an entrepreneur with an eye for how to make money. From the age of fourteen he started running liquor -- not moonshine, he would always point out, but something far safer. He lived only a few miles from the border between Missouri and Arkansas, and alcohol and tobacco were about half the price in Missouri that they were in Arkansas, so he'd drive across the border, load up on whisky and cigarettes, and drive back and sell them at a profit, which he then used to buy shares in several nightclubs, which he and his bands would perform in in later years. Like every man of his generation, Hawkins had to do six months in the Army, and it was there that he joined his first ever full-time band, the Blackhawks -- so called because his name was Hawkins, and the rest of the group were Black, though Hawkins was white. They got together when the other four members were performing at a club in the area where Hawkins was stationed, and he was so impressed with their music that he jumped on stage and started singing with them. He said later “It sounded like something between the blues and rockabilly. It sort of leaned in both directions at the same time, me being a hayseed and those guys playing a lot funkier." As he put it "I wanted to sound like Bobby ‘Blue' Bland but it came out sounding like Ernest Tubb.” Word got around about the Blackhawks, both that they were a great-sounding rock and roll band and that they were an integrated band at a time when that was extremely unpopular in the southern states, and when Hawkins was discharged from the Army he got a call from Sam Phillips at Sun Records. According to Hawkins a group of the regular Sun session musicians were planning on forming a band, and he was asked to front the band for a hundred dollars a week, but by the time he got there the band had fallen apart. This doesn't precisely line up with anything else I know about Sun, though it perhaps makes sense if Hawkins was being asked to front the band who had variously backed Billy Lee Riley and Jerry Lee Lewis after one of Riley's occasional threats to leave the label. More likely though, he told everyone he knew that he had a deal with Sun but Phillips was unimpressed with the demos he cut there, and Hawkins made up the story to stop himself losing face. One of the session players for Sun, though, Luke Paulman, who played in Conway Twitty's band among others, *was* impressed with Hawkins though, and suggested that they form a band together with Paulman's bass player brother George and piano-playing cousin Pop Jones. The Paulman brothers and Jones also came from Arkansas, but they specifically came from Helena, Arkansas, the town from which King Biscuit Time was broadcast. King Biscuit Time was the most important blues radio show in the US at that time -- a short lunchtime programme which featured live performances from a house band which varied over the years, but which in the 1940s had been led by Sonny Boy Williamson II, and featured Robert Jr. Lockwood, Robert Johnson's stepson, on guiitar: [Excerpt: Sonny Boy Williamson II "Eyesight to the Blind (King Biscuit Time)"] The band also included a drummer, "Peck" Curtis, and that drummer was the biggest inspiration for a young white man from the town named Levon Helm. Helm had first been inspired to make music after seeing Bill Monroe and his Blue Grass Boys play live when Helm was eight, and he had soon taken up first the harmonica, then the guitar, then the drums, becoming excellent at all of them. Even as a child he knew that he didn't want to be a farmer like his family, and that music was, as he put it, "the only way to get off that stinking tractor  and out of that one hundred and five degree heat.” Sonny Boy Williamson and the King Biscuit Boys would perform in the open air in Marvell, Arkansas, where Helm was growing up, on Saturdays, and Helm watched them regularly as a small child, and became particularly interested in the drumming. “As good as the band sounded,” he said later “it seemed that [Peck] was definitely having the most fun. I locked into the drums at that point. Later, I heard Jack Nance, Conway Twitty's drummer, and all the great drummers in Memphis—Jimmy Van Eaton, Al Jackson, and Willie Hall—the Chicago boys (Fred Belew and Clifton James) and the people at Sun Records and Vee-Jay, but most of my style was based on Peck and Sonny Boy—the Delta blues style with the shuffle. Through the years, I've quickened the pace to a more rock-and-roll meter and time frame, but it still bases itself back to Peck, Sonny Boy Williamson, and the King Biscuit Boys.” Helm had played with another band that George Paulman had played in, and he was invited to join the fledgling band Hawkins was putting together, called for the moment the Sun Records Quartet. The group played some of the clubs Hawkins had business connections in, but they had other plans -- Conway Twitty had recently played Toronto, and had told Luke Paulman about how desperate the Canadians were for American rock and roll music. Twitty's agent Harold Kudlets booked the group in to a Toronto club, Le Coq D'Or, and soon the group were alternating between residencies in clubs in the Deep South, where they were just another rockabilly band, albeit one of the better ones, and in Canada, where they became the most popular band in Ontario, and became the nucleus of an entire musical scene -- the same scene from which, a few years later, people like Neil Young would emerge. George Paulman didn't remain long in the group -- he was apparently getting drunk, and also he was a double-bass player, at a time when the electric bass was becoming the in thing. And this is the best place to mention this, but there are several discrepancies in the various accounts of which band members were in Hawkins' band at which times, and who played on what session. They all *broadly* follow the same lines, but none of them are fully reconcilable with each other, and nobody was paying enough attention to lineup shifts in a bar band between 1957 and 1964 to be absolutely certain who was right. I've tried to reconcile the various accounts as far as possible and make a coherent narrative, but some of the details of what follows may be wrong, though the broad strokes are correct. For much of their first period in Ontario, the group had no bass player at all, relying on Jones' piano to fill in the bass parts, and on their first recording, a version of "Bo Diddley", they actually got the club's manager to play bass with them: [Excerpt: Ronnie Hawkins, "Hey Bo Diddley"] That is claimed to be the first rock and roll record made in Canada, though as everyone who has listened to this podcast knows, there's no first anything. It wasn't released as by the Sun Records Quartet though -- the band had presumably realised that that name would make them much less attractive to other labels, and so by this point the Sun Records Quartet had become Ronnie Hawkins and the Hawks. "Hey Bo Diddley" was released on a small Canadian label and didn't have any success, but the group carried on performing live, travelling back down to Arkansas for a while and getting a new bass player, Lefty Evans, who had been playing in the same pool of musicians as them, having been another Sun session player who had been in Conway Twitty's band, and had written Twitty's "Why Can't I Get Through to You": [Excerpt: Conway Twitty, "Why Can't I Get Through to You"] The band were now popular enough in Canada that they were starting to get heard of in America, and through Kudlets they got a contract with Joe Glaser, a Mafia-connected booking agent who booked them into gigs on the Jersey Shore. As Helm said “Ronnie Hawkins had molded us into the wildest, fiercest, speed-driven bar band in America," and the group were apparently getting larger audiences in New Jersey than Sammy Davis Jr was, even though they hadn't released any records in the US. Or at least, they hadn't released any records in their own name in the US. There's a record on End Records by Rockin' Ronald and the Rebels which is very strongly rumoured to have been the Hawks under another name, though Hawkins always denied that. Have a listen for yourself and see what you think: [Excerpt: Rockin' Ronald and the Rebels, "Kansas City"] End Records, the label that was on, was one of the many record labels set up by George Goldner and distributed by Morris Levy, and when the group did release a record in their home country under their own name, it was on Levy's Roulette Records. An audition for Levy had been set up by Glaser's booking company, and Levy decided that given that Elvis was in the Army, there was a vacancy to be filled and Ronnie Hawkins might just fit the bill. Hawkins signed a contract with Levy, and it doesn't sound like he had much choice in the matter. Helm asked him “How long did you have to sign for?” and Hawkins replied "Life with an option" That said, unlike almost every other artist who interacted with Levy, Hawkins never had a bad word to say about him, at least in public, saying later “I don't care what Morris was supposed to have done, he looked after me and he believed in me. I even lived with him in his million-dollar apartment on the Upper East Side." The first single the group recorded for Roulette, a remake of Chuck Berry's "Thirty Days" retitled "Forty Days", didn't chart, but the follow-up, a version of Young Jessie's "Mary Lou", made number twenty-six on the charts: [Excerpt: Ronnie Hawkins and the Hawks, "Mary Lou"] While that was a cover of a Young Jessie record, the songwriting credits read Hawkins and Magill -- Magill was a pseudonym used by Morris Levy. Levy hoped to make Ronnie Hawkins into a really big star, but hit a snag. This was just the point where the payola scandal had hit and record companies were under criminal investigation for bribing DJs to play their records. This was the main method of promotion that Levy used, and this was so well known that Levy was, for a time, under more scrutiny than anyone. He couldn't risk paying anyone off, and so Hawkins' records didn't get the expected airplay. The group went through some lineup changes, too, bringing in guitarist Fred Carter (with Luke Paulman moving to rhythm and soon leaving altogether)  from Hawkins' cousin Dale's band, and bass player Jimmy Evans. Some sources say that Jones quit around this time, too, though others say he was in the band for  a while longer, and they had two keyboards (the other keyboard being supplied by Stan Szelest. As well as recording Ronnie Hawkins singles, the new lineup of the group also recorded one single with Carter on lead vocals, "My Heart Cries": [Excerpt: Fred Carter, "My Heart Cries"] While the group were now playing more shows in the USA, they were still playing regularly in Canada, and they had developed a huge fanbase there. One of these was a teenage guitarist called Robbie Robertson, who had become fascinated with the band after playing a support slot for them, and had started hanging round, trying to ingratiate himself with the band in the hope of being allowed to join. As he was a teenager, Hawkins thought he might have his finger on the pulse of the youth market, and when Hawkins and Helm travelled to the Brill Building to hear new songs for consideration for their next album, they brought Robertson along to listen to them and give his opinion. Robertson himself ended up contributing two songs to the album, titled Mr. Dynamo. According to Hawkins "we had a little time after the session, so I thought, Well, I'm just gonna put 'em down and see what happens. And they were released. Robbie was the songwriter for words, and Levon was good for arranging, making things fit in and all that stuff. He knew what to do, but he didn't write anything." The two songs in question were "Someone Like You" and "Hey Boba Lou": [Excerpt: Ronnie Hawkins and the Hawks, "Hey Boba Lou"] While Robertson was the sole writer of the songs, they were credited to Robertson, Hawkins, and Magill -- Morris Levy. As Robertson told the story later, “It's funny, when those songs came out and I got a copy of the album, it had another name on there besides my name for some writer like Morris Levy. So, I said to Ronnie, “There was nobody there writing these songs when I wrote these songs. Who is Morris Levy?” Ronnie just kinda tapped me on the head and said, “There are certain things about this business that you just let go and you don't question.” That was one of my early music industry lessons right there" Robertson desperately wanted to join the Hawks, but initially it was Robertson's bandmate Scott Cushnie who became the first Canadian to join the Hawks. But then when they were in Arkansas, Jimmy Evans decided he wasn't going to go back to Canada. So Hawkins called Robbie Robertson up and made him an offer. Robertson had to come down to Arkansas and get a couple of quick bass lessons from Helm (who could play pretty much every instrument to an acceptable standard, and so was by this point acting as the group's musical director, working out arrangements and leading them in rehearsals). Then Hawkins and Helm had to be elsewhere for a few weeks. If, when they got back, Robertson was good enough on bass, he had the job. If not, he didn't. Robertson accepted, but he nearly didn't get the gig after all. The place Hawkins and Helm had to be was Britain, where they were going to be promoting their latest single on Boy Meets Girls, the Jack Good TV series with Marty Wilde, which featured guitarist Joe Brown in the backing band: [Excerpt: Joe Brown, “Savage”] This was the same series that Eddie Cochran and Gene Vincent were regularly appearing on, and while they didn't appear on the episodes that Hawkins and Helm appeared on, they did appear on the episodes immediately before Hawkins and Helm's two appearances, and again a couple of weeks after, and were friendly with the musicians who did play with Hawkins and Helm, and apparently they all jammed together a few times. Hawkins was impressed enough with Joe Brown -- who at the time was considered the best guitarist on the British scene -- that he invited Brown to become a Hawk. Presumably if Brown had taken him up on the offer, he would have taken the spot that ended up being Robertson's, but Brown turned him down -- a decision he apparently later regretted. Robbie Robertson was now a Hawk, and he and Helm formed an immediate bond. As Helm much later put it, "It was me and Robbie against the world. Our mission, as we saw it, was to put together the best band in history". As rockabilly was by this point passe, Levy tried converting Hawkins into a folk artist, to see if he could get some of the Kingston Trio's audience. He recorded a protest song, "The Ballad of Caryl Chessman", protesting the then-forthcoming execution of Chessman (one of only a handful of people to be executed in the US in recent decades for non-lethal offences), and he made an album of folk tunes, The Folk Ballads of Ronnie Hawkins, which largely consisted of solo acoustic recordings, plus a handful of left-over Hawks recordings from a year or so earlier. That wasn't a success, but they also tried a follow-up, having Hawkins go country and do an album of Hank Williams songs, recorded in Nashville at Owen Bradley's Quonset hut. While many of the musicians on the album were Nashville A-Team players, Hawkins also insisted on having his own band members perform, much to the disgust of the producer, and so it's likely (not certain, because there seem to be various disagreements about what was recorded when) that that album features the first studio recordings with Levon Helm and Robbie Robertson playing together: [Excerpt: Ronnie Hawkins and the Hawks, "Your Cheatin' Heart"] Other sources claim that the only Hawk allowed to play on the album sessions was Helm, and that the rest of the musicians on the album were Harold Bradley and Hank Garland on guitar, Owen Bradley and Floyd Cramer on piano, Bob Moore on bass, and the Anita Kerr singers. I tend to trust Helm's recollection that the Hawks played at least some of the instruments though, because the source claiming that also seems to confuse the Hank Williams and Folk Ballads albums, and because I don't hear two pianos on the album. On the other hand, that *does* sound like Floyd Cramer on piano, and the tik-tok bass sound you'd get from having Harold Bradley play a baritone guitar while Bob Moore played a bass. So my best guess is that these sessions were like the Elvis sessions around the same time and with several of the same musicians, where Elvis' own backing musicians played rhythm parts but left the prominent instruments to the A-team players. Helm was singularly unimpressed with the experience of recording in Nashville. His strongest memory of the sessions was of another session going on in the same studio complex at the time -- Bobby "Blue" Bland was recording his classic single "Turn On Your Love Light", with the great drummer Jabo Starks on drums, and Helm was more interested in listening to that than he was in the music they were playing: [Excerpt: Bobby "Blue" Bland, "Turn On Your Love Light"] Incidentally, Helm talks about that recording being made "downstairs" from where the Hawks were recording, but also says that they were recording in Bradley's Quonset hut.  Now, my understanding here *could* be very wrong -- I've been unable to find a plan or schematic anywhere -- but my understanding is that the Quonset hut was a single-level structure, not a multi-level structure. BUT the original recording facilities run by the Bradley brothers were in Owen Bradley's basement, before they moved into the larger Quonset hut facility in the back, so it's possible that Bland was recording that in the old basement studio. If so, that won't be the last recording made in a basement we hear this episode... Fred Carter decided during the Nashville sessions that he was going to leave the Hawks. As his son told the story: "Dad had discovered the session musicians there. He had no idea that you could play and make a living playing in studios and sleep in your own bed every night. By that point in his life, he'd already been gone from home and constantly on the road and in the service playing music for ten years so that appealed to him greatly. And Levon asked him, he said, “If you're gonna leave, Fred, I'd like you to get young Robbie over here up to speed on guitar”…[Robbie] got kind of aggravated with him—and Dad didn't say this with any malice—but by the end of that week, or whatever it was, Robbie made some kind of comment about “One day I'm gonna cut you.” And Dad said, “Well, if that's how you think about it, the lessons are over.” " (For those who don't know, a musician "cutting" another one is playing better than them, so much better that the worse musician has to concede defeat. For the remainder of Carter's notice in the Hawks, he played with his back to Robertson, refusing to look at him. Carter leaving the group caused some more shuffling of roles. For a while, Levon Helm -- who Hawkins always said was the best lead guitar player he ever worked with as well as the best drummer -- tried playing lead guitar while Robertson played rhythm and another member, Rebel Payne, played bass, but they couldn't find a drummer to replace Helm, who moved back onto the drums. Then they brought in Roy Buchanan, another guitarist who had been playing with Dale Hawkins, having started out playing with Johnny Otis' band. But Buchanan didn't fit with Hawkins' personality, and he quit after a few months, going off to record his own first solo record: [Excerpt: Roy Buchanan, "Mule Train Stomp"] Eventually they solved the lineup problem by having Robertson -- by this point an accomplished lead player --- move to lead guitar and bringing in a new rhythm player, another Canadian teenager named Rick Danko, who had originally been a lead player (and who also played mandolin and fiddle). Danko wasn't expected to stay on rhythm long though -- Rebel Payne was drinking a lot and missing being at home when he was out on the road, so Danko was brought in on the understanding that he was to learn Payne's bass parts and switch to bass when Payne quit. Helm and Robertson were unsure about Danko, and Robertson expressed that doubt, saying "He only knows four chords," to which Hawkins replied, "That's all right son. You can teach him four more the way we had to teach you." He proved himself by sheer hard work. As Hawkins put it “He practiced so much that his arms swoll up. He was hurting.” By the time Danko switched to bass, the group also had a baritone sax player, Jerry Penfound, which allowed the group to play more of the soul and R&B material that Helm and Robertson favoured, though Hawkins wasn't keen. This new lineup of the group (which also had Stan Szelest on piano) recorded Hawkins' next album. This one was produced by Henry Glover, the great record producer, songwriter, and trumpet player who had played with Lucky Millinder, produced Wynonie Harris, Hank Ballard, and Moon Mullican, and wrote "Drowning in My Own Tears", "The Peppermint Twist", and "California Sun". Glover was massively impressed with the band, especially Helm (with whom he would remain friends for the rest of his life) and set aside some studio time for them to cut some tracks without Hawkins, to be used as album filler, including a version of the Bobby "Blue" Bland song "Farther On Up the Road" with Helm on lead vocals: [Excerpt: Levon Helm and the Hawks, "Farther On Up the Road"] There were more changes on the way though. Stan Szelest was about to leave the band, and Jones had already left, so the group had no keyboard player. Hawkins had just the replacement for Szelest -- yet another Canadian teenager. This one was Richard Manuel, who played piano and sang in a band called The Rockin' Revols. Manuel was not the greatest piano player around -- he was an adequate player for simple rockabilly and R&B stuff, but hardly a virtuoso -- but he was an incredible singer, able to do a version of "Georgia on My Mind" which rivalled Ray Charles, and Hawkins had booked the Revols into his own small circuit of clubs around Arkanasas after being impressed with them on the same bill as the Hawks a couple of times. Hawkins wanted someone with a good voice because he was increasingly taking a back seat in performances. Hawkins was the bandleader and frontman, but he'd often given Helm a song or two to sing in the show, and as they were often playing for several hours a night, the more singers the band had the better. Soon, with Helm, Danko, and Manuel all in the group and able to take lead vocals, Hawkins would start missing entire shows, though he still got more money than any of his backing group. Hawkins was also a hard taskmaster, and wanted to have the best band around. He already had great musicians, but he wanted them to be *the best*. And all the musicians in his band were now much younger than him, with tons of natural talent, but untrained. What he needed was someone with proper training, someone who knew theory and technique. He'd been trying for a long time to get someone like that, but Garth Hudson had kept turning him down. Hudson was older than any of the Hawks, though younger than Hawkins, and he was a multi-instrumentalist who was far better than any other musician on the circuit, having trained in a conservatory and learned how to play Bach and Chopin before switching to rock and roll. He thought the Hawks were too loud sounding and played too hard for him, but Helm kept on at Hawkins to meet any demands Hudson had, and Hawkins eventually agreed to give Hudson a higher wage than any of the other band members, buy him a new Lowry organ, and give him an extra ten dollars a week to give the rest of the band music lessons. Hudson agreed, and the Hawks now had a lineup of Helm on drums, Robertson on guitar, Manuel on piano, Danko on bass, Hudson on organ and alto sax, and Penfound on baritone sax. But these new young musicians were beginning to wonder why they actually needed a frontman who didn't turn up to many of the gigs, kept most of the money, and fined them whenever they broke one of his increasingly stringent set of rules. Indeed, they wondered why they needed a frontman at all. They already had three singers -- and sometimes a fourth, a singer called Bruce Bruno who would sometimes sit in with them when Penfound was unable to make a gig. They went to see Harold Kudlets, who Hawkins had recently sacked as his manager, and asked him if he could get them gigs for the same amount of money as they'd been getting with Hawkins. Kudlets was astonished to find how little Hawkins had been paying them, and told them that would be no problem at all. They had no frontman any more -- and made it a rule in all their contracts that the word "sideman" would never be used -- but Helm had been the leader for contractual purposes, as the musical director and longest-serving member (Hawkins, as a non-playing singer, had never joined the Musicians' Union so couldn't be the leader on contracts). So the band that had been Ronnie Hawkins and the Hawks became the Levon Helm Sextet briefly -- but Penfound soon quit, and they became Levon and the Hawks. The Hawks really started to find their identity as their own band in 1964. They were already far more interested in playing soul than Hawkins had been, but they were also starting to get into playing soul *jazz*, especially after seeing the Cannonball Adderley Sextet play live: [Excerpt: Cannonball Adderley, "This Here"] What the group admired about the Adderley group more than anything else was a sense of restraint. Helm was particularly impressed with their drummer, Louie Hayes, and said of him "I got to see some great musicians over the years, and you see somebody like that play and you can tell, y' know, that the thing not to do is to just get it down on the floor and stomp the hell out of it!" The other influence they had, and one which would shape their sound even more, was a negative one. The two biggest bands on the charts at the time were the Beatles and the Beach Boys, and as Helm described it in his autobiography, the Hawks thought both bands' harmonies were "a blend of pale, homogenised, voices". He said "We felt we were better than the Beatles and the Beach Boys. We considered them our rivals, even though they'd never heard of us", and they decided to make their own harmonies sound as different as possible as a result. Where those groups emphasised a vocal blend, the Hawks were going to emphasise the *difference* in their voices in their own harmonies. The group were playing prestigious venues like the Peppermint Lounge, and while playing there they met up with John Hammond Jr, who they'd met previously in Canada. As you might remember from the first episode on Bob Dylan, Hammond Jr was the son of the John Hammond who we've talked about in many episodes, and was a blues musician in his own right. He invited Helm, Robertson, and Hudson to join the musicians, including Michael Bloomfield, who were playing on his new album, So Many Roads: [Excerpt: John P. Hammond, "Who Do You Love?"] That album was one of the inspirations that led Bob Dylan to start making electric rock music and to hire Bloomfield as his guitarist, decisions that would have profound implications for the Hawks. The first single the Hawks recorded for themselves after leaving Hawkins was produced by Henry Glover, and both sides were written by Robbie Robertson. "uh Uh Uh" shows the influence of the R&B bands they were listening to. What it reminds me most of is the material Ike and Tina Turner were playing at the time, but at points I think I can also hear the influence of Curtis Mayfield and Steve Cropper, who were rapidly becoming Robertson's favourite songwriters: [Excerpt: The Canadian Squires, "Uh Uh Uh"] None of the band were happy with that record, though. They'd played in the studio the same way they played live, trying to get a strong bass presence, but it just sounded bottom-heavy to them when they heard the record on a jukebox. That record was released as by The Canadian Squires -- according to Robertson, that was a name that the label imposed on them for the record, while according to Helm it was an alternative name they used so they could get bookings in places they'd only recently played, which didn't want the same band to play too often. One wonders if there was any confusion with the band Neil Young played in a year or so before that single... Around this time, the group also met up with Helm's old musical inspiration Sonny Boy Williamson II, who was impressed enough with them that there was some talk of them being his backing band (and it was in this meeting that Williamson apparently told Robertson "those English boys want to play the blues so bad, and they play the blues *so bad*", speaking of the bands who'd backed him in the UK, like the Yardbirds and the Animals). But sadly, Williamson died in May 1965 before any of these plans had time to come to fruition. Every opportunity for the group seemed to be closing up, even as they knew they were as good as any band around them. They had an offer from Aaron Schroeder, who ran Musicor Records but was more importantly a songwriter and publisher who  had written for Elvis Presley and published Gene Pitney. Schroeder wanted to sign the Hawks as a band and Robertson as a songwriter, but Henry Glover looked over the contracts for them, and told them "If you sign this you'd better be able to pay each other, because nobody else is going to be paying you". What happened next is the subject of some controversy, because as these things tend to go, several people became aware of the Hawks at the same time, but it's generally considered that nothing would have happened the same way were it not for Mary Martin. Martin is a pivotal figure in music business history -- among other things she discovered Leonard Cohen and Gordon Lightfoot, managed Van Morrison, and signed Emmylou Harris to Warner Brothers records -- but a somewhat unknown one who doesn't even have a Wikipedia page. Martin was from Toronto, but had moved to New York, where she was working in Albert Grossman's office, but she still had many connections to Canadian musicians and kept an eye out for them. The group had sent demo tapes to Grossman's offices, and Grossman had had no interest in them, but Martin was a fan and kept pushing the group on Grossman and his associates. One of those associates, of course, was Grossman's client Bob Dylan. As we heard in the episode on "Like a Rolling Stone", Dylan had started making records with electric backing, with musicians who included Mike Bloomfield, who had played with several of the Hawks on the Hammond album, and Al Kooper, who was a friend of the band. Martin gave Richard Manuel a copy of Dylan's new electric album Highway 61 Revisited, and he enjoyed it, though the rest of the group were less impressed: [Excerpt: Bob Dylan, "Highway 61 Revisited"] Dylan had played the Newport Folk Festival with some of the same musicians as played on his records, but Bloomfield in particular was more interested in continuing to play with the Paul Butterfield Blues Band than continuing with Dylan long-term. Mary Martin kept telling Dylan about this Canadian band she knew who would be perfect for him, and various people associated with the Grossman organisation, including Hammond, have claimed to have been sent down to New Jersey where the Hawks were playing to check them out in their live setting. The group have also mentioned that someone who looked a lot like Dylan was seen at some of their shows. Eventually, Dylan phoned Helm up and made an offer. He didn't need a full band at the moment -- he had Harvey Brooks on bass and Al Kooper on keyboards -- but he did need a lead guitar player and drummer for a couple of gigs he'd already booked, one in Forest Hills, New York, and a bigger gig at the Hollywood Bowl. Helm, unfamiliar with Dylan's work, actually asked Howard Kudlets if Dylan was capable of filling the Hollywood Bowl. The musicians rehearsed together and got a set together for the shows. Robertson and Helm thought the band sounded terrible, but Dylan liked the sound they were getting a lot. The audience in Forest Hills agreed with the Hawks, rather than Dylan, or so it would appear. As we heard in the "Like a Rolling Stone" episode, Dylan's turn towards rock music was *hated* by the folk purists who saw him as some sort of traitor to the movement, a movement whose figurehead he had become without wanting to. There were fifteen thousand people in the audience, and they listened politely enough to the first set, which Dylan played acoustically, But before the second set -- his first ever full electric set, rather than the very abridged one at Newport -- he told the musicians “I don't know what it will be like out there It's going to be some kind of  carnival and I want you to all know that up front. So go out there and keep playing no matter how weird it gets!” There's a terrible-quality audience recording of that show in circulation, and you can hear the crowd's reaction to the band and to the new material: [Excerpt: Bob Dylan, "Ballad of a Thin Man" (live Forest Hills 1965, audience noise only)] The audience also threw things  at the musicians, knocking Al Kooper off his organ stool at one point. While Robertson remembered the Hollywood Bowl show as being an equally bad reaction, Helm remembered the audience there as being much more friendly, and the better-quality recording of that show seems to side with Helm: [Excerpt: Bob Dylan, "Maggie's Farm (live at the Hollywood Bowl 1965)"] After those two shows, Helm and Robertson went back to their regular gig. and in September they made another record. This one, again produced by Glover, was for Atlantic's Atco subsidiary, and was released as by Levon and the Hawks. Manuel took lead, and again both songs were written by Robertson: [Excerpt: Levon and the Hawks, "He Don't Love You (And He'll Break Your Heart)"] But again that record did nothing. Dylan was about to start his first full electric tour, and while Helm and Robertson had not thought the shows they'd played sounded particularly good, Dylan had, and he wanted the two of them to continue with him. But Robertson and, especially, Helm, were not interested in being someone's sidemen. They explained to Dylan that they already had a band -- Levon and the Hawks -- and he would take all of them or he would take none of them. Helm in particular had not been impressed with Dylan's music -- Helm was fundamentally an R&B fan, while Dylan's music was rooted in genres he had little time for -- but he was OK with doing it, so long as the entire band got to. As Mary Martin put it “I think that the wonderful and the splendid heart of the band, if you will, was Levon, and I think he really sort of said, ‘If it's just myself as drummer and Robbie…we're out. We don't want that. It's either us, the band, or nothing.' And you know what? Good for him.” Rather amazingly, Dylan agreed. When the band's residency in New Jersey finished, they headed back to Toronto to play some shows there, and Dylan flew up and rehearsed with them after each show. When the tour started, the billing was "Bob Dylan with Levon and the Hawks". That billing wasn't to last long. Dylan had been booked in for nine months of touring, and was also starting work on what would become widely considered the first double album in rock music history, Blonde on Blonde, and the original plan was that Levon and the Hawks would play with him throughout that time.  The initial recording sessions for the album produced nothing suitable for release -- the closest was "I Wanna Be Your Lover", a semi-parody of the Beatles' "I Want to be Your Man": [Excerpt: Bob Dylan with Levon and the Hawks, "I Wanna Be Your Lover"] But shortly into the tour, Helm quit. The booing had continued, and had even got worse, and Helm simply wasn't in the business to be booed at every night. Also, his whole conception of music was that you dance to it, and nobody was dancing to any of this. Helm quit the band, only telling Robertson of his plans, and first went off to LA, where he met up with some musicians from Oklahoma who had enjoyed seeing the Hawks when they'd played that state and had since moved out West -- people like Leon Russell, J.J. Cale (not John Cale of the Velvet Underground, but the one who wrote "Cocaine" which Eric Clapton later had a hit with), and John Ware (who would later go on to join the West Coast Pop Art Experimental Band). They started loosely jamming with each other, sometimes also involving a young singer named Linda Ronstadt, but Helm eventually decided to give up music and go and work on an oil rig in New Orleans. Levon and the Hawks were now just the Hawks. The rest of the group soldiered on, replacing Helm with session drummer Bobby Gregg (who had played on Dylan's previous couple of albums, and had previously played with Sun Ra), and played on the initial sessions for Blonde on Blonde. But of those sessions, Dylan said a few weeks later "Oh, I was really down. I mean, in ten recording sessions, man, we didn't get one song ... It was the band. But you see, I didn't know that. I didn't want to think that" One track from the sessions did get released -- the non-album single "Can You Please Crawl Out Your Window?" [Excerpt: Bob Dylan, "Can You Please Crawl Out Your Window?"] There's some debate as to exactly who's playing drums on that -- Helm says in his autobiography that it's him, while the credits in the official CD releases tend to say it's Gregg. Either way, the track was an unexpected flop, not making the top forty in the US, though it made the top twenty in the UK. But the rest of the recordings with the now Helmless Hawks were less successful. Dylan was trying to get his new songs across, but this was a band who were used to playing raucous music for dancing, and so the attempts at more subtle songs didn't come off the way he wanted: [Excerpt: Bob Dylan and the Hawks, "Visions of Johanna (take 5, 11-30-1965)"] Only one track from those initial New York sessions made the album -- "One Of Us Must Know (Sooner or Later)" -- but even that only featured Robertson and Danko of the Hawks, with the rest of the instruments being played by session players: [Excerpt: Bob Dylan (One of Us Must Know (Sooner or Later)"] The Hawks were a great live band, but great live bands are not necessarily the same thing as a great studio band. And that's especially the case with someone like Dylan. Dylan was someone who was used to recording entirely on his own, and to making records *quickly*. In total, for his fifteen studio albums up to 1974's Blood on the Tracks, Dylan spent a total of eighty-six days in the studio -- by comparison, the Beatles spent over a hundred days in the studio just on the Sgt Pepper album. It's not that the Hawks weren't a good band -- very far from it -- but that studio recording requires a different type of discipline, and that's doubly the case when you're playing with an idiosyncratic player like Dylan. The Hawks would remain Dylan's live backing band, but he wouldn't put out a studio recording with them backing him until 1974. Instead, Bob Johnston, the producer Dylan was working with, suggested a different plan. On his previous album, the Nashville session player Charlie McCoy had guested on "Desolation Row" and Dylan had found him easy to work with. Johnston lived in Nashville, and suggested that they could get the album completed more quickly and to Dylan's liking by using Nashville A-Team musicians. Dylan agreed to try it, and for the rest of the album he had Robertson on lead guitar and Al Kooper on keyboards, but every other musician was a Nashville session player, and they managed to get Dylan's songs recorded quickly and the way he heard them in his head: [Excerpt: Bob Dylan, "Most Likely You Go Your Way and I'll Go Mine"] Though Dylan being Dylan he did try to introduce an element of randomness to the recordings by having the Nashville musicians swap their instruments around and play each other's parts on "Rainy Day Women #12 & 35", though the Nashville players were still competent enough that they managed to get a usable, if shambolic, track recorded that way in a single take: [Excerpt: Bob Dylan, "Rainy Day Women #12 & 35"] Dylan said later of the album "The closest I ever got to the sound I hear in my mind was on individual bands in the Blonde on Blonde album. It's that thin, that wild mercury sound. It's metallic and bright gold, with whatever that conjures up." The album was released in late June 1966, a week before Freak Out! by the Mothers of Invention, another double album, produced by Dylan's old producer Tom Wilson, and a few weeks after Pet Sounds by the Beach Boys. Dylan was at the forefront of a new progressive movement in rock music, a movement that was tying thoughtful, intelligent lyrics to studio experimentation and yet somehow managing to have commercial success. And a month after Blonde on Blonde came out, he stepped away from that position, and would never fully return to it. The first half of 1966 was taken up with near-constant touring, with Dylan backed by the Hawks and a succession of fill-in drummers -- first Bobby Gregg, then Sandy Konikoff, then Mickey Jones. This tour started in the US and Canada, with breaks for recording the album, and then moved on to Australia and Europe. The shows always followed the same pattern. First Dylan would perform an acoustic set, solo, with just an acoustic guitar and harmonica, which would generally go down well with the audience -- though sometimes they would get restless, prompting a certain amount of resistance from the performer: [Excerpt: Bob Dylan, "Just Like a Woman (live Paris 1966)"] But the second half of each show was electric, and that was where the problems would arise. The Hawks were playing at the top of their game -- some truly stunning performances: [Excerpt: Bob Dylan and the Hawks, "Just Like Tom Thumb's Blues (live in Liverpool 1966)"] But while the majority of the audience was happy to hear the music, there was a vocal portion that were utterly furious at the change in Dylan's musical style. Most notoriously, there was the performance at Manchester Free Trade Hall where this happened: [Excerpt: Bob Dylan, "Like a Rolling Stone (live Manchester 1966)"] That kind of aggression from the audience had the effect of pushing the band on to greater heights a lot of the time -- and a bootleg of that show, mislabelled as the Royal Albert Hall, became one of the most legendary bootlegs in rock music history. Jimmy Page would apparently buy a copy of the bootleg every time he saw one, thinking it was the best album ever made. But while Dylan and the Hawks played defiantly, that kind of audience reaction gets wearing. As Dylan later said, “Judas, the most hated name in human history, and for what—for playing an electric guitar. As if that is in some kind of way equitable to betraying our Lord, and delivering him up to be crucified; all those evil mothers can rot in hell.” And this wasn't the only stress Dylan, in particular, was under. D.A. Pennebaker was making a documentary of the tour -- a follow-up to his documentary of the 1965 tour, which had not yet come out. Dylan talked about the 1965 documentary, Don't Look Back, as being Pennebaker's film of Dylan, but this was going to be Dylan's film, with him directing the director. That footage shows Dylan as nervy and anxious, and covering for the anxiety with a veneer of flippancy. Some of Dylan's behaviour on both tours is unpleasant in ways that can't easily be justified (and which he has later publicly regretted), but there's also a seeming cruelty to some of his interactions with the press and public that actually reads more as frustration. Over and over again he's asked questions -- about being the voice of a generation or the leader of a protest movement -- which are simply based on incorrect premises. When someone asks you a question like this, there are only a few options you can take, none of them good. You can dissect the question, revealing the incorrect premises, and then answer a different question that isn't what they asked, which isn't really an option at all given the kind of rapid-fire situation Dylan was in. You can answer the question as asked, which ends up being dishonest. Or you can be flip and dismissive, which is the tactic Dylan chose. Dylan wasn't the only one -- this is basically what the Beatles did at press conferences. But where the Beatles were a gang and so came off as being fun, Dylan doing the same thing came off as arrogant and aggressive. One of the most famous artifacts of the whole tour is a long piece of footage recorded for the documentary, with Dylan and John Lennon riding in the back of a taxi, both clearly deeply uncomfortable, trying to be funny and impress the other, but neither actually wanting to be there: [Excerpt Dylan and Lennon conversation] 33) Part of the reason Dylan wanted to go home was that he had a whole new lifestyle. Up until 1964 he had been very much a city person, but as he had grown more famous, he'd found New York stifling. Peter Yarrow of Peter, Paul, and Mary had a cabin in Woodstock, where he'd grown up, and after Dylan had spent a month there in summer 1964, he'd fallen in love with the area. Albert Grossman had also bought a home there, on Yarrow's advice, and had given Dylan free run of the place, and Dylan had decided he wanted to move there permanently and bought his own home there. He had also married, to Sara Lowndes (whose name is, as far as I can tell, pronounced "Sarah" even though it's spelled "Sara"), and she had given birth to his first child (and he had adopted her child from her previous marriage). Very little is actually known about Sara, who unlike many other partners of rock stars at this point seemed positively to detest the limelight, and whose privacy Dylan has continued to respect even after the end of their marriage in the late seventies, but it's apparent that the two were very much in love, and that Dylan wanted to be back with his wife and kids, in the country, not going from one strange city to another being asked insipid questions and having abuse screamed at him. He was also tired of the pressure to produce work constantly. He'd signed a contract for a novel, called Tarantula, which he'd written a draft of but was unhappy with, and he'd put out two single albums and a double-album in a little over a year -- all of them considered among the greatest albums ever made. He could only keep up this rate of production and performance with a large intake of speed, and he was sometimes staying up for four days straight to do so. After the European leg of the tour, Dylan was meant to take some time to finish overdubs on Blonde on Blonde, edit the film of the tour for a TV special, with his friend Howard Alk, and proof the galleys for Tarantula, before going on a second world tour in the autumn. That world tour never happened. Dylan was in a motorcycle accident near his home, and had to take time out to recover. There has been a lot of discussion as to how serious the accident actually was, because Dylan's manager Albert Grossman was known to threaten to break contracts by claiming his performers were sick, and because Dylan essentially disappeared from public view for the next eighteen months. Every possible interpretation of the events has been put about by someone, from Dylan having been close to death, to the entire story being put up as a fake. As Dylan is someone who is far more protective of his privacy than most rock stars, it's doubtful we'll ever know the precise truth, but putting together the various accounts Dylan's injuries were bad but not life-threatening, but they acted as a wake-up call -- if he carried on living like he had been, how much longer could he continue? in his sort-of autobiography, Chronicles, Dylan described this period, saying "I had been in a motorcycle accident and I'd been hurt, but I recovered. Truth was that I wanted to get out of the rat race. Having children changed my life and segregated me from just about everybody and everything that was going on. Outside of my family, nothing held any real interest for me and I was seeing everything through different glasses." All his forthcoming studio and tour dates were cancelled, and Dylan took the time out to recover, and to work on his film, Eat the Document. But it's clear that nobody was sure at first exactly how long Dylan's hiatus from touring was going to last. As it turned out, he wouldn't do another tour until the mid-seventies, and would barely even play any one-off gigs in the intervening time. But nobody knew that at the time, and so to be on the safe side the Hawks were being kept on a retainer. They'd always intended to work on their own music anyway -- they didn't just want to be anyone's backing band -- so they took this time to kick a few ideas around, but they were hamstrung by the fact that it was difficult to find rehearsal space in New York City, and they didn't have any gigs. Their main musical work in the few months between summer 1966 and spring 1967 was some recordings for the soundtrack of a film Peter Yarrow was making. You Are What You Eat is a bizarre hippie collage of a film, documenting the counterculture between 1966 when Yarrow started making it and 1968 when it came out. Carl Franzoni, one of the leaders of the LA freak movement that we've talked about in episodes on the Byrds, Love, and the Mothers of Invention, said of the film “If you ever see this movie you'll understand what ‘freaks' are. It'll let you see the L.A. freaks, the San Francisco freaks, and the New York freaks. It was like a documentary and it was about the makings of what freaks were about. And it had a philosophy, a very definite philosophy: that you are free-spirited, artistic." It's now most known for introducing the song "My Name is Jack" by John Simon, the film's music supervisor: [Excerpt: John Simon, "My Name is Jack"] That song would go on to be a top ten hit in the UK for Manfred Mann: [Excerpt: Manfred Mann, "My Name is Jack"] The Hawks contributed backing music for several songs for the film, in which they acted as backing band for another old Greenwich Village folkie who had been friends with Yarrow and Dylan but who was not yet the star he would soon become, Tiny Tim: [Excerpt: Tiny Tim, "Sonny Boy"] This was their first time playing together properly since the end of the European tour, and Sid Griffin has noted that these Tiny Tim sessions are the first time you can really hear the sound that the group would develop over the next year, and which would characterise them for their whole career. Robertson, Danko, and Manuel also did a session, not for the film with another of Grossman's discoveries, Carly Simon, playing a version of "Baby Let Me Follow You Down", a song they'd played a lot with Dylan on the tour that spring. That recording has never been released, and I've only managed to track down a brief clip of it from a BBC documentary, with Simon and an interviewer talking over most of the clip (so this won't be in the Mixcloud I put together of songs): [Excerpt: Carly Simon, "Baby Let Me Follow You Down"] That recording is notable though because as well as Robertson, Danko, and Manuel, and Dylan's regular studio keyboard players Al Kooper and Paul Griffin, it also features Levon Helm on drums, even though Helm had still not rejoined the band and was at the time mostly working in New Orleans. But his name's on the session log, so he must have m

This month marks the centennial of the birth of Sam Phillips, the record producer who discovered Elvis and produced his first records. We're listening back to our interview with Phillips, who founded Sun Records in Memphis and also launched the careers of Jerry Lee Lewis, Carl Perkins, Johnny Cash and Roy Orbison.Also David Crosby and Graham Nash tell the story of how they met and started making music together as Crosby, Stills, & Nash. Crosby died last week.John Powers reviews the new HBO series The Last of Us.