American country music singer
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5 episodes with Tammy Wynette
7 episodes with Tammy Wynette
7 episodes with Tammy Wynette
5 episodes with Tammy Wynette
3 episodes with Tammy Wynette
5 episodes with Tammy Wynette
4 episodes with Tammy Wynette
11 episodes with Tammy Wynette
4 episodes with Tammy Wynette
On the heels of Lou and Bobby's -song swap-, Adelle quizes the boys about their favorite moments of the tour. Bobby tells us about his mom (also a famous singer), his Greyhound, how to pronounce Tammy Wynette's last name, and the latest on Guided By Voices. As the first RAW Impressions interview utilizing modern remote recording techniques, the episode is loaded with technical difficulties. It never derails this fascinating exchange! WATCH ON LouTubehttps://youtu.be/JiU1ivVWW4oGO SEE BOBBY BARE JR! https://www.bobbybarejr.com/ JOIN our g'dam Substack! https://barlowfamilygeneral.substack.com/ GO SEE BOBBY BARE JR! https://www.bobbybarejr.com/ JOIN our g'dam Substack! https://barlowfamilygeneral.substack.com/ Hosted on Acast. See acast.com/privacy for more information.
What's better than one unique voice? Do you have to ask? Here in Top Ten Unique Voices That Sound Great Together, our good friend and returning champion Gabe Scalone lays out his vision for an obvious but awesome topic. Here it is in a nutshell - 2 singers that have unmistakable flair and originality, combining forces like the finest chocolate and some amazing peanut butter to create a taste sensation. Two great tastes that taste great together, as Madison Avenue used to say. Picks 10-6 are revealed here in Part 1.We've lowered our prices, but not our standards over at the ATTT Patreon! Those who are kindly contributing $2 a month are receiving an exclusive monthly Emergency Pod episode featuring our favorite guests and utilizing our patent-pending improv format in which we miraculously pull a playlist out of thin air. The Old Boy Himself Ryan Blake joined for May's bonus episode.Find out more at https://www.patreon.com/c/alltimetoptenWe're having a blast chatting it up about music over on the ATTT Facebook Group. Join us and start a conversation!https://www.facebook.com/groups/940749894391295
Howdy folks! Welcome to a Country version of Bob Barry's Unearthed Interviews. Here's a woman who's iconic as a cowboy hat at a honky-tonk, the first lady of Country music, Tammy Wynette. She was born Wynette Pugh in Tremont, Mississippi. She went from cotton picking to picking up Grammy awards. She taught us all how to spell D-i-v-o-r-c-e. And Tammy reminded us to “Stand By Your Man,” even if he forgot to take out the trash. Tammy's life was like a Country song come to life, full of love and heartbreak. She paved the way for women in Country music and proved that a big voice and bigger hair can take you straight to the top.
Cinco De Mayo, Tammy Wynette, Bill Ward & Tattooed TardigradesPlaylist: El Vez - Cinco De MayoThe Tubuloids - Reefer RadnessLes Chevelles - Ton Ombre Me SuitBitter Washed - Human GarbageThe Maggots - Let's Get Tammy WynetteThe Hellacopters - Dirty WomenThe Viletones - Screaming FistThe Smugglers - NeilThe Headcoatees - Here Comes CessationAndrea Mingardi Supercircus - PusPuppet Wipes - Mr. Dry CleanerDynastie Crisis - SchizomaniaThe Chandells - One Track mindThe A Bones - Betty Lou Got A New TattooLittle Bob Story - Please Don't Let Me Be MisunderstoodThe Vice Barons - The Starlite MotelRowdy - Keep It A SecretEddy Current Suppression Ring - Which Way To GoThe Circulators - Catalytic Converter
Jeff would like to thank you all for your thoughts and prayers for him and his family during this tough time. God Bless(2024) Cinco de Mayo. Entertainment from 1954. 1st US train robbery, Big Mac went on sale, Channel #5 went on sale. Todays birthdays - John Stetson, Tyrone Power, Tammy Wynette, John Rhys-Davis, Henry Cavill, Adele, Chris Brown. Napolean died.Intro - Pour some sugar on me - Def Leppard http://defleppard.com/Cinco de Mayo song - The KiboomersWanted - Perry ComoSlowly - Webb PierceBirthdays - In da club - 50 Cent http://50cent.com/Stand by your man - Tammy WynetteSkyfall - AdeleKiss Kiss - Chris BrownExit - Its not love - Dokken http://dokken.net/
A Word In Edgewise | WERU 89.9 FM Blue Hill, Maine Local News and Public Affairs Archives
Producer/Host: R.W. Estela Hi, I'm RW Estela: Since 1991, I've been presenting A Word in Edgewise, WERU's longest-running short feature, a veritable almanac of worldly and heavenly happenings, a confluence of 21st-century life in its myriad manifestations, international and domestic, cosmopolitan and rural, often revealing, as the French say, the more things change, the more they stay the same — though not always! Sometimes in addressing issues affecting our day-to-day lives, in this age of vagary and ambiguity, when chronological time is punctuated elliptically, things can quickly turn edgy and controversial, as we search for understanding amid our dialectic. Tune in Monday mornings at 7:30 a.m. for an exciting journey through space and time with a few notable birthdays thrown in for good measure during A Word in Edgewise . . . About the host: RW Estela was raised as a first-generation American in Colorado by a German mother and a Corsican-Basque father who would become a three-war veteran for the US Army, so RW was naturally a military brat and later engaged in various Vietnam-era civil-service adventures before paying his way through college by skiing for the University of Colorado, playing Boulder coffeehouses, and teaching. He has climbed all of Colorado's Fourteeners; found work as an FAA-certificated commercial pilot, a California-licensed building contractor, a publishing editor, a practitioner of Aikido, and a college professor of English; among his many interdisciplinary pursuits are the design and building of Terrell Residence Library (recently renamed the Terrell House Permaculture Living & Learning Center at the University of Maine), writing Building It In Two Languages (a bilingual dictionary of construction terminology), aerial photo documentation of two dam removals (Great Works and Veazie) on the Penobscot River, and once a week since 1991 drafting an installment of A Word In Edgewise, his essay series addressing issues affecting our day-to-day lives — and WERU's oldest continuous short feature. When pandemics do not interfere, he does the Triple Crown of Maine open-water ocean swims (Peaks to Portland, Islesboro Crossing, and Nubble Light Challenge) and the Whitewater Downriver Point Series of the Maine Canoe and Kayak Racing Organization. RW is the father of two and the grandfather of three and lives with his partner Kathleen of 37 years and their two Maine Coons in Orono. The post A Word in Edgewise 5/5/25: From Cinco de Mayo to Tammy Wynette . . . first appeared on WERU 89.9 FM Blue Hill, Maine Local News and Public Affairs Archives.
Ella Langley ouvre l’émission de ce soir en perpétuant la tradition country de la chanteuse-auteure à voix et à propos. Lui succède une dame qu’elle n’a jamais rencontrée, Tammy Wynette. Tammy a eu des rapports houleux avec George qui en... Continue Reading →
Aus der neuen «Rolling Stone»-Liste mit den angeblich 200 schönsten und wichtigsten Countryhits hören wir Perlen wie «Stand by your Man» von Tammy Wynette oder George Straits stimmungsvoller Bar-Song «The Chair». Ebefalls dabei: die «Bellamy Brothers» mit «Old Hippie» von 1985.
Paul Harvey - Tammy Wynette
In the world of lucha libre, a parejas increíbles match is when two rivals team up against another team of rivals in an attempt to put aside their differences for the sake of winning. We often see unusual collaborations in the world of music as well. On this episode, Andrew and returning guest Fred Morlan (The Good, The Bad & The Hungee) play songs that feature artists of different backgrounds, genres, and vibes coming together to make great music. These incredible pairs include The Lonely Island and Michael Bolton, Anthrax and Public Enemy, Tom Jones and The Cardigans, The KLF and Tammy Wynette, Beyoncé and Miley Cyrus, Daft Punk and Paul Williams, and many more. It doesn't matter if you're a técnico or a rudo, you can still enjoy this fun episode!Theme song: "Hemispheres" by Silent PartnerBluesky: @MusicoftheMat / @justandrew / @FlagrantStatsListen to Fred's radio show: radiolex.usAll VOW podcasts, articles, previews, and reviews: VoicesofWrestling.comJoin the VOW Discord to discuss Music of the Mat and other shows/topics: VoicesofWrestling.com/DiscordDonate to Music of the Mat and other VOW podcasts: VoicesofWrestling.com/DonateAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
Max Foizey interviews Tyler Mahan Coe, creator "Cocaine nd Rhinestones," of a podcast about the romance between George Jones and Tammy Wynette, and reviews the new films Captain America 4 and Paddington 3. Also, Max chats about his favorite romantic films of all time, just in time for Valentine's Day.
Paul Harvey - Tammy Wynette
Ever wondered what it's like to capture the evolution of music and film through the lens of a seasoned journalist? Neil Pond, the managing editor ofParadeMagazine,joins us to share his storied career in entertainment journalism, from a memorable first assignment with country legends Conway Twitty and Loretta Lynn to candid interviews with icons like Garth Brooks. We delve into the art of storytelling and Neil's humorous anecdotes, offering a rare glimpse into the rich tapestry of entertainment history that has unfolded over the decades. Our conversation transitions from Neil's early misadventures to the complexities of writing with authenticity, where the personal meets the professional. Neil and I discuss the intricacies of interviewing, the humbling nature of country music's biggest stars, and how dabbling in drumming complements his writing life. The harmonious balance Neil has struck between his creative passions and a fulfilling career in journalism is not just inspiring but also laden with practical wisdom for those yearning to follow their own dreams without compromising their nature.Rounding off this captivating episode, Neil imparts sage advice to aspiring writers and reflects on the profound influence of literature on his craft. We also explore the myth of following your passion to success and the importance of empathy in professional pursuits. With Neil's reflections on receiving top accolades and his musings on life, this episode is a treasure trove for anyone interested in the heartbeat of entertainment journalism or looking for that spark to ignite their own creative journey.In this episode, we cover a ton of interesting topics including:• Interviewing Conway Twitty and Loretta Lynn as his first professional assignment• Why there was pushback about doing music videos for some Country music artists• The Oak Ridge Boys' unique choices in swimming attire on the French Riviera• How journalism has changed over the years, and the rise of Entertainment Journalism• Visiting with Hank Williams Jr. in Montana• The types of questions that are important to flesh out in an interview• Garth Brooks instructing on the proper way to tuck in a shirt• Being offered your very first joint from Willie Nelson, and Tammy Wynette making biscuits for you• Unusual sightings of Chuck Norris in Randy Travis' driveway, and SO much more!BIONeil Pond is an award-winning entertainment journalist, film critic, and the managing editor of ParadeMagazine. He previously served as editor in chief of American Profile magazine and as editorial director of the nation's two leading country music publications:Country Weekly andCountry Music.Neil has been an on-air commentator for CNN, the BBC, VH-1 and CMT, and is a recipient of the Media Honors Award, the highest journalistic decoration bestowed by the Country Music Association. Neil is a voting member of the Broadcast Film Critics Association, and his weekly movie reviews appear in national newspaper syndication, on Rotten Tomatoes and on his websiteNeilsEntertainmentPicks.com.When he's not wearing his magazine ormovie hats, he plays drums in the Blondie tribute band Blonde Me.
R osie Flores née le 10 Septembre 1950 à San Antonio au Texas est une chanteuse de Rockabilly et Country Music. Comme d'autres, sa culture musicale se construit à partir de ce qu'elle entend à la radio puis ce qu'elle voit à la télé comme par exemple, les émissions ‘' American band stand ‘' autrement dit le « Dick Clark show ». Au cours de cette période, Brenda Lee et Elvis Presley retiennent son attention, puis un peu plus tard, Buck Owens, Tammy Wynette et même Creedence Clearwater ont sa préférence. Elle aime chanter et sur l'album ‘'Rockabilly Filly‘', figure un enregistrement réalisé par son père alors que Rosie avait 7 ans. Elle a toujours eu la musique dans le sang. Elle a grandi en admirant les voix de Brenda Lee et Elvis, avant de passer à un genre musical plus pop mélodique et en écoutant des groupes de rock comme les Beach Boys (groupe de rock américain) et The Yardbirds. (Groupe de rock britannique des années 1960). La musique de Rosie mêle Rockabilly, Honky Tonk, Jazz, et Western swing avec des influences traditionnelles tirées de son patrimoine Tex-mex. Elle réside actuellement à Austin au Texas.
This week we take a more in-depth look at the California fires including - the Gaza ceasefire; DEI in the Fire Brigade; No Birthday Cake in Scotland; 'Country of the Week' - California; The Politicians and the LA fires; Was Climate Change responsible? The Babylon Bee on the Miracle of Meghan Markle; Squid Game 2 v. All Creatures Great and Small 5; Nicola Sturgeon and Peter Murrell; New England's Darkest Day; Ron Carpenter - the AI pastor; Feedback - Muslim Rape gangs, why use the word 'Catholic', Jimmy Carter revisited and should a Christian listen to Iron Maiden? Why are young men turning Orthodox? with music from the Eagles, the Red Hot Chilli Peppers, the Beach Boys, Scott Mackenzie, the Mommas and Papas, Billy Joel, Tammy Wynette and the Porters Gate.
BONUS EPISODE: In this classic episode of THE STORY SONG PODCAST, your hosts revisit their review of the 1968 country classic, “D-I-V-O-R-C-E” by Tammy Wynette. Continue the conversation; follow THE STORY SONG PODCAST on social media. Follow us on Instagram (storysongpodcast), and Facebook (thestorysongpodcast), Threads (storysongpodcast), GoodPods, and Podchaser. THE STORY SONG PODCAST is a member of the Pantheon Podcast Network. “D-I-V-O-R-C-E” by Tammy Wynette (from the album D-I-V-O-R-C-E) is available on Apple Music, YouTube Music, Amazon Music, Tidal, Pandora, Spotify, or wherever you listen to music. Learn more about your ad choices. Visit megaphone.fm/adchoices
What role can AI play in mental health care? Let's talk about it! In this year's final episode of Informatics in the Round, we explore how AI can assist both patients seeking diagnoses and treatments for mental health disorders as well as therapists looking to improve their clinical practice. While AI offers exciting possibilities, we also address important concerns around data privacy, potential bias, and the need to maintain human connection in the therapeutic process. It was a fitting discussion to to wrap up our year of AI-themed episodes. For our expert consultant, we invited Dr. Torrey Creed, an Associate Professor of Psychiatry at the University of Pennsylvania's Perelman School of Medicine and founder of the Penn Collaborative for CBT and Implementation Science. As an NIH-funded researcher, her work focuses on creating pragmatic and sustainable strategies to increase access to high-quality mental health care, especially in low-resourced communities. She also serves as the Senior Implementation Consultant for Lyssn.io, which leverages AI to help scale multiple aspects of clinical care. We also welcomed back one of our favorite musicians, Jane Bach, to bring her perspective! Jane is an award-winning songwriter who has written for some of the biggest names in music, including Reba McEntire, Tammy Wynette, Collin Raye, and JoDee Messine. She was also recently inducted into the New York State Country Songwriters Hall of Fame. We wanted to spend some time in this episode honoring our friend, Nolan Neal, who passed away in summer of 2022. Nolan was upfront about his struggles with mental health, and we want to dedicate this episode to him. Nolan, thank you for sharing your life with us through your music. We hope this episode can help serve others like you and make a contribution to providing better mental health care to all. Mentioned in the episode: -"Shadow of the Man I Used to Be" by Nolan Neal -Nolan Neal on America's Got Talent -"Already Gone" written by Jane Bach, performed by Natalia Malo Make sure to follow our Instagram, X, Bluesky, Threads, and TikTok accounts so you can stay up to date on all our new content. Thanks for listening! Instagram: @infointhernd X/Twitter: @infointhernd Bluesky: @infointhernd.bsky.social Threads: @infointhernd TikTok: @infointhernd Website: https://www.kevinbjohnsonmd.net/
Join me as I welcome not one, but TWO musical legends! I could have chatted all week with these two gentlemen. Elvis! Captain Beefheart! Tammy Wynette! Ferlin Husky! David Vest and Terry Robb discuss their careers and new collaborative album CrissCross.
Your Humble Host is back with an all new Sounds Like Radio! It's Volume 181 as Gildersleeve thinks it would be a good idea to install a suggestion box in the family home. What could go wrong, huh? Well now a few folks could tell you like Slim Whitman, Shelley Fabares (our picture with this show), Bing Crosby, Helen Kane/Betty Boop, Jimmy Dean, Tammy Wynette & Arthur Godfrey. From October 29, 1952 let's listen to The Great Gildersleeve and some fine music.
On the October 15 edition of the Music History Today podcast, Chuck Berry gives his final performance, as does CBGB, plus Rick Nelson gets booed & writes a song about it. Also, happy birthday to Chris de Burgh. For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts from ALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday On this date: In 1937, singer Jo Stafford married singer John Huddleston. * In 1955, the Grand Ole Opry TV show premiered on ABC TV. * In 1956, Little Richard recorded the song Good Golly Miss Molly. * In 1958, Jackie Wilson recorded his smash hit Lonely Teardrops. * In 1960, the Beatles, with Ringo Starr on drums instead of Pete Best, recorded together for the first time. * In 1963 Mary Travers of Peter, Paul, & Mary married photographer Barry Feinstein. * In 1965, Jimi Hendrix signed his first recording contract. * In 1966, The Four Tops hit #1 with the song Reach Out I'll Be There. * In 1966, The Monkees recorded the Neil Diamond - written song I'm a Believer. * In 1968, Led Zeppelin performed together for the first time, in England. * In 1971, Rick Nelson was booed at Madison Square Garden when he tried to perform newer songs instead of old hits during his concert. The experience went on to inspire him to write his comeback song Garden Party. * In 1973, Elvis entered the hospital for treatment of respiratory problems, which is where his doctor realized that Elvis was addicted to Demerol. * In 1977, Debbie Boone hit #1 with the song You Light Up My Life. * In 1981, Metallica formed. * In 1988, UB40 hit #1 with a cover version of Neil Diamond's song Red Red Wine. * In 1992, Madonna held her infamous Sex party in Manhattan to promote her Sex photo book. * In 2000, Dave Edmunds had triple bypass heart surgery. * In 2001, Slash of Guns N Roses married his wife Perla Ferrar. * In 2003, the Louis Armstrong House Museum opened in Queens, NY. * In 2006, Patti Smith was the final performer at the original New York City club CBGB. * In 2014, Chuck Berry played his final performance. It was at the Blueberry Hill Club in St Louis. * In 2016, the Lifetime Channel music docu-movie Surviving Compton: Dre, Suge, & Michel'le premiered. * In 2016, Winston Marshall of Mumford & Sons married singer and actress Dianna Agron. * In 2017, the music documentary series The Platinum Life premiered on the E! TV channel. In the world of classical music: * In 1886, Modest Mussorgsky's classical piece Night on Bald Mountain premiered in St. Petersburg, Russia. It would later become famous to an entire generation of kids in the Disney movie Fantasia. * In 1905, classical composer Claude Debussey's La Mer premiered. In 1925, the opera Beatrice from Willem Landre was performed for the first time. In 1994, Philip Glass premiered his Symphony No. 2 for string orchestra. In award ceremonies held on this date: * In 1969, Tammy Wynette & Johnny Cash won at the Country Music Association awards. * In 1973, Roy Clark won at the Country Music Association awards. --- Support this podcast: https://podcasters.spotify.com/pod/show/musichistorytodaypodcast/support
One time Prince asked out Halle Berry by sending her a note at a concert...Ann Wilson is selling her mansion in Florida...and there is a new book out named "Cocaine & Rhinestones" about the crazy marriage of George Jones and Tammy Wynette!
The relationship between George Jones and Tammy Wynette, two of country music's biggest stars, is one of the most tumultuous and legendary in the genre's history. But it's also been largely misunderstood. Podcaster and author Tyler Mahan Coe sets the record straight in "Cocaine & Rhinestones."
From the creator of the acclaimed country music history podcast Cocaine & Rhinestones, comes the epic American saga of country music's legendary royal couple-George Jones and Tammy Wynette. By the early 1960s nearly everybody paying attention to country music agreed that George Jones was the greatest country singer of all time. After taking honky-tonk rockers like "White Lightning" all the way up the country charts, he revealed himself to be an unmatched virtuoso on "She Thinks I Still Care," thus cementing his status as a living legend. That's where the trouble started. Only at this new level of fame did Jones realize he suffered from extreme stage fright. His method of dealing with that involved great quantities of alcohol, which his audience soon discovered as Jones more often than not showed up to concerts falling-down drunk or failed to show up at all. But the fans always forgave him because he just kept singing so damn good. Then he got married to Tammy Wynette right around the time she became one of the most famous women alive with the release of "Stand by Your Man." Tammy Wynette grew up believing George Jones was the greatest country singer of all time. After deciding to become a country singer herself, she went to Nashville, got a record deal, then met and married her hero. With the pop crossover success of "Stand by Your Man" (and the international political drama surrounding the song's lyrics) came a gigantic audience, who were sold a fairy tale image of a couple soon being called The King and Queen of Country Music. Many fans still believe that fairy tale today. The behind-the-scenes truth is very different from the images shown on album covers.Illustrated throughout by singular artist Wayne White, Cocaine & Rhinestones is an unprecedented look at the lives of two indelible country icons, reframing their careers within country music as well as modern history itself. Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.
Scott Watson chats with Tyler Coe about the rise and fall of George Jones and Tammy Wynette.See omnystudio.com/listener for privacy information.
From the creator of the acclaimed country music history podcast Cocaine & Rhinestones, comes the epic American saga of country music's legendary royal couple-George Jones and Tammy Wynette. By the early 1960s nearly everybody paying attention to country music agreed that George Jones was the greatest country singer of all time. After taking honky-tonk rockers like "White Lightning" all the way up the country charts, he revealed himself to be an unmatched virtuoso on "She Thinks I Still Care," thus cementing his status as a living legend. That's where the trouble started. Only at this new level of fame did Jones realize he suffered from extreme stage fright. His method of dealing with that involved great quantities of alcohol, which his audience soon discovered as Jones more often than not showed up to concerts falling-down drunk or failed to show up at all. But the fans always forgave him because he just kept singing so damn good. Then he got married to Tammy Wynette right around the time she became one of the most famous women alive with the release of "Stand by Your Man." Tammy Wynette grew up believing George Jones was the greatest country singer of all time. After deciding to become a country singer herself, she went to Nashville, got a record deal, then met and married her hero. With the pop crossover success of "Stand by Your Man" (and the international political drama surrounding the song's lyrics) came a gigantic audience, who were sold a fairy tale image of a couple soon being called The King and Queen of Country Music. Many fans still believe that fairy tale today. The behind-the-scenes truth is very different from the images shown on album covers.Illustrated throughout by singular artist Wayne White, Cocaine & Rhinestones is an unprecedented look at the lives of two indelible country icons, reframing their careers within country music as well as modern history itself.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.
Welcome back to the studio. This is My Day of Play, where you're taken into the real events and actions of how it happens long before the process of editing or cleaning up. This is how it really went. Today I spent time with fellow podcaster and author Tyler Mahan who gets into the gut of the story about George Jones and Tammy Wynette. After that we share a lot of fun and laughter with two amazing actor comedians Jon Gatto and Steve Byrne Have you heard of Uncle John's Bathroom reader series? We're breaking down with the dude himself Brian Boone. Then we'll wrap things up with music historian Scott Shea as we celebrate 50 years with Van Morrison. Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.
Shelby Lynne is celebrating the 25th anniversary of her landmark classic album I Am Shelby Lynne, which won her a Grammy award for Best New Artist. We recently sat down with Shelby to discuss the evolution of her songwriting, from her early days in Nashville to her recent genre-defying "comeback" album Consequences of the Crown. PART ONEScott and Paul talk about their favorite single lyrical lines, lyrics that bug them from songs they otherwise like, and quibble over one of Kris Kristofferson's best-known lines. Plus, they call on listeners to submit their own choices for discussion on an upcoming episode. PART TWOOur in-depth interview with Shelby LynneABOUT SHELBY LYNNEShelby Lynne won the Grammy award for Best New Artist in the wake of her genre-bending and critically-acclaimed 1999 album, I Am Shelby Lynne. But it was actually her sixth studio album on an artistic path that took time to unfold. Lynne and her sister, fellow artist Allison Moorer, grew up surrounded by country music. As detailed in Moorer's gripping memoir, Blood, they were also surrounded by violence and trauma. Both found escape through music, with Lynne signing her first recording contract at the age of 19. Initially working with legendary producer Billy Sherrill, best known for his albums with Tammy Wynette and George Jones, Shelby released a series of albums from Nashville in the late ‘80s through the mid-‘90s. She won the Academy of Country Music's Top New Female Vocalist Award in 1991, and was nominated for the ACM's Top Vocal Duo of the Year honor with Faith Hill in 1996. Without any major hit singles, however, Shelby eventually took a break from recording. After moving to Palm Springs, California, and partnering with producer Bill Botrell in 1998, she changed direction and found new footing as an uncategorizable artist committed to artistic integrity. The result, I Am Shelby Lynne, has recently been re-released in a 25th Anniversary edition. Follow-up albums Love, Shelby, Identity Crisis, Suit Yourself, and the Dusty Springfield tribute Just a Little Lovin' were well-received precursors to Lynne launching her own record label. Her subsequent albums Tears, Lies and Alibis, Merry Christmas, Revelation Road, and I Can't Imagine all reached the Top 10 on Billboard's Americana/Folk chart, as did her 2017 collaborative album with sister Allison Moorer. Shelby has recently returned to Nashville and has collaborated with Ashley Monroe, Little Big Town's Karen Fairchild, and others to create her seventeenth album, an unflinchingly honest exploration of heartbreak, called Consequences of the Crown.
This morning Lou & Dave asked the listeners what the weirdest part of their job is and the answers were astonishing. One lady told a story about a rotting corpse in a family living room that was paying bills. Another woman who worked in an operating room once saw Tammy Wynette refuse treatment at the hospital and still walk out with a bottle of pain pills. Another guy who worked for IBM was tasked with finding an employee who stole a company vehicle. Is Connecticut Fun? The annual Fun States study made the Nutmeg State look awful. Actress Alicia Silverstone ate a poisonous fruit off a tree while live on TikTok. CT officials are warning of scams related to the recent flood. Why do cartoon characters usually have four fingers? The boys found the answer.
We are joined by Macey Isaacs on this episode. Macey is a standup comedian in Los Angeles, Co-Host of the SSRI'M OK Podcast and the curator of an 8-hour all-female country playlist on Spotify. Mentioned in This Episode: MaceyIsaacs.com SSRI'M OK podcast Dolly Parton's America podcast Macey Isaacs' all-female country playlist Article from The Pudding about female artist airplay on country radio Jo Dee Messina and Cole Swindell award show collaboration Ethan Hawke video about playing the fool I Love Lucy - Chocolate Factory Show Notes: We are joined by Macey Isaacs on this episode. Macey is a standup comedian in Los Angeles, Co-Host of the SSRI'M Ok Podcast and the curator of an 8 hour all female country playlist on Spotify. 24:10 - HARDY Report: Dave talks about "Six Feet Under" (Caleigh's Song) on this episode 26:47 - Farm boy Update: Mick share's a story about what Macey deemed to be a suicidal snapping turtle 30:39 - Dad Life Sound Check: Macey joins the Dads and they discuss songs by Jo Dee Messina, Randy Rogers and Wade Bowen, and Pam Tillis. You can find the Country Music Dads playlist on Spotify and via our webpage. You can find all of our back episodes on our website countrymusicdads.com. Follow us on Instagram and Facebook @countrymusicdads. And most importantly, please give us a 5-star review and share the show with all of your friends. References: Intro Music: “Dark Country Rock” by Moodmode HARDY Report Theme Music: “Frantic” by Lemon Music Studio Farm Boy Update Theme Music: “The Wheels on the Bus Rockabilly Style (instrumental)” by Mike Cole "Body Like a Back Road" by Sam Hunt "Suspicious Minds" by Dwight Yoakam "Stand By Your Man" by Tammy Wynette "Hunt You Down" by Kaitlin Butts "Six Feet Under (Caleigh's Song)" by HARDY "Lesson in Leavin" by Jo Dee Messina "Rodeo Clown" by Randy Rogers and Wade Bowen "Maybe It Was Memphis" by Pam Tillis "wait in the truck" by HARDY feat. Lainey Wilson
A love affair with records has fueled Tracyanne Campbell for as long as she can remember: Before anyone else woke up in the morning as a kid, she'd already be spinning ELO; thanks to her grandmother, she became a devout listener of American country music and still has a profound memory of first hearing Tammy Wynette's groundbreaking "Stand By Your Man"; her mother even bought her a new 45 RPM single every weekend growing up -- spanning everything from Roxy Music to The Osmonds -- keeping her fervent curiosity alive. Fast forward to the mid-90's, and Tracyanne takes this bag of influences full-throttle, forming Camera Obscura. A band that's worn its AM radio influences proudly on its sleeve for nearly 30 years, they've created a rather timeless jangle that fits snugly between The Magnetic Fields and Carole King. The band's latest album -- Look to the East, Look to the West -- is available on Merge Records wherever music is sold. Visit camera-obscura.net for more info, social media and more.
After a long hiatus hosts Will Payne Harrison and India Ramey are back with new episodes and a new logo. This episode Will Payne is interviewing India about her new album Baptized by the Blaze out on August 23rd. India Ramey blazes a trail through cinematic spaghetti western landscapes to wood floored Honkytonks and the Appalachian foothills. India's musical journey was not typical. “Having grown up poor, there was a lot of pressure for me to ‘go to college and make money' so I convinced myself that music was a hobby”. Ramey, a domestic violence survivor graduated college, got a law degree and became a domestic violence prosecutor. “I thought if I was helping people like my Mom, I would like being a lawyer more”. Despite her love of helping people, Ramey's love for music won in the end. She gave up her law career to become a full time musician and songwriter and has never looked back. Featured as one of the “Must See Acts at SXSW, a Nashville's Lighting 100 artist of the week, a two-time Americanafest showcasing artist, and one of NPR's “10 Nashville Artists on the Rise”, India has only continued to rise among the ranks of as one of Country and Americana's brightest up and coming, emerging artists. Her most recent album, Shallow Graves debuted at number six on the Euro Americana Charts and landed a song as Rolling Stone's pick of the week. Billboard says of her performance in her 2020 Nashville residency performance, “The rollicking set recalls everyone from Tammy Wynette to Wanda Jackson.” Nashville's Americana radio station, WMOT says India is the perfect mixture of Loretta Lynn and Neko Case, Rolling Stone describes her as “Part Black Sabbath, part honky-tonk” and the BBC's Ralph McClean says “India is a singer of the truth, she knows the value of a well-told tale sung with passion and honesty. She is a bright light in the darkness. Long may she shine." Please rate and review the podcast and share with your friends. Be sure to visit our YouTube for behind the scenes live music videos from the podcast! https://www.youtube.com/@americanastationpodcast
On the July 6 edition of Music History Today, John meets Paul, disco hits number one, and Manfred Mann gets a lead singer. Also, happy birthday to 50 Cent and Bill Haley. For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts from ALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday On this date: In 1953, singer Dorothy Squires married actor Roger Moore.In 1957, John Lennon met Paul McCartney and one of the greatest musical partnerships was born. In 1963, Chubby Checker performed at a concert before the Mets baseball game in New York City. In 1964, the film A Hard Day's Night by the Beatles premiered in London. In 1965, Marty Balin started forming the group Jefferson Airplane. In 1966, Elvis Presley's movie Paradise Hawaiian Style opened. In 1966, Mike D'abo became the lead singer for Manfred Mann. In 1967, Pink Floyd performed on British TV's Top of the Pops music show for the first time. In 1969, Mick Jagger started filming the movie Ned Kelly. In 1971, Bjorn Ulvaeus & Agnetha Faitskog of ABBA were married. In 1972, David Bowie created controversy in England when he put his arms around guitarist Mick Ronson during his performance of his song Starman on the British TV show Top of the Pops. In 1974, the Hues Corporation became the first disco group to hit number one on the Billboard singles chart with Rock the Boat. In 1977, the event that inspired Pink Floyd's album The Wall happened when Roger Waters yelled at the crowd during Pink Floyd's concert in Montreal for setting off fireworks & being unruly. In 1978, Tammy Wynette married record producer George Richey. In 1984, the Jacksons started their Victory tour, which was the last time that Michael toured with his brothers. In 1988, Neil Young's video for his song This Note's For You, about music artists selling their songs to corporations for commercials, was banned by MTV because it mentioned corporate brands like Coke & Pepsi. The video ended up winning video of the year at that year's MTV Video Music Awards. In 1990, the animated movie Jetsons the Movie, co-starring the voice of singer Tiffany premiered. In 1991, BB King & James Brown performed in Zagreb, Croatia. In 1991, Mary Travers of Peter, Paul, & Mary married restaurant owner Ethan Robbins. In 1994, the movie Forest Gump opened. The movie spawned a hit soundtrack of songs from the 1950s - 1970s. In 1999, Richie Havens published the book They Can't Hide Us Anymore, which was his autobiography. In 2009, Ryan Ross & Jon Walker left the group Panic! at the Disco. In 2009, Alanis Morissette started her acting role on the TV show Weeds. In 2016, singer Ciara married football player Russell Wilson. In 2019, Lil Nas X's song Old Town Road with Billy Ray Cyrus broke the record set by 3 other songs for longest hip hop song at #1 when it started its 13th straight week at #1 on Billboard's hot 100 singles chart. The song would eventually break the record for longest #1 reign on that chart, regardless of genre, & still holds the record at 19 consecutive weeks. In classical music: In 1877, Pyotr Tchaikovsky married wife Antonina Miliukova. In 1975, Dmitri Shostakovich finished his Sonate for Alto Opus 147. In theater: In 1946, the Broadway show St Louis Woman closed. In 1997, the Broadway musical Dream, the Johnny Mercer Musical closed. --- Support this podcast: https://podcasters.spotify.com/pod/show/musichistorytodaypodcast/support
In this week's episode of Diving In Deep, Sara Evans sit down with longtime friend and music video director, Peter Zavadil. If you've seen a Sara Evans music video before, then you've seen Peter's work. Peter directed everything from "Suds in the Bucket" to "Born to Fly" to "Saints & Angels" and so many more. They tell hilarious behind-the-scenes stories from the sets of these big time productions, reveal some of the secrets to Peter's special effects and the origin of "Sexy Dorothy". About Peter Zavadil: Referring to himself as "tirelessly enthusiastic," or, "caffeine enhanced" -- depending on your perspective -- Peter has been working in the film business for over twenty years starting from the bottom and working his way up. Zavadil arrived in the music industry initially as an executive producer of music videos working with such legends as Waylon Jennings, Chet Atkins, Dolly Parton, Tammy Wynette , Alabama and countless others. He then moved into directing and has gone on to work on music video, commercial and television ventures. As a director, he has received numerous ACM and CMA nominations including two CMA wins, a National Emmy and numerous regional NARAS awards, a World Fest Award and various other awards and nominations. He has shot and edited music videos for Eric Church, Jewel, Blake Shelton, Dierks Bentley, Reba McEntire, Kenny Rogers, Florida Georgia Line and The Black Keys just to name a few. Aside from his ongoing commercial work, Peter has shot over a hundred and fifty music videos, countless concert packages for artists such as Lady Antebellum and Eric Church, numerous long form television, doc and reality projects for Viacom including a show with Trace Adkins where he logged over twenty five hours of Blackhawk helicopter time over hostile regions of Iraq and Afghanistan. Pre-order Sara's new album, Unbroke out 6/7: https://ffm.to/seunbroke LET'S BE SOCIAL: Follow Peter Zavadil: Instagram - (@peterzavadil) Twitter - (@zavadil) Facebook - (@pzavadil) Website - https://www.peterzavadil.com/ Follow Diving in Deep Podcast: Instagram -(@divingindeeppod) TikTok - (@divingindeeppod) Twitter - (@divingindeeppod) Facebook - (@divingindeeppod) Follow Sara Evans: Instagram - (@saraevansmusic) TikTok - (@saraevansmusic) Twitter - (@saraevansmusic) Facebook - (@saraevansmusic) Produced and Edited by: The Cast Collective (Nashville, TN) YouTube - ( @TheCastCollective) Instagram - (@TheCastCollective) Twitter - (@TheCastCollective) Directed by: Erin Dugan Edited By: Sean Dugan, Corey Williams & Tara Down https://www.thecastcollective.com
About Peter Zavadil: Referring to himself as "tirelessly enthusiastic," or, "caffeine enhanced" -- depending on your perspective -- Peter has been working in the film business for over twenty years starting from the bottom and working his way up. Zavadil arrived in the music industry initially as an executive producer of music videos working with such legends as Waylon Jennings, Chet Atkins, Dolly Parton, Tammy Wynette , Alabama and countless others. He then moved into directing and has gone on to work on music video, commercial and television ventures. As a director, he has received numerous ACM and CMA nominations including two CMA wins, a National Emmy and numerous regional NARAS awards, a World Fest Award and various other awards and nominations. He has shot and edited music videos for Eric Church, Jewel, Blake Shelton, Dierks Bentley, Reba McEntire, Kenny Rogers, Florida Georgia Line and The Black Keys just to name a few. Aside from his ongoing commercial work, Peter has shot over a hundred and fifty music videos, countless concert packages for artists such as Lady Antebellum and Eric Church, numerous long form television, doc and reality projects for Viacom including a show with Trace Adkins where he logged over twenty five hours of Blackhawk helicopter time over hostile regions of Iraq and Afghanistan. Pre-order Sara's new album, Unbroke out 6/7: https://ffm.to/seunbroke LET'S BE SOCIAL: Follow Peter Zavadil: Instagram - (@peterzavadil) Twitter - (@zavadil) Facebook - (@pzavadil) Website - https://www.peterzavadil.com/ Follow Diving in Deep Podcast: Instagram –(@divingindeeppod) TikTok – (@divingindeeppod) Twitter – (@divingindeeppod) Facebook – (@divingindeeppod) Follow Sara Evans: Instagram – (@saraevansmusic) TikTok – (@saraevansmusic) Twitter – (@saraevansmusic) Facebook – (@saraevansmusic) Produced and Edited by: The Cast Collective (Nashville, TN) YouTube – ( @TheCastCollective) Instagram – (@TheCastCollective) Twitter – (@TheCastCollective) Directed by: Erin Dugan Edited By: Sean Dugan, Corey Williams & Tara Down https://www.thecastcollective.com
AppleamazonFacebookYoutubeInstagramGable Burnett's new song “Trouble” starts off with a bang and takes off from there in a flat dead rocking country run. Her career as a recording artist, beginning with “Trouble,” should follow the same trajectory. “Should” not only because she writes some great music and “should” because she has the talent and the power voice, but “should” because she is working it.The song is clearly country, but rock is also in the mix, in generous measure. She agrees with that opinion to an extent. “I think it's all subjective at the end of the day. With the rock style instruments we put in there, we have a kind of rockabilly, old school sound, but people who are hardcore into rock and the sub genres of rock might not consider it rock.”However it might be considered, the music is fun and danceable and the lyrics are fun and listener singable. You will be singing it out loud before you know you're doing it.“Trouble,” which she co-wrote with Andi Renfree, who wrote “The Buffalo Grass” for Chris LeDoux, is the first song in this new phase of her career. She has been performing for years, and for the last couple has been putting out music on the streaming platforms, but with new manager Lisa Kyser of Ten East Ten West, she now has direction.Gable has pulled her previous catalogue and it will be re-released in the distribution plan for her music. Before 2018, she was in opera as part of a studio in Richardson, Texas, and did opera kinds of things, like singing in seven different languages and performing in the Carnegie Hall honors series, where she won some scholarship money.She participated in National Association of Teachers of Singing competitions “and all this kind of high classical stuff.” “But I really didn't start trying to figure out what I wanted to do and performing more of what I wanted to do until 2018, when I moved to Nashville. Even though I had that classical background and education, I knew I didn't want to be a teacher and I knew I didn't want to sing opera over in Europe, and those are pretty much the only two options you have in that classical path.” Country at first wasn't in the running for what she wanted to do. She was “messing around with pop and different stuff,” but her family didn't want her to go to Los Angeles or New York. Family friends connected to the Gatlin Brothers suggested country. “At the time, the main thing was the Florida-Georgia line and a lot of bro country, and there's nothing wrong with that, but it just wasn't my style. I was like, ‘Oh, I don't want that. I don't want to sing about boots and trucks and blah blah blah.' And they said, ‘No no no! You're good. Listen to some Johnny Cash and Dolly Parton. Here's some artists and some songs. Go listen to that and come back.'”She took the advice.“They were right,” she said. “I love the storytelling aspect. I love the history behind it. I love the culture behind it. I love everything about country music. It ties into so much of my life, where I grew up and everything, that I was taken aback that I hadn't discovered how wonderful it was sooner.”She paused for a second, thinking about that, then said, “Well, I grew up in a household where I was only allowed to listen to Christian music for years.” She says now her two main inspirations are Dolly and David Alan Coe. She also references The Judds, Patsy Cline, Tammy Wynette — “all the women who've been really big in country music, who've come before me and definitely paved the way for me to be able to do what I'm trying my best to do.” When she says “trying,” she means putting in some hard work. “This is basically the start of everything for me,” she said. “I've got four jobs, and both my parents helped me, too. I got all these different side hustles just trying to make the dream come true.” She has shows booked in August, more songs ready to put out, “other things in the pipeline that we're getting pre-recorded to put out after thatBecome a supporter of this podcast: https://www.spreaker.com/podcast/creator-to-creators-with-meosha-bean--4460322/support.
Discover if it's storytelling or shit talking on the latest episode of Unrehearsed with storied percussionist Jackie Bertone. Basile and Bertone go back over 30 years and have had plenty of shared, eyebrow-raising moments in the studio. Hear them chronicle their experiences together with Brian Wilson and The Beach Boys as well as Jackie's escapades on his growing and impressive podcast, Jackie's Groove. Let's raise a glass for Melinda, Carl and... Joe Thomas. Producer's Note:Jackie's Groove can be found on all the same platforms as Unrehearsed. Go follow, like and listen. Special thanks to Kyle Ross, Sound Wizard. Even my life is just better with your ears on it. Go check out Stars and Stripes Vol. 1. What an adventure. JBSupport the Show.Follow, rate and share if you dig the podcast. Follow Basile's antics on Instagram and Twitter, and check out the website for even more. In the meantime, take care of one another.
Comedian Gary Gulman on what it was like growing up awkward in the ‘80s. TV and movie critic Matt Zoller Seitz takes us behind the scenes of Wes Anderson's 2021 film, “The French Dispatch.” And artist Steacy Easton makes the case for why country singer Tammy Wynette matters.
Visit (or click) https://goodgriefgoodgodshow.com/s2ep2-jimmieleesloas to access both parts one and two of this episode, including audio and video links. Visit (or click) https://www.GoodGriefGoodGodShow.com to learn more about the show.
Visit (or click) https://goodgriefgoodgodshow.com/s2ep2-jimmieleesloas to access both parts one and two of this episode, including audio and video links. Visit (or click) https://www.GoodGriefGoodGodShow.com to learn more about the show.
Born in Memphis, singer/songwriter/guitarist, Billy Burnette spent most of his youth in the presence of father Dorsey and uncle Johnny (of the legendary Rock and Roll Trio). The Trio made the Rockabilly name famous by combining the name Billy and his cousin Rocky for the 1953 “Rockabilly Boogie” – thus making the term Rockabilly a household name. The legendary trio influenced a diverse array of Rock icons including: the Elvis, Beatles, Led Zeppelin, Rod Stewart, Aerosmith, and Ricky Nelson. Elvis used to spend many evenings jamming with the band. It's not surprising then that Billy started making music at the age of 7. At 15 Billy picked up a guitar and began writing songs. At 18, he was only a week out of high school when he recorded an album with famed Memphis hit-making producer Chips Moman (“Suspicious Minds” and “In the Ghetto” for Elvis). In his early 20's, Billy wrote songs for artists like Rod Stewart, Ray Charles, Roy Orbison, Tammy Wynette, Jerry Lee Lewis, The Everly Brothers, Conway Twitty, Loretta Lynn, Glen Campbell, and many more. In 1980, Billy met Mick Fleetwood (of Fleetwood Mac). The two musicians became fast friends and formed the band Mick Fleetwood's Zoo Soon after Billy began his journey as a member of one of the greatest rock bands of all time. Billy joined and toured with Fleetwood Mac between 1987-1995, appearing on many of their albums. In 2003, Billy co-wrote a tune for Bonnie Raitt and Ray Charles called “Do I Ever Cross Your Mind.” This tune appeared on the album Genius Loves Company, which was the last studio album that Ray Charles recorded and completed. The album garnered 10 Grammy nominations and won Album of the Year. In 2006, Billy Burnette returned to his roots and recorded one of the most revered Rockabilly albums of his career, Memphis in Manhattan. He not only recorded several original tunes – but also payed tribute to his father and uncle, by recording “It's Late” and “Tear it Up.” In addition, he recorded an Everly Brothers classic, “Bye, Bye Love,” and a song made popular by none other than his very own Memphis neighbour, Elvis: “Big Hunk of Love.” A collaboration with Shawn Camp and Dennis Morgan became the hit song “River of Love.” George Strait recorded the tune for his 2008 album Troubador, and “River of Love” went on to become Strait's 44th Number One hit single. In the last few years, Billy Burnette has contributed his talents as a guitar player and singer on tours with legendary musicians Bob Dylan and John Fogerty. Additionally, he also collaborates regularly with the Mick Fleetwood Band. Billy continues to write, record and perform today. He lives in Nashville and is still as passionate about making music as he has always been. I hope you enjoy the story of Billy Burnette's musical journey. If you'd like to learn more about him, check out his website http://billyburnette.net/ and if you'd like to suggest a guest you'd like to hear interviewed on A Breath of Fresh Air, reach out to me through my website https://www.abreathoffreshair.com.au
"Nashville Recording Artist Singer/Songwriter Lee Newton, came from humble beginnings. Having seen her share of hard times growing upa small town in Western North Carolina, she started singing in church when she was five years old when her Mother would take her. Lee's love of music grew as a child when her Daddy played country classics like Hank Williams, Loretta Lynn, Tammy Wynette and Patsy Cline around the house. Lee's father, a cab driver, taught her to play the guitar at age seven and they would sing together while she rode around town with him in his taxi going on calls. “My Daddy, who named me Brenda Lee after the amazing country singer, would always tell me one day you will be playing at the Grand Ole Opry and from that point on I knew I wanted to be a performer.” Heavily influenced by legendary musicians like Patsy Cline, Loretta Lynn, The Judds Lorrie Morgan Susan Tedischi and Lynyrd Skynyrd, Lee's personal sound is a mix between traditional Country and raspy Blues with an added Southern Rock flare. When Lee was 20 years old, she joined a couple of bands and taught herself to play the drums. She travelled to New York City and had the privilege of singing backup for Artimus Pyle, Leslie Hawkins and JoJo Billingsly – three original members of Lynyrd Skynyrd. In 2020, Lee won “Vocalist of the Year” at the Josie Music Awards. Her 2021 EP Undamaged, which she wrote, won “EP Album of the year” at Josie Music Awards and also Top 20 Best of 2021 for Women of Country. Lee's newest full length album UNLEESHED, was released April, 2022. Lee wrote 9 of the songs on it. She won “Album of the year” at the Josie Music Awards show that was held at The Grand Ole Opry. She also was nominated for Song of the year with Carolina, and Artist of the year for Women of Country Best of 2022. UNLEESHED has artist Leona Williams, Pam Tillis, Lee Roy Parnell, Mike Rogers & Tim Watson appear on it. Lee has opened or performed with legends Randy Travis, Ronnie Milsap, Ronnie McDowell, T Graham Brown, Diamond Rio, The Gatlin Brothers, TG Sheppard, Edwin McCain, Leona Williams, Lee Roy Parnell, Rhonda Vincent & more." (Bio provided by: https://leenewtonofficial.com/) This storyteller is one that you do not want to miss. Be on the lookout for some new music, tour dates, and special announcements! Ya'll please help me welcome Lee Newton to the Be a Dreamcatcher Podcast family!
Equal parts Minnesotan music scene veteran and Laurel Canyon devotee, Willie Wisely remains that rare bird mixing profound power pop with vaudevillian showmanship. In his four decades of music making and crowd playing, Wisely has followed the muses of Singer, Guitarist, Producer, Songwriting Collaborator, Composer, and sometimes Clothes Horse. The summer of 2019 marked the release of his album “Face The Sun” produced by John “Strawberry” Fields who crafted Wisely's breakthrough 90's albums “She” and “Turbosherbet”. Wisely is also a producer, notably for the young Mark Foster [fosterthepeople.com] (Foster The People), comedian Andy Dick [en.wikipedia.org], and educator Michael Ryther's “Kids Of The Earth,” an ambitious new project hailed as “the soundtrack to saving the planet.” Currently, Wisely works in acquisitions at Concord [concord.com], where he spent several years on the team managing the estates of Billie Holiday [billieholiday.com] and Tammy Wynette [tammywynette.com]. Check him out here: Website: https://wiselymusic.com/ [wiselymusic.com] FB: https://www.facebook.com/WillieWisely [facebook.com] IG: https://www.instagram.com/williewisely/ [instagram.com] Twitter: https://twitter.com/WillieWisely [twitter.com] You tube: https://www.youtube.com/@williewisely [youtube.com]
For those who haven't heard the announcement I just posted , songs from this point on will sometimes be split among multiple episodes, so this is the second part of a multi-episode look at the Byrds in 1966-69 and the birth of country rock. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode, on "With a Little Help From My Friends" by Joe Cocker. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud at this time as there are too many Byrds songs in the first chunk, but I will try to put together a multi-part Mixcloud when all the episodes for this song are up. My main source for the Byrds is Timeless Flight Revisited by Johnny Rogan, I also used Chris Hillman's autobiography, the 331/3 books on The Notorious Byrd Brothers and The Gilded Palace of Sin, I used Barney Hoskyns' Hotel California and John Einarson's Desperadoes as general background on Californian country-rock, Calling Me Hone, Gram Parsons and the Roots of Country Rock by Bob Kealing for information on Parsons, and Requiem For The Timeless Vol 2 by Johnny Rogan for information about the post-Byrds careers of many members. Information on Gary Usher comes from The California Sound by Stephen McParland. And this three-CD set is a reasonable way of getting most of the Byrds' important recordings. The International Submarine Band's only album can be bought from Bandcamp. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we begin, a brief warning – this episode contains brief mentions of suicide, alcoholism, abortion, and heroin addiction, and a brief excerpt of chanting of a Nazi slogan. If you find those subjects upsetting, you may want to read the transcript rather than listen. As we heard in the last part, in October 1967 Roger McGuinn and Chris Hillman fired David Crosby from the Byrds. It was only many years later, in a conversation with the group's ex-manager Jim Dickson, that Crosby realised that they didn't actually have a legal right to fire him -- the Byrds had no partnership agreement, and according to Dickson given that the original group had been Crosby, McGuinn, and Gene Clark, it would have been possible for Crosby and McGuinn to fire Hillman, but not for McGuinn and Hillman to fire Crosby. But Crosby was unaware of this at the time, and accepted a pay-off, with which he bought a boat and sailed to Florida, where saw a Canadian singer-songwriter performing live: [Excerpt: Joni Mitchell, "Both Sides Now (live Ann Arbor, MI, 27/10/67)"] We'll find out what happened when David Crosby brought Joni Mitchell back to California in a future story... With Crosby gone, the group had a major problem. They were known for two things -- their jangly twelve-string guitar and their soaring harmonies. They still had the twelve-string, even in their new slimmed-down trio format, but they only had two of their four vocalists -- and while McGuinn had sung lead on most of their hits, the sound of the Byrds' harmony had been defined by Crosby on the high harmonies and Gene Clark's baritone. There was an obvious solution available, of course, and they took it. Gene Clark had quit the Byrds in large part because of his conflicts with David Crosby, and had remained friendly with the others. Clark's solo album had featured Chris Hillman and Michael Clarke, and had been produced by Gary Usher who was now producing the Byrds' records, and it had been a flop and he was at a loose end. After recording the Gene Clark with the Gosdin Brothers album, Clark had started work with Curt Boettcher, a singer-songwriter-producer who had produced hits for Tommy Roe and the Association, and who was currently working with Gary Usher. Boettcher produced two tracks for Clark, but they went unreleased: [Excerpt: Gene Clark, "Only Colombe"] That had been intended as the start of sessions for an album, but Clark had been dropped by Columbia rather than getting to record a second album. He had put together a touring band with guitarist Clarence White, bass player John York, and session drummer "Fast" Eddie Hoh, but hadn't played many gigs, and while he'd been demoing songs for a possible second solo album he didn't have a record deal to use them on. Chisa Records, a label co-owned by Larry Spector, Peter Fonda, and Hugh Masekela, had put out some promo copies of one track, "Yesterday, Am I Right", but hadn't released it properly: [Excerpt: Gene Clark, "Yesterday, Am I Right"] Clark, like the Byrds, had left Dickson and Tickner's management organisation and signed with Larry Spector, and Spector was wanting to make the most of his artists -- and things were very different for the Byrds now. Clark had had three main problems with being in the Byrds -- ego clashes with David Crosby, the stresses of being a pop star with a screaming teenage fanbase, and his fear of flying. Clark had really wanted to have the same kind of role in the Byrds that Brian Wilson had with the Beach Boys -- appear on the records, write songs, do TV appearances, maybe play local club gigs, but not go on tour playing to screaming fans. But now David Crosby was out of the group and there were no screaming fans any more -- the Byrds weren't having the kind of pop hits they'd had a few years earlier and were now playing to the hippie audience. Clark promised that with everything else being different, he could cope with the idea of flying -- if necessary he'd just take tranquilisers or get so drunk he passed out. So Gene Clark rejoined the Byrds. According to some sources he sang on their next single, "Goin' Back," though I don't hear his voice in the mix: [Excerpt: The Byrds, "Goin' Back"] According to McGuinn, Clark was also an uncredited co-writer on one song on the album they were recording, "Get to You". But before sessions had gone very far, the group went on tour. They appeared on the Smothers Brothers TV show, miming their new single and "Mr. Spaceman", and Clark seemed in good spirits, but on the tour of the Midwest that followed, according to their road manager of the time, Clark was terrified, singing flat and playing badly, and his guitar and vocal mic were left out of the mix. And then it came time to get on a plane, and Clark's old fears came back, and he refused to fly from Minneapolis to New York with the rest of the group, instead getting a train back to LA. And that was the end of Clark's second stint in the Byrds. For the moment, the Byrds decided they were going to continue as a trio on stage and a duo in the studio -- though Michael Clarke did make an occasional return to the sessions as they progressed. But of course, McGuinn and Hillman couldn't record an album entirely by themselves. They did have several tracks in a semi-completed state still featuring Crosby, but they needed people to fill his vocal and instrumental roles on the remaining tracks. For the vocals, Usher brought in his friend and collaborator Curt Boettcher, with whom he was also working at the time in a band called Sagittarius: [Excerpt: Sagittarius, "Another Time"] Boettcher was a skilled harmony vocalist -- according to Usher, he was one of the few vocal arrangers that Brian Wilson looked up to, and Jerry Yester had said of the Modern Folk Quartet that “the only vocals that competed with us back then was Curt Boettcher's group” -- and he was more than capable of filling Crosby's vocal gap, but there was never any real camaraderie between him and the Byrds. He particularly disliked McGuinn, who he said "was just such a poker face. He never let you know where you stood. There was never any lightness," and he said of the sessions as a whole "I was really thrilled to be working with The Byrds, and, at the same time, I was glad when it was all over. There was just no fun, and they were such weird guys to work with. They really freaked me out!" Someone else who Usher brought in, who seems to have made a better impression, was Red Rhodes: [Excerpt: Red Rhodes, "Red's Ride"] Rhodes was a pedal steel player, and one of the few people to make a career on the instrument outside pure country music, which is the genre with which the instrument is usually identified. Rhodes was a country player, but he was the country pedal steel player of choice for musicians from the pop and folk-rock worlds. He worked with Usher and Boettcher on albums by Sagittarius and the Millennium, and played on records by Cass Elliot, Carole King, the Beach Boys, and the Carpenters, among many others -- though he would be best known for his longstanding association with Michael Nesmith of the Monkees, playing on most of Nesmith's recordings from 1968 through 1992. Someone else who was associated with the Monkees was Moog player Paul Beaver, who we talked about in the episode on "Hey Jude", and who had recently played on the Monkees' Pisces, Aquarius, Capricorn & Jones, Ltd album: [Excerpt: The Monkees, "Star Collector"] And the fourth person brought in to help the group out was someone who was already familiar to them. Clarence White was, like Red Rhodes, from the country world -- he'd started out in a bluegrass group called the Kentucky Colonels: [Excerpt: The Kentucky Colonels, "Clinch Mountain Backstep"] But White had gone electric and formed one of the first country-rock bands, a group named Nashville West, as well as becoming a popular session player. He had already played on a couple of tracks on Younger Than Yesterday, as well as playing with Hillman and Michael Clarke on Gene Clark's album with the Gosdin Brothers and being part of Clark's touring band with John York and "Fast" Eddie Hoh. The album that the group put together with these session players was a triumph of sequencing and production. Usher had recently been keen on the idea of crossfading tracks into each other, as the Beatles had on Sgt Pepper, and had done the same on the two Chad and Jeremy albums he produced. By clever crossfading and mixing, Usher managed to create something that had the feel of being a continuous piece, despite being the product of several very different creative minds, with Usher's pop sensibility and arrangement ideas being the glue that held everything together. McGuinn was interested in sonic experimentation. He, more than any of the others, seems to have been the one who was most pushing for them to use the Moog, and he continued his interest in science fiction, with a song, "Space Odyssey", inspired by the Arthur C. Clarke short story "The Sentinel", which was also the inspiration for the then-forthcoming film 2001: A Space Odyssey: [Excerpt: The Byrds, "Space Odyssey"] Then there was Chris Hillman, who was coming up with country material like "Old John Robertson": [Excerpt: The Byrds, "Old John Robertson"] And finally there was David Crosby. Even though he'd been fired from the group, both McGuinn and Hillman didn't see any problem with using the songs he had already contributed. Three of the album's eleven songs are compositions that are primarily by Crosby, though they're all co-credited to either Hillman or both Hillman and McGuinn. Two of those songs are largely unchanged from Crosby's original vision, just finished off by the rest of the group after his departure, but one song is rather different: [Excerpt: The Byrds, "Draft Morning"] "Draft Morning" was a song that was important to Crosby, and was about his -- and the group's -- feelings about the draft and the ongoing Vietnam War. It was a song that had meant a lot to him, and he'd been part of the recording for the backing track. But when it came to doing the final vocals, McGuinn and Hillman had a problem -- they couldn't remember all the words to the song, and obviously there was no way they were going to get Crosby to give them the original lyrics. So they rewrote it, coming up with new lyrics where they couldn't remember the originals: [Excerpt: The Byrds, "Draft Morning"] But there was one other contribution to the track that was very distinctively the work of Usher. Gary Usher had a predilection at this point for putting musique concrete sections in otherwise straightforward pop songs. He'd done it with "Fakin' It" by Simon and Garfunkel, on which he did uncredited production work, and did it so often that it became something of a signature of records on Columbia in 1967 and 68, even being copied by his friend Jim Guercio on "Susan" by the Buckinghams. Usher had done this, in particular, on the first two singles by Sagittarius, his project with Curt Boettcher. In particular, the second Sagittarius single, "Hotel Indiscreet", had had a very jarring section (and a warning here, this contains some brief chanting of a Nazi slogan): [Excerpt: Sagittarius, "Hotel Indiscreet"] That was the work of a comedy group that Usher had discovered and signed to Columbia. The Firesign Theatre were so named because, like Usher, they were all interested in astrology, and they were all "fire signs". Usher was working on their first album, Waiting For The Electrician or Someone Like Him, at the same time as he was working on the Byrds album: [Excerpt: The Firesign Theatre, "W.C. Fields Forever"] And he decided to bring in the Firesigns to contribute to "Draft Morning": [Excerpt: The Byrds, "Draft Morning"] Crosby was, understandably, apoplectic when he heard the released version of "Draft Morning". As far as Hillman and McGuinn were concerned, it was always a Byrds song, and just because Crosby had left the band didn't mean they couldn't use material he'd written for the Byrds. Crosby took a different view, saying later "It was one of the sleaziest things they ever did. I had an entire song finished. They just casually rewrote it and decided to take half the credit. How's that? Without even asking me. I had a finished song, entirely mine. I left. They did the song anyway. They rewrote it and put it in their names. And mine was better. They just took it because they didn't have enough songs." What didn't help was that the publicity around the album, titled The Notorious Byrd Brothers minimised Crosby's contributions. Crosby is on five of the eleven tracks -- as he said later, "I'm all over that album, they just didn't give me credit. I played, I sang, I wrote, I even played bass on one track, and they tried to make out that I wasn't even on it, that they could be that good without me." But the album, like earlier Byrds albums, didn't have credits saying who played what, and the cover only featured McGuinn, Hillman, and Michael Clarke in the photo -- along with a horse, which Crosby took as another insult, as representing him. Though as McGuinn said, "If we had intended to do that, we would have turned the horse around". Even though Michael Clarke was featured on the cover, and even owned the horse that took Crosby's place, by the time the album came out he too had been fired. Unlike Crosby, he went quietly and didn't even ask for any money. According to McGuinn, he was increasingly uninterested in being in the band -- suffering from depression, and missing the teenage girls who had been the group's fans a year or two earlier. He gladly stopped being a Byrd, and went off to work in a hotel instead. In his place came Hillman's cousin, Kevin Kelley, fresh out of a band called the Rising Sons: [Excerpt: The Rising Sons, "Take a Giant Step"] We've mentioned the Rising Sons briefly in some previous episodes, but they were one of the earliest LA folk-rock bands, and had been tipped to go on to greater things -- and indeed, many of them did, though not as part of the Rising Sons. Jesse Lee Kincaid, the least well-known of the band, only went on to release a couple of singles and never had much success, but his songs were picked up by other acts -- his "Baby You Come Rollin' 'Cross My Mind" was a minor hit for the Peppermint Trolley Company: [Excerpt: The Peppermint Trolley Company, "Baby You Come Rollin' 'Cross My Mind"] And Harry Nilsson recorded Kincaid's "She Sang Hymns Out of Tune": [Excerpt: Harry Nilsson, "She Sang Hymns Out of Tune"] But Kincaid was the least successful of the band members, and most of the other members are going to come up in future episodes of the podcast -- bass player Gary Marker played for a while with Captain Beefheart and the Magic Band, lead singer Taj Mahal is one of the most respected blues singers of the last sixty years, original drummer Ed Cassidy went on to form the progressive rock band Spirit, and lead guitarist Ry Cooder went on to become one of the most important guitarists in rock music. Kelley had been the last to join the Rising Sons, replacing Cassidy but he was in the band by the time they released their one single, a version of Rev. Gary Davis' "Candy Man" produced by Terry Melcher, with Kincaid on lead vocals: [Excerpt: The Rising Sons, "Candy Man"] That hadn't been a success, and the group's attempt at a follow-up, the Goffin and King song "Take a Giant Step", which we heard earlier, was blocked from release by Columbia as being too druggy -- though there were no complaints when the Monkees released their version as the B-side to "Last Train to Clarksville". The Rising Sons, despite being hugely popular as a live act, fell apart without ever releasing a second single. According to Marker, Mahal realised that he would be better off as a solo artist, but also Columbia didn't know how to market a white group with a Black lead vocalist (leading to Kincaid singing lead on their one released single, and producer Terry Melcher trying to get Mahal to sing more like a white singer on "Take a Giant Step"), and some in the band thought that Terry Melcher was deliberately trying to sink their career because they refused to sign to his publishing company. After the band split up, Marker and Kelley had formed a band called Fusion, which Byrds biographer Johnny Rogan describes as being a jazz-fusion band, presumably because of their name. Listening to the one album the group recorded, it is in fact more blues-rock, very like the music Marker made with the Rising Sons and Captain Beefheart. But Kelley's not on that album, because before it was recorded he was approached by his cousin Chris Hillman and asked to join the Byrds. At the time, Fusion were doing so badly that Kelley had to work a day job in a clothes shop, so he was eager to join a band with a string of hits who were just about to conclude a lucrative renegotiation of their record contract -- a renegotiation which may have played a part in McGuinn and Hillman firing Crosby and Clarke, as they were now the only members on the new contracts. The choice of Kelley made a lot of sense. He was mostly just chosen because he was someone they knew and they needed a drummer in a hurry -- they needed someone new to promote The Notorious Byrd Brothers and didn't have time to go through a laborious process of audtioning, and so just choosing Hillman's cousin made sense, but Kelley also had a very strong, high voice, and so he could fill in the harmony parts that Crosby had sung, stopping the new power-trio version of the band from being *too* thin-sounding in comparison to the five-man band they'd been not that much earlier. The Notorious Byrd Brothers was not a commercial success -- it didn't even make the top forty in the US, though it did in the UK -- to the presumed chagrin of Columbia, who'd just paid a substantial amount of money for this band who were getting less successful by the day. But it was, though, a gigantic critical success, and is generally regarded as the group's creative pinnacle. Robert Christgau, for example, talked about how LA rather than San Francisco was where the truly interesting music was coming from, and gave guarded praise to Captain Beefheart, Van Dyke Parks, and the Fifth Dimension (the vocal group, not the Byrds album) but talked about three albums as being truly great -- the Beach Boys' Wild Honey, Love's Forever Changes, and The Notorious Byrd Brothers. (He also, incidentally, talked about how the two songs that Crosby's new discovery Joni Mitchell had contributed to a Judy Collins album were much better than most folk music, and how he could hardly wait for her first album to come out). And that, more or less, was the critical consensus about The Notorious Byrd Brothers -- that it was, in Christgau's words "simply the best album the Byrds have ever recorded" and that "Gone are the weak--usually folky--tracks that have always flawed their work." McGuinn, though, thought that the album wasn't yet what he wanted. He had become particularly excited by the potentials of the Moog synthesiser -- an instrument that Gary Usher also loved -- during the recording of the album, and had spent a lot of time experimenting with it, coming up with tracks like the then-unreleased "Moog Raga": [Excerpt: The Byrds, "Moog Raga"] And McGuinn had a concept for the next Byrds album -- a concept he was very excited about. It was going to be nothing less than a grand sweeping history of American popular music. It was going to be a double album -- the new contract said that they should deliver two albums a year to Columbia, so a double album made sense -- and it would start with Appalachian folk music, go through country, jazz, and R&B, through the folk-rock music the Byrds had previously been known for, and into Moog experimentation. But to do this, the Byrds needed a keyboard player. Not only would a keyboard player help them fill out their thin onstage sound, if they got a jazz keyboardist, then they could cover the jazz material in McGuinn's concept album idea as well. So they went out and looked for a jazz piano player, and happily Larry Spector was managing one. Or at least, Larry Spector was managing someone who *said* he was a jazz pianist. But Gram Parsons said he was a lot of things... [Excerpt: Gram Parsons, "Brass Buttons (1965 version)"] Gram Parsons was someone who had come from a background of unimaginable privilege. His maternal grandfather was the owner of a Florida citrus fruit and real-estate empire so big that his mansion was right in the centre of what was then Florida's biggest theme park -- built on land he owned. As a teenager, Parsons had had a whole wing of his parents' house to himself, and had had servants to look after his every need, and as an adult he had a trust fund that paid him a hundred thousand dollars a year -- which in 1968 dollars would be equivalent to a little under nine hundred thousand in today's money. Two events in his childhood had profoundly shaped the life of young Gram. The first was in February 1956, when he went to see a new singer who he'd heard on the radio, and who according to the local newspaper had just recorded a new song called "Heartburn Motel". Parsons had tried to persuade his friends that this new singer was about to become a big star -- one of his friends had said "I'll wait til he becomes famous!" As it turned out, the day Parsons and the couple of friends he did manage to persuade to go with him saw Elvis Presley was also the day that "Heartbreak Hotel" entered the Billboard charts at number sixty-eight. But even at this point, Elvis was an obvious star and the headliner of the show. Young Gram was enthralled -- but in retrospect he was more impressed by the other acts he saw on the bill. That was an all-star line-up of country musicians, including Mother Maybelle and the Carter Sisters, and especially the Louvin Brothers, arguably the greatest country music vocal duo of all time: [Excerpt: The Louvin Brothers, "The Christian Life"] Young Gram remained mostly a fan of rockabilly music rather than country, and would remain so for another decade or so, but a seed had been planted. The other event, much more tragic, was the death of his father. Both Parsons' parents were functioning alcoholics, and both by all accounts were unfaithful to each other, and their marriage was starting to break down. Gram's father was also, by many accounts, dealing with what we would now call post-traumatic stress disorder from his time serving in the second world war. On December the twenty-third 1958, Gram's father died of a self-inflicted gunshot wound. Everyone involved seems sure it was suicide, but it was officially recorded as natural causes because of the family's wealth and prominence in the local community. Gram's Christmas present from his parents that year was a reel-to-reel tape recorder, and according to some stories I've read his father had left a last message on a tape in the recorder, but by the time the authorities got to hear it, it had been erased apart from the phrase "I love you, Gram." After that Gram's mother's drinking got even worse, but in most ways his life still seemed charmed, and the descriptions of him as a teenager are about what you'd expect from someone who was troubled, with a predisposition to addiction, but who was also unbelievably wealthy, good-looking, charming, and talented. And the talent was definitely there. One thing everyone is agreed on is that from a very young age Gram Parsons took his music seriously and was determined to make a career as a musician. Keith Richards later said of him "Of the musicians I know personally (although Otis Redding, who I didn't know, fits this too), the two who had an attitude towards music that was the same as mine were Gram Parsons and John Lennon. And that was: whatever bag the business wants to put you in is immaterial; that's just a selling point, a tool that makes it easier. You're going to get chowed into this pocket or that pocket because it makes it easier for them to make charts up and figure out who's selling. But Gram and John were really pure musicians. All they liked was music, and then they got thrown into the game." That's not the impression many other people have of Parsons, who is almost uniformly described as an incessant self-promoter, and who from his teens onwards would regularly plant fake stories about himself in the local press, usually some variant of him having been signed to RCA records. Most people seem to think that image was more important to him than anything. In his teens, he started playing in a series of garage bands around Florida and Georgia, the two states in which he was brought up. One of his early bands was largely created by poaching the rhythm section who were then playing with Kent Lavoie, who later became famous as Lobo and had hits like "Me and You and a Dog Named Boo". Lavoie apparently held a grudge -- decades later he would still say that Parsons couldn't sing or play or write. Another musician on the scene with whom Parsons associated was Bobby Braddock, who would later go on to co-write songs like "D-I-V-O-R-C-E" for Tammy Wynette, and the song "He Stopped Loving Her Today", often considered the greatest country song ever written, for George Jones: [Excerpt: George Jones, "He Stopped Loving Her Today"] Jones would soon become one of Parsons' musical idols, but at this time he was still more interested in being Elvis or Little Richard. We're lucky enough to have a 1962 live recording of one of his garage bands, the Legends -- the band that featured the bass player and drummer he'd poached from Lobo. They made an appearance on a local TV show and a friend with a tape recorder recorded it off the TV and decades later posted it online. Of the four songs in that performance, two are R&B covers -- Little Richard's "Rip It Up" and Ray Charles' "What'd I Say?", and a third is the old Western Swing classic "Guitar Boogie Shuffle". But the interesting thing about the version of "Rip it Up" is that it's sung in an Everly Brothers style harmony, and the fourth song is a recording of the Everlys' "Let It Be Me". The Everlys were, of course, hugely influenced by the Louvin Brothers, who had so impressed young Gram six years earlier, and in this performance you can hear for the first time the hints of the style that Parsons would make his own a few years later: [Excerpt: Gram Parsons and the Legends, "Let it Be Me"] Incidentally, the other guitarist in the Legends, Jim Stafford, also went on to a successful musical career, having a top five hit in the seventies with "Spiders & Snakes": [Excerpt: Jim Stafford, "Spiders & Snakes"] Soon after that TV performance though, like many musicians of his generation, Parsons decided to give up on rock and roll, and instead to join a folk group. The group he joined, The Shilos, were a trio who were particularly influenced by the Journeymen, John Phillips' folk group before he formed the Mamas and the Papas, which we talked about in the episode on "San Francisco". At various times the group expanded with the addition of some female singers, trying to capture something of the sound of the New Chrisy Minstrels. In 1964, with the band members still in school, the Shilos decided to make a trip to Greenwich Village and see if they could make the big time as folk-music stars. They met up with John Phillips, and Parsons stayed with John and Michelle Phillips in their home in New York -- this was around the time the two of them were writing "California Dreamin'". Phillips got the Shilos an audition with Albert Grossman, who seemed eager to sign them until he realised they were still schoolchildren just on a break. The group were, though, impressive enough that he was interested, and we have some recordings of them from a year later which show that they were surprisingly good for a bunch of teenagers: [Excerpt: The Shilos, "The Bells of Rhymney"] Other than Phillips, the other major connection that Parsons made in New York was the folk singer Fred Neil, who we've talked about occasionally before. Neil was one of the great songwriters of the Greenwich Village scene, and many of his songs became successful for others -- his "Dolphins" was recorded by Tim Buckley, most famously his "Everybody's Talkin'" was a hit for Harry Nilsson, and he wrote "Another Side of This Life" which became something of a standard -- it was recorded by the Animals and the Lovin' Spoonful, and Jefferson Airplane, as well as recording the song, included it in their regular setlists, including at Monterey: [Excerpt: Jefferson Airplane, "The Other Side of This Life (live at Monterey)"] According to at least one biographer, though, Neil had another, more pernicious, influence on Parsons -- he may well have been the one who introduced Parsons to heroin, though several of Parsons' friends from the time said he wasn't yet using hard drugs. By spring 1965, Parsons was starting to rethink his commitment to folk music, particularly after "Mr. Tambourine Man" became a hit. He talked with the other members about their need to embrace the changes in music that Dylan and the Byrds were bringing about, but at the same time he was still interested enough in acoustic music that when he was given the job of arranging the music for his high school graduation, the group he booked were the Dillards. That graduation day was another day that would change Parsons' life -- as it was the day his mother died, of alcohol-induced liver failure. Parsons was meant to go on to Harvard, but first he went back to Greenwich Village for the summer, where he hung out with Fred Neil and Dave Van Ronk (and started using heroin regularly). He went to see the Beatles at Shea Stadium, and he was neighbours with Stephen Stills and Richie Furay -- the three of them talked about forming a band together before Stills moved West. And on a brief trip back home to Florida between Greenwich Village and Harvard, Parsons spoke with his old friend Jim Stafford, who made a suggestion to him -- instead of trying to do folk music, which was clearly falling out of fashion, why not try to do *country* music but with long hair like the Beatles? He could be a country Beatle. It would be an interesting gimmick. Parsons was only at Harvard for one semester before flunking out, but it was there that he was fully reintroduced to country music, and in particular to three artists who would influence him more than any others. He'd already been vaguely aware of Buck Owens, whose "Act Naturally" had recently been covered by the Beatles: [Excerpt: Buck Owens, "Act Naturally"] But it was at Harvard that he gained a deeper appreciation of Owens. Owens was the biggest star of what had become known as the Bakersfield Sound, a style of country music that emphasised a stripped-down electric band lineup with Telecaster guitars, a heavy drumbeat, and a clean sound. It came from the same honky-tonk and Western Swing roots as the rockabilly music that Parsons had grown up on, and it appealed to him instinctively. In particular, Parsons was fascinated by the fact that Owens' latest album had a cover version of a Drifters song on it -- and then he got even more interested when Ray Charles put out his third album of country songs and included a version of Owens' "Together Again": [Excerpt: Ray Charles, "Together Again"] This suggested to Parsons that country music and the R&B he'd been playing previously might not quite be so far apart as he'd thought. At Harvard, Parsons was also introduced to the work of another Bakersfield musician, who like Owens was produced by Ken Nelson, who also produced the Louvin Brothers' records, and who we heard about in previous episodes as he produced Gene Vincent and Wanda Jackson. Merle Haggard had only had one big hit at the time, "(My Friends Are Gonna Be) Strangers": [Excerpt: Merle Haggard, "(My Friends are Gonna Be) Strangers"] But he was about to start a huge run of country hits that would see every single he released for the next twelve years make the country top ten, most of them making number one. Haggard would be one of the biggest stars in country music, but he was also to be arguably the country musician with the biggest influence on rock music since Johnny Cash, and his songs would soon start to be covered by everyone from the Grateful Dead to the Everly Brothers to the Beach Boys. And the third artist that Parsons was introduced to was someone who, in most popular narratives of country music, is set up in opposition to Haggard and Owens, because they were representatives of the Bakersfield Sound while he was the epitome of the Nashville Sound to which the Bakersfield Sound is placed in opposition, George Jones. But of course anyone with ears will notice huge similarities in the vocal styles of Jones, Haggard, and Owens: [Excerpt: George Jones, "The Race is On"] Owens, Haggard, and Jones are all somewhat outside the scope of this series, but are seriously important musicians in country music. I would urge anyone who's interested in them to check out Tyler Mahan Coe's podcast Cocaine and Rhinestones, season one of which has episodes on Haggard and Owens, as well as on the Louvin Brothers who I also mentioned earlier, and season two of which is entirely devoted to Jones. When he dropped out of Harvard after one semester, Parsons was still mostly under the thrall of the Greenwich Village folkies -- there's a recording of him made over Christmas 1965 that includes his version of "Another Side of This Life": [Excerpt: Gram Parsons, "Another Side of This Life"] But he was encouraged to go further in the country direction by John Nuese (and I hope that's the correct pronunciation – I haven't been able to find any recordings mentioning his name), who had introduced him to this music and who also played guitar. Parsons, Neuse, bass player Ian Dunlop and drummer Mickey Gauvin formed a band that was originally called Gram Parsons and the Like. They soon changed their name though, inspired by an Our Gang short in which the gang became a band: [Excerpt: Our Gang, "Mike Fright"] Shortening the name slightly, they became the International Submarine Band. Parsons rented them a house in New York, and they got a contract with Goldstar Records, and released a couple of singles. The first of them, "The Russians are Coming, The Russians are Coming" was a cover of the theme to a comedy film that came out around that time, and is not especially interesting: [Excerpt: The International Submarine Band, "The Russians are Coming, The Russians are Coming"] The second single is more interesting. "Sum Up Broke" is a song by Parsons and Neuse, and shows a lot of influence from the Byrds: [Excerpt: The international Submarine Band, "Sum Up Broke"] While in New York with the International Submarine Band, Parsons made another friend in the music business. Barry Tashian was the lead singer of a band called the Remains, who had put out a couple of singles: [Excerpt: The Remains, "Why Do I Cry?"] The Remains are now best known for having been on the bill on the Beatles' last ever tour, including playing as support on their last ever show at Candlestick Park, but they split up before their first album came out. After spending most of 1966 in New York, Parsons decided that he needed to move the International Submarine Band out to LA. There were two reasons for this. The first was his friend Brandon DeWilde, an actor who had been a child star in the fifties -- it's him at the end of Shane -- who was thinking of pursuing a musical career. DeWilde was still making TV appearances, but he was also a singer -- John Nuese said that DeWilde sang harmony with Parsons better than anyone except Emmylou Harris -- and he had recorded some demos with the International Submarine Band backing him, like this version of Buck Owens' "Together Again": [Excerpt: Brandon DeWilde, "Together Again"] DeWilde had told Parsons he could get the group some work in films. DeWilde made good on that promise to an extent -- he got the group a cameo in The Trip, a film we've talked about in several other episodes, which was being directed by Roger Corman, the director who worked a lot with David Crosby's father, and was coming out from American International Pictures, the company that put out the beach party films -- but while the group were filmed performing one of their own songs, in the final film their music was overdubbed by the Electric Flag. The Trip starred Peter Fonda, another member of the circle of people around David Crosby, and another son of privilege, who at this point was better known for being Henry Fonda's son than for his own film appearances. Like DeWilde, Fonda wanted to become a pop star, and he had been impressed by Parsons, and asked if he could record Parsons' song "November Nights". Parsons agreed, and the result was released on Chisa Records, the label we talked about earlier that had put out promos of Gene Clark, in a performance produced by Hugh Masekela: [Excerpt: Peter Fonda, "November Nights"] The other reason the group moved West though was that Parsons had fallen in love with David Crosby's girlfriend, Nancy Ross, who soon became pregnant with his daughter -- much to Parsons' disappointment, she refused to have an abortion. Parsons bought the International Submarine Band a house in LA to rehearse in, and moved in separately with Nancy. The group started playing all the hottest clubs around LA, supporting bands like Love and the Peanut Butter Conspiracy, but they weren't sounding great, partly because Parsons was more interested in hanging round with celebrities than rehearsing -- the rest of the band had to work for a living, and so took their live performances more seriously than he did, while he was spending time catching up with his old folk friends like John Phillips and Fred Neil, as well as getting deeper into drugs and, like seemingly every musician in 1967, Scientology, though he only dabbled in the latter. The group were also, though, starting to split along musical lines. Dunlop and Gauvin wanted to play R&B and garage rock, while Parsons and Nuese wanted to play country music. And there was a third issue -- which record label should they go with? There were two labels interested in them, neither of them particularly appealing. The offer that Dunlop in particular wanted to go with was from, of all people, Jay Ward Records: [Excerpt: A Salute to Moosylvania] Jay Ward was the producer and writer of Rocky & Bullwinkle, Peabody & Sherman, Dudley Do-Right and other cartoons, and had set up a record company, which as far as I've been able to tell had only released one record, and that five years earlier (we just heard a snippet of it). But in the mid-sixties several cartoon companies were getting into the record business -- we'll hear more about that when we get to song 186 -- and Ward's company apparently wanted to sign the International Submarine Band, and were basically offering to throw money at them. Parsons, on the other hand, wanted to go with Lee Hazlewood International. This was a new label set up by someone we've only talked about in passing, but who was very influential on the LA music scene, Lee Hazlewood. Hazlewood had got his start producing country hits like Sanford Clark's "The Fool": [Excerpt: Sanford Clark, "The Fool"] He'd then moved on to collaborating with Lester Sill, producing a series of hits for Duane Eddy, whose unique guitar sound Hazlewood helped come up with: [Excerpt: Duane Eddy, "Rebel Rouser"] After splitting off from Sill, who had gone off to work with Phil Spector, who had been learning some production techniques from Hazlewood, Hazlewood had gone to work for Reprise records, where he had a career in a rather odd niche, producing hit records for the children of Rat Pack stars. He'd produced Dino, Desi, and Billy, who consisted of future Beach Boys sideman Billy Hinsche plus Desi Arnaz Jr and Dean Martin Jr: [Excerpt: Dino, Desi, and Billy, "I'm a Fool"] He'd also produced Dean Martin's daughter Deana: [Excerpt: Deana Martin, "Baby I See You"] and rather more successfully he'd written and produced a series of hits for Nancy Sinatra, starting with "These Boots are Made for Walkin'": [Excerpt: Nancy Sinatra, "These Boots are Made for Walkin'"] Hazlewood had also moved into singing himself. He'd released a few tracks on his own, but his career as a performer hadn't really kicked into gear until he'd started writing duets for Nancy Sinatra. She apparently fell in love with his demos and insisted on having him sing them with her in the studio, and so the two made a series of collaborations like the magnificently bizarre "Some Velvet Morning": [Excerpt: Lee Hazlewood and Nancy Sinatra, "Some Velvet Morning"] Hazlewood is now considered something of a cult artist, thanks largely to a string of magnificent orchestral country-pop solo albums he recorded, but at this point he was one of the hottest people in the music industry. He wasn't offering to produce the International Submarine Band himself -- that was going to be his partner, Suzi Jane Hokom -- but Parsons thought it was better to sign for less money to a label that was run by someone with a decade-long string of massive hit records than for more money to a label that had put out one record about a cartoon moose. So the group split up. Dunlop and Gauvin went off to form another band, with Barry Tashian -- and legend has it that one of the first times Gram Parsons visited the Byrds in the studio, he mentioned the name of that band, The Flying Burrito Brothers, and that was the inspiration for the Byrds titling their album The Notorious Byrd Brothers. Parsons and Nuese, on the other hand, formed a new lineup of The International Submarine Band, with bass player Chris Ethridge, drummer John Corneal, who Parsons had first played with in The Legends, and guitarist Bob Buchanan, a former member of the New Christy Minstrels who Parsons had been performing with as a duo after they'd met through Fred Neil. The International Submarine Band recorded an album, Safe At Home, which is now often called the first country-rock album -- though as we've said so often, there's no first anything. That album was a mixture of cover versions of songs by people like Johnny Cash and Merle Haggard: [Excerpt: The International Submarine Band, "I Must Be Somebody Else You've Known"] And Parsons originals, like "Do You Know How It Feels To Be Lonesome?", which he cowrote with Barry Goldberg of the Electric Flag: [Excerpt: The International Submarine Band, "Do You Know How It Feels To Be Lonesome?"] But the recording didn't go smoothly. In particular, Corneal realised he'd been hoodwinked. Parsons had told him, when persuading him to move West, that he'd be able to sing on the record and that some of his songs would be used. But while the record was credited to The International Submarine Band, everyone involved agrees that it was actually a Gram Parsons solo album by any other name -- he was in charge, he wouldn't let other members' songs on the record, and he didn't let Corneal sing as he'd promised. And then, before the album could be released, he was off. The Byrds wanted a jazz keyboard player, and Parsons could fake being one long enough to get the gig. The Byrds had got rid of one rich kid with a giant ego who wanted to take control of everything and thought his undeniable talent excused his attempts at dominating the group, and replaced him with another one -- who also happened to be signed to another record label. We'll see how well that worked out for them in two weeks' time.
Stormy weather; police officer's arrest; Tammy Wynette's award Learn more about your ad choices. Visit megaphone.fm/adchoices
This week we offer up the 11th installment of our series called, “Degrees Of Separation…” where we discuss side projects and solo releases from artists we love. It also happens to be your favorite co-host Robert's birthday… So, what better way to celebrate his 32nd b-day than by listening to some music from one of his all-time favorites: Ian Fraser Kilmister. Lemmy!!! Not much more to say about the man, the myth, the legend. A rock n' roll icon that deserves the praise.New to InObscuria? It's all about digging up obscure Rock n' Punk n' Metal from one of 3 categories: the Lost, the Forgotten, or the Should Have Beens. While we may be talking about an artist that many of you know in this episode, perhaps you are not aware of the depth of side projects and duets he had over his career. Our hope is that we turn you on to something new!Songs this week include:Hawkwind - “Lost Johnny” from Hall Of The Mountain Grill (1974)Slash - “Doctor Alibi” from Slash (2010)Headgirl - “Please Don't Touch” from St. Valentine's Day Massacre EP (1981)Probot - “Shake Your Blood” from Probot (2004)HeadCat - “Something Else” from Walk The Walk… Talk The Talk (2011)Lemmy & Wendy O. Williams - “Stand By Your Man” from Stand By Your Man EP (1982)Lemmy - “Tie Your Mother Down” from Dragon Attack: A Tribute To Queen (1997)Ozzy Osbourne & Lemmy - “Hellraiser” from Hellraiser (30th Anniversary Edition) - single (2021)Visit us: https://inobscuria.com/https://www.facebook.com/InObscuriahttps://twitter.com/inobscuriahttps://www.instagram.com/inobscuria/Buy cool stuff with our logo on it!: https://www.redbubble.com/people/InObscuria?asc=uCheck out Robert's amazing fire sculptures and metal workings here: http://flamewerx.com/If you'd like to check out Kevin's band THE SWEAR, take a listen on all streaming services or pick up a digital copy of their latest release here: https://theswear.bandcamp.com/If you want to hear Robert and Kevin's band from the late 90s – early 00s BIG JACK PNEUMATIC, check it out here: https://bigjackpnuematic.bandcamp.com/
Can we put Tammy Wynette on the same level of Notorious Bitch as Leonarda Ciancuilli? No. But, Tammy's song has been hailed as an "Anti-Feminist Anthem" since its release in 1968. This week we will discover who the woman is behind the song. This episode was brought to you by Nutrafol! Go to Nutrafol.com and enter the promo code "ANGRY" to save $10 off your first month's subscription AND free shipping! This episode is ALSO sponsored by Hello Fresh, America's #1 meal kit! go to HelloFresh.com/50angry and use code 50angry for 50% off plus 15% off the next 2 months! AND from NOW until HALLOWEEN Snugg Box is offering 20% off for all of the Angry Feminist listeners when you use code Feminist20 at checkout!! JOIN ME ON PATREON FOR THE ANGRY FEMINIST BOOK CLUB! https://www.patreon.com/angryneighborhoodfeminist GET YOUR YANF MERCH! https://yanfpodcast.threadless.com/ Do you have a topic that you want the show to take on? Email: neighborhoodfeminist@gmail.com Social media: Instagram: @angryneighborhoodfeminist **Don't forget to REVIEW and SUBSCRIBE on Apple Podcasts and Spotify!** Learn more about your ad choices. Visit megaphone.fm/adchoices
Comedian Gary Gulman on what it was like growing up awkward in the ‘80s. TV and movie critic Matt Zoller Seitz takes us behind the scenes of Wes Anderson's 2021 film, “The French Dispatch.” And artist Steacy Easton makes the case for why country singer Tammy Wynette matters.
Get on your spurs & chaps and join our country queens down at the poetry gay bar!Support Breaking Form!Review the show on Apple Podcasts here.Buy our books: Aaron's STOP LYING is available from the Pitt Poetry Series. James's ROMANTIC COMEDY is available from Four Way Books.Please consider buying your books from Bluestockings Cooperative, a feminist and queer indie bookselling cooperative.Watch Miranda Lambert calling out some selfie-takers and the ladies of The View talking about it. And watch her sing "Tin Man" here.Watch Jennifer L. Knox read "Crushing It" here.Maybe the most memorable Tammy Wynette reference is this one from Sordid Lives. "He looked just like Tammy....in the early years," one character says about her brother."Billy Collins is to good poetry what Kenny G is to Charlie Parker" reads this scathing pan of the poet. You can watch Richard Howard read from his poems here (~60 min).Anne Carson is in conversation with Lannan Foundation's Michael Silverblatt here (30 min).Terrance HayesRead B.H. Fairchild's "A Starlit Night" from 32 Poems here.Read "Chopin in Palma," the Susan Mitchell poem in Best American Poetry 2023 (first published in Harvard Review) here. Listen to Mark Doty talk all things Whitman (~50 min)You can watch Frank Bidart read his serial-killer poem "Herbert White" here (~8 min)Here's an amazing tribute to Lucille Clifton organized by SAG-AFTRA, with readings by Geena Davis, Tantoo Cardinal, Isabella Gomez, Mark St. Cyr, Candace Nicholas Lippman, Max Gail, Nicco Annan; Lynne Thompson; Sidney Clifton; Madeline di Nonno; and Rochelle Rose. (~70 min)Read Matthew Dickman's poem "Grief."Here's Susan Mitchell's CV.
Two terrific guests on this episode, lordy. There is a new book out called The Exotic Ones, which tells the take of filmmaking duo Ron and Julie Ormond. They were contemporaries of Ed Wood and their story is every bit as bizarre. The book was written by the legendary Jimmy McDonogh, who wrote The Ghastly One about Andy Milligan. He's also written biographies of Russ Meyer, Tammy Wynette, Neil Young and more. Jimmy McDonough is here today in all his psychotronic glory. And then we have our resident film critic Katharine Coldiron to further unpack the Ormond oeuvre but also to discuss her new book, Junk Film, Why Bad Movies Matter. True tales From Weirdsville is going to take you down to rabbit hole to uncover all things Kenneth Anger, and there is, as always, so much more.
Jake dives in to the Wu-Tang Clan as DISGRACELAND embarks on a new season all on the group. Are they the best super group of all time? If not, who is? Plus, Bumblefest, Low Cut Connie, and your correspondence. Get in touch at 617-906-6638, disgracelandpod@gmail.com, or on socials @disgracelandpod, and come join the After Party. Learn more about your ad choices. Visit megaphone.fm/adchoices
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