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North Carolina has been slammed by relentless storms and flooding—and it's not over yet.In this episode of the Carolina Weather Group, we sit down with Brandon Jones, the Catawba Riverkeeper, to talk about protecting our rivers, why heavy rainfall leads to dangerous water pollution, and how you can help keep local waterways clean.We also check in with Tim Buckley, Chief Meteorologist at WFMY in Greensboro, to break down the recent North Carolina flooding, the impact of Tropical Storm Chantal, and why weather forecasting gets so tricky this time of year.Key topics in this episode:How rainfall triggers pollution and E. coli spikes in local lakes and riversThe history and mission of the Catawba Riverkeeper organizationFlooding aftermath from Tropical Storm ChantalUrban vs rural flash flooding across the CarolinasThe problem with slow-moving storms and why forecasting them is difficultHow you can volunteer for river cleanups and citizen science projectsUpcoming Carolina Weather Group events
Highlights Our first highlight - the Capacity Investment Scheme. South Australia's high RE % record Green Steel subsidies from South Korea US invests MP Materials a US Rare Earths materials Lowlights Labor can't seem to kick the fossil fuel habit heat pump numbers in NSW Main Story – China China's State Grid Energy Research Institute expects amazing deployment numbers EU is shifting on China Govt intervention on disorderly low-price competition Prime Minister Albanese's official visit to China from July 12 to 18, at the invitation of Chinese Premier Li Qiang. What's coming up? Climate Capital Forum to Federal Parliament 28-29th July. And milestone coming up for Nicolette Boele, MP for Bradfield. Enjoy the podcast.
Tim Buckley havde en af rockhistoriens største og mest vidtspændende stemmer. I sit alt for korte liv nåede han at indspille ni album, der spændte fra poetisk singer-songwriter, over en avantgardefusion af folk og jazz, til funk og pop. I dagens udgave af Rockhistorier gennemgår dine faste værter, Klaus Lynggaard og Henrik Queitsch, Tim Buckleys liv frem til hans død for præcis 50 år siden.Playliste- ”Aren't You That Girl” (Tim Buckley, 1966)- “Song Slowly Song” (Tim Buckley, 1966)- “I Never Asked to Be Your Mountain – Live” (Live at the Folklore Center, March 6th, 1967.)- “Lady, Give Me Your Key” (Lady, Give Me Your Key: The Unissued 1967 Solo Acoustic Sessions)- “Pleasant Street” (Goodbye and Hello, 1967)- “Phantasmagoria in Two” (Goodbye and Hello, 1967)- ”Goodbye and Hello” (Goodbye and Hello, 1967) - “Hallucinations” (Dream Letter – Live in London 1968)- ”Buzzin' Fly” (Happy Sad, 1969)- ”Dream Letter” (Happy Sad, 1969)- ”Chase the Blues Away - Live” (Live at the Troubadour 1969)- ”Happy Time” (Blue Afternoon, 1969)- ”The River” (Blue Afternoon, 1969)- “I Had a Talk with My Woman” (Lorca, 1970)- ”Come Here Woman” (Starsailor, 1970)- ”Song to the Siren” (Starsailor, 1970)- “Make It Right” (Greetings from L.A.,1972)- “Sefronia – After Asklepiades, After Kafka” (Sefronia, 1973)- "Sefronia – The King's Chain" (Sefronia, 1973)- ”Who Could Deny You” (Look at the Fool, 1974)
Frankie has a new (day) job! She's heading to the Investor Group on Climate Change after more than nine years at the Property Council and is going to apply those well-honed extortion skills to the entire net zero transition!Your intrepid hosts are excited about electrifying all the things this week with big electrification policies landing in both Victoria and City of Sydney. The much anticipated next tranche of Victoria's Gas Substitution Roadmap agenda is finally here with the Allan Government launching a bold package of reforms. Gas hot water heaters? Out. Minimum energy efficiency rental standards? In! All-electric new builds? Absolutely. The City of Sydney is also joining the electrification party and banning gas in new residential buildings from the end of 2025, with more work on commercial buildings to come. Chris Minns calls “overreach” but we reckon this is the beginning of the end for gas use in buildings! Our main courseHave Australian CBAM enthusiasts been dreaming too small? Is an Asian CBAM the secret sauce for clean trade in our region? Have Frankie and Luke now read enough CBAM papers to level up and get a CBAM merit badge? Tennant licks his lips as your intrepid hosts devour a new report from Climate Energy Finance, ‘A Price On Carbon: Building Towards an Asian CBAM'. While this wasn't necessarily the CBAM paper we were looking for, authors Matt Pollard and Tim Buckley make carbon pricing padawans of us all - and maybe all those DFAT folks who need to use the force to sell this idea - and give us the basic commands for a future Asian CBAM. We're signing up for the advanced class please! (That means we'd like another paper on what next, kthxbye).Listener VoicemailSummerupperer Rob Law asks why “energy sufficiency” isn't a thing in Australia? We venture thoughts on branding, culture, and an abundance obsession? Also, Frankie wants sufficiency-themed papers and T-shirts!One more thingsFrankie's One More Thing is: a big hearty thank you to Australia's outgoing climate change ambassador, Kristin Tilley. The LMSU crew salute her deft diplomacy and work to build closer relationships with our Pacific neighbours. She's off to sort out the WTO in Geneva, bon voyage and best of luck!Tennant's One More Thing is: an appeal for sanity as US politics watchers boggle at discussion of a proposed tax on domestic clean energy. Tennant's therapy suggestion? Shout “stop being crazy!” loudly for 30 seconds. It worked for him in recent role playing adventures of Arkham Sanitarium at a Call of Cthulhu RPG convention. Seems as likely as anything else to work for snapping the US Congress out of it.Luke's One More Thing is: his recent forays over on the First Fuel podcast feed, talking energy governance reform with Rob Murray-Leach and COP31 with Chris Bowen.And that's it for this week, Summerupperers. There is now a one-stop-shop for all your LMSU needs: head to letmesumup.net for merch, back episodes, and your chance to leave us a voicemail!
The Daily Memphian's Tim Buckley joins the show to discuss the Grizzlies' moves over the past few weeks and the future of Memphis sports, including the FedEx St. Jude Classic and Simmons Bank Liberty Stadium.
Hoy en La Gran Travesía, cuando se cumplen 50 años de la muerte de Tim Buckley (29 de junio de 1975), recordamos a este músico absolutamente inclasificable con su disco Starsailor, lanzado en 1970. También recordaros que ya podéis comprar La gran travesía del rock, un libro interactivo que además contará con 15 programas de radio complementarios, a modo de ficción sonora... Jimi y Janis, dos periodistas musicales, vienen de 2027, un mundo distópico y delirante donde el reguetón tiene (casi) todo el poder... pero ellos dos, deciden alistarse al GLP para viajar en el tiempo, salvar el rock, rescatar sus archivos ocultos y combatir la dictadura troyana del FPR. ✨ El libro ya está en diversas webs, en todostuslibros.com Amazon, Fnac y también en La Montaña Mágica, por ejemplo https://www.amazon.es/GRAN-TRAVES%C3%8DA-DEL-ROCK-autoestopista/dp/8419924938 ▶️ Y ya sabéis, si os gusta el programa y os apetece, podéis apoyarnos y colaborar con nosotros por el simple precio de una cerveza al mes, desde el botón azul de iVoox, y así, además podéis acceder a todo el archivo histórico exclusivo. Muchas gracias también a todos los mecenas y patrocinadores por vuestro apoyo: Gin1975, Alberto Velasco, Poncho C, Don T, Francisco Quintana, Gastón Nicora, Con,, Dotakon, Tete García, Jose Angel Tremiño, Marco Landeta Vacas, Oscar García Muñoz, Raquel Parrondo, Javier Gonzar, Poncho C, Nacho, Javito, Alberto, Pilar Escudero, Blas, Moy, Dani Pérez, Santi Oliva, Vicente DC,, Leticia, JBSabe, Flor, Melomanic, Arturo Soriano, Gemma Codina, Raquel Jiménez, Pedro, SGD, Raul Andres, Tomás Pérez, Pablo Pineda, Quim Goday, Enfermerator, María Arán, Joaquín, Horns Up, Victor Bravo, Fonune, Eulogiko, Francisco González, Marcos Paris, Vlado 74, Daniel A, Redneckman, Elliott SF, Sementalex, Miguel Angel Torres, Suibne, Matías Ruiz Molina, Noyatan, Estefanía, Iván Menéndez, Niksisley y a los mecenas anónimos.
Intro - The Resources, Energy & Industry Innovation Forum (REIIF) in Dubbo The Highlights * Tim's TED X Sydney * Net-Zero Export Target Proposal: ANU's Frank Jotzo and Annette Zou * Heavy Equipment Decarbonisation: BHP signs MoU with China's XCMG * China's Cleantech Outbound Investment (OFDI): China building cleantech infrastructure abroad (e.g., 10GWh EV battery plant in France for Renault). $170B tracked in cleantech OFDI since 2023 The Lowlights * For a 2nd time - The Albanese Government approved the North West Shelf expansion. The decision will put 4.4 billion tonnes of carbon into the atmosphere in the coming decades. That's the equivalent of approving 12 new coal fired power stations The Big Story this week * Australian Wind Conference is coming up on the 17 & 18th July in Melbourne. * Australia has commissioned just 14GW of wind in the last decade, China did 20GW of new wind in just the first four months of 2025. * Much more needs to be done in the onshore wind sector in Australia if we're going to hit our 82% RE target by 2030. What's coming up * Climate Capital Forum – Federal Parliament – Late July
"Tuning in the latest starFrom the dashboard of my carCruisin' at sevenPush button heavenCapturing memories from afarIn my car, that's why God Made The Radio"So please join me on one of God's best creations, Radio. Joining us on this week's "Whole 'Nuther Thing" are Tim Buckley, The Doors, Earth Opera, Talking Heads, Elton John, The Fixx, Kinks, Police, Cat Stevens, Dan Fogelberg, Eric Clapton, The Who, Cream, Shep & The Limelights, & Harry Chapin. Additionally, we'll pay our respects to 2 of our Musical Brothers, Brian Wilson & Sly Stewart & Fatherhood.
The Highlights * Labor's re-election * Bradfield recount - a celebration of the integrity of our voting system * Labor's Residential Battery Program - Minister Bowen re-commits to his election pledge of $2.3bn home and business BESS subsidy * Australia on track to see utility BESS increase 8x to 16GW by end 2027 The Lowlights * The Albanese Government approved the North West Shelf expansion. The decision will put 4.4 billion tonnes of carbon into the atmosphere in the coming decades. That's the equivalent of approving 12 new coal fired power stations * Queensland Deputy Premier rejecting a 450MW Wind farm and BESS - climate science denialism in the LNP strikes again The Big Story this week * China emissions peaked in March 2024, and now for 12 months have plateaued and marginally declined * 4MCY2025 thermal power generation in China down 3.6% yoy * China installs 46GW of solar in just the single month of April 2025 What's coming up * A carbon market price path towards an Asian CBAM - new Climate Energy Finance report released next week
Annonce du décès de Jeff Buckley, figure emblématique du rock, survenu le 29 mai 1997 à l'âge de 30 ans dans les eaux du Mississippi, alors qu'il travaillait sur son prochain album.Retour sur la carrière fulgurante de Jeff Buckley, qui n'a enregistré qu'un seul album devenu un classique, 'Grace', salué pour sa voix exceptionnelle et son jeu de guitare sublime.Évocation des liens familiaux de Jeff Buckley, fils du chanteur pop Tim Buckley, également décédé prématurément d'une overdose, et de l'influence de sa mère, pianiste et violoncelliste classique, sur son parcours musical.Hommage à la reprise magistrale par Jeff Buckley de la chanson 'Alléluia' de Leonard Cohen, considérée comme l'une des meilleures interprétations de ce titre.Mention des nombreux projets posthumes rendant hommage à Jeff Buckley, notamment un documentaire produit par Brad Pitt et un biopic en préparation.Notre équipe a utilisé un outil d'Intelligence artificielle via les technologies d'Audiomeans© pour accompagner la création de ce contenu écrit.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.
Esta semana, en Islas de Robinson, cantautores norteamericanos, entre 1967 y 1968. Suenan: PHIL OCHS - "CROSS MY HEART" ("PLEASURES OF THE HARBOR", 1967) / GENE CLARK - "ONLY COLOMBE" (1967) / ERIC ANDERSEN - "JUST A LITTLE SOMETHING" ("MORE HITS FROM TIN CAN ALLEY", 1968) / P.F. SLOAN - "NEW DESIGN" ("MEASURE OF PLEASURE", 1968) / DAVID BLUE - "YOU WILL COME BACK AGAIN" ("THESE 23 DAYS IN SEPTEMBER", 1968) / GORDON LIGHTFOOT - "THE WAY I FEEL" ("THE WAY I FEEL", 1967) / TIM BUCKLEY - "ONCE I WAS" ("GOODBYE AND HELLO", 1967) / DIANE HILDEBRAND - "THERE'S A COMING TOGETHER" ("EARLY MORNING BLUES AND GREENS", 1968) / FRED NEIL - "FARETHEEWELL (FRED'S TUNE)" ("FRED NEIL", 1967) / KAREN DALTON - "RIGHT, WRONG OR READY" ("IT'S SO HARD TO TELL WHO'S GOING TO LOVE YOU THE BEST", 1969) / TIM HARDIN - "RED BALLOON" ("TIM HARDIN 2", 1967) / JERRY JEFF WALKER - "BROKEN TOYS" ("MR. BOJANGLES", 1968) / JONI MITCHELL - "THE PIRATE OF PENANCE" ("SONG TO A SEAGULL", 1968) / PENNY NICHOLS - "SUMMER RAIN" ("PENNY'S ARCADE", 1968)Escuchar audio
This month we've gone back further than ever before to 1967 a time when none of us existed yet and everything was psychedelic and groovy. There's proto prog, primeval punk, pop masterpieces, and whatever you'd categorise Zabadak as...We've each chosen our 10 favourite songs of the year and sent them over to Colin's wife Helen, who put the playlists together and distributed them so we were each given a playlist of the 20 songs from the other two hosts, along with our own 10. We then ranked the playlists in order of preference and sent them back to Helen, who totalled up the points and worked out the order.She also joined us on the episode to read out the countdown, which we found out as we recorded so all reactions are genuine.Now, admittedly, in parts we're a little bit brutal to some of the songs in the list as we're three separate people with differing music tastes, but please remember that to be in this episode at all the songs have to have been in one of our top 10's of that year.Bands featured in this episode include (In alphabetical order, no spoilers here!) - The Beach Boys, The Beatles, Tim Buckley, Calico Wall, Captain Beefheart & His Magic Band, Country Joe & The Fish, Dave Dee, Dozy, Beaky, Mick & Tich, The Electric Prunes, Aretha Franklin, Jimi Hendrix, The Hollies, Jefferson Airplane, The LEft Banke, Love, The Lovin' Spoonful, Pink Floyd, Louis Prima & Phil Harris, Otis Redding & Carla Thomas, Kenny Rogers & The First Edition, Sam & Dave, The Seeds, Nina Simone, Stone Poneys, The Third Bardo, Vanilla Fudge, The Velvet Underground, Scott Walker, The Who, The West Coast Pop Art Experimental BandFind all songs in alphabetical order here - https://open.spotify.com/playlist/5AZHbpp2zaOQoCQwI2QjDN?si=9838e165b6d94229Find our We Dig Music Pollwinners Party playlist (featuring all of the winning songs up until now) here - https://open.spotify.com/playlist/45zfDHo8zm6VqrvoEQSt3z?si=Ivt0oMj6SmitimvumYfFrQIf you want to listen to megalength playlists of all the songs we've individually picked since we started doing best of the year episodes (which need updating but I plan on doing them over the next few months or so), you can listen to Colin's here – https://open.spotify.com/playlist/5x3Vy5Jry2IxG9JNOtabRT?si=HhcVKRCtRhWCK1KucyrDdgIan's here - https://open.spotify.com/playlist/2H0hnxe6WX50QNQdlfRH5T?si=XmEjnRqISNqDwi30p1uLqAand Tracey's here - https://open.spotify.com/playlist/2p3K0n8dKhjHb2nKBSYnKi?si=7a-cyDvSSuugdV1m5md9NwThe playlist of 20 songs from the other two hosts was scored as usual, our favourite song got 20 points, counting down incrementally to our least favourite which got 1 point. The scoring of our own list of 10 is now slightly more complicated in order to give a truer level of points to our own favourites. So rather than them only being able to score as many points as our 10th favourite in the other list, the points in our own list were distributed as follows -1st place - 20 points2nd place - 18 points3rd place – 16 points4th place – 14 points5th place – 12 points6th place – 9 points7th place – 7 points8th place – 5 points9th place – 3 points10th place -1 pointHosts - Ian Clarke, Colin Jackson-Brown & Tracey BGuest starring Helen Jackson-Brown.Playlist compiling/distributing – Helen Jackson-BrownRecorded/Edited/Mixed/Original Music by Colin Jackson-Brown for We Dig PodcastsThanks to Peter Latimer for help with the scoring system.Part of the We Dig Podcasts network along with Free With This Months Issue & Pick A Disc.Bluesky - https://bsky.app/profile/wedigmusic.bsky.socialInstagram - https://www.instagram.com/wedigmusicpcast/Facebook - https://www.facebook.com/wedigpusicpcast/Find our other episodes & podcasts at www.wedigpodcasts.com
Todays program features tuneage from Dr. John, Jackson Browne, Taste, Spirit, Pat Metheny w Lyle Mays, Blodwyn Pig, Steely Dan, The Buckinghams, Bob Dylan, Paul Butterfield Blues Band, Raspberries, Tim Buckley, Richie Havens, Traffic, Grass Roots, Bee Gees, Van Morrison, The Band, Steve Miller Band, Blood Sweat & Tears, Trace Adkuins, Sgt. Barry Sadler and Neil Young...
durée : 00:54:02 - Very Good Trip - par : Michka Assayas - Ce soir, nous avons rendez-vous avec un musicien d'autrefois, qu'on présente parfois comme un génie rare. - réalisé par : Stéphane Ronxin
Marjorie Hache nous entraîne dans une soirée oscillant entre puissance rock, mélodies nostalgiques et découvertes audacieuses. Sparks ouvre le bal avec "My Devotion", extrait de leur prochain album "Mad". Les classiques ne sont pas oubliés avec "Ticket to Ride" des Beatles. En hommage à Alison Goldfrapp, elle nous propose "Systemagic", tiré de l'album Silver Eye. Turnstile dévoile "Seein' Stars", tandis que Sleep Token, notre album de la semaine, explore un univers mêlant métal et production urbaine avec "Dangerous". L'émission se poursuit avec Tim Buckley et son légendaire "Song To The Siren", revisité par Rose Betts, puis Radiohead avec "Knives Out". Car Seat Headrest nous plonge dans l'univers indie rock avec "The Catastrophe", suivi de Peter Gabriel en live avec "Downside Up". Les contrastes se poursuivent avec Bloodhound Gang et leur festif "Fire Water Burn", suivi de "Sacred", la nouveauté Fresh Fresh Fresh des Australiens de Parkway Drive. La soirée s'achève avec l'énergie des Yeah Yeah Yeahs et leur "Cheated Hearts", The Hives qui préparent un nouvel album avec "Enough Is Enough", et une touche finale intense avec Black Sabbath et leur titre "Wheel Of Confusion". Sparks - My Devotion The Beatles - Ticket To Ride Goldfrapp - Systemagic Violent Femmes - Do You Really Want To Hurt Me Turnstile - Seein' Stars Alanis Morissette - Thank U The Velvet Underground - Sunday Morning Sleep Token - Dangerous Nirvana - Heart Shaped Box Gliz - Fade Out Marvin Gaye & Tammi Terrel - Ain't No Moutain High Enough King Gizzard & The Lizard Wizard - Deadstick Rose Betts - Song To The Siren Radiohead - Knives Out The Shoes - Time To Dance Car Seat Headrest - The Catastrophe Deep Purple - Highway Star Hole - Celebrity Skin Peter Gabriel - Downside Up (Growing Up Live) Dusty Springfield - Son Of A Preacher Man Bloodhound Gang - Fire Water Burn Parkway Drive - Sacred Linkin Park - Faint Yeah Yeah Yeahs - Cheated Hearts Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.
ON THIS week's podcast, we are joined by Carbery GAA PRO Tim Buckley as he discusses the upcoming Carbery GAA centenary celebration of Carbery clubs.The division are celebrating their 100th year and will celebrate it in the Parkway Hotel in Dunmanway this Sunday, 11th May from 2pm to 5pm.All 26 clubs in the division will take part in the event as well as a parade of referees, guest speakers and celebrating Bandon junior team from 1975.Also on the show, we look back on Clonakilty Soccer winning the quadruple in the West Cork League, clinching the league title with a 4-2 win over Drinagh Rangers.This is the second year-in-a-row that Clon have achieved the big domestic double (premier division and Beamish Cup).We talk about the ongoing skorts and shorts debacle in camogie too as Cork have insisted that they will wear shorts for their Munster final against Waterford.All this and more on this week's Star Sport Podcast. Watch above. Listen on Spotify, Apple Podcasts, by using the player below or by searching 'Southern Star Sport Podcast' wherever you get yours.Follow our hosts on X: @matt_hurley01 and @KieranMcC_SSProduced by Matthew Hurley***The Star Sport Podcast is brought to you in association with Access Credit Union.Access Credit Union - Where your bank really does matter. Choose Credit Union, Choose Local, Choose Community. For more visit www.accesscu.ieSubscribe to The Southern Star's digital edition for less than €2 per week via https://subscribe.southernstar.ie/plans Hosted on Acast. See acast.com/privacy for more information.
"Strange days have found usStrange days have tracked us downThey're going to destroyOur casual joysWe shall go on playingOr find a new town"Let's escape the darkness together this afternoon on this week's Whole 'Nuther Thing on KXFM 104.7 Joining us are Tim Buckley, John Coltrane, Malo, Jimi Hendrix, Bob Dylan, The Byrds, Jefferson Airplane, The Youngbloods, Santana, The Tradewinds, Thunderclap Newman, Steppenwolf, Stan Getz w Astrud Gilberto, Lynyrd Skynyrd, Stevie Wonder, Phoebe Snow, Trevor Gordon Hall, Warren Zevon, 38 Special, Jose Feliciano and The Doors. I'll be showcasing a timely track from James Lee Stanley's latest CD "The Day Today during Hour 1.
Today's program features tuneage from XTC, Tim Buckley, It's A Beautiful Day, Lovin' Spoonful, John Mayall, Crosby Stills & Nash, Spirit, Beatles, Small Faces, Youngbloods, Randy Newman, The Left Banke, Cyrkle, Zombies, Seatrain, Rascals, Jean Luc Ponty, Doors, Tears For Fears, Byrds, Led Zeppelin, Simon & Garfunkel, Judy Collins, Quicksilver Messenger Service .and Loggins && Messina
Tim Buckley joins the Spark Club regular podcast in the lead up to the Australian Federal Election on the 3rd May 2025. Highlights China 1QCY2025 electricity statistics. Battery Energy Storage BESS announcements continue at a rapid speed and scale, with proposals advancing across Australia almost daily. China's response to the US trade war Lowlights Rolled into the Main Story this week. Main Story New Climate Energy Finance report: “COALITION'S NUCLEAR FOLLY WOULD COST AUSTRALIAN ECONOMY AT LEAST $4.3 TRILLION BY 2050” What's coming up? The Australian Federal election on the 3rd of May, will Labor win?
This week on the Carolina Weather Group, we're revisiting two unforgettable tornado outbreaks that impacted the Carolinas — and the brave meteorologists, storm chasers, and first responders who lived them firsthand.
Tim Buckley joins the Spark Club regular podcast on the day the Australian Federal Election is announced for 2025. Highlights Federal election has been called this morning - for 3rd May 2025 Budget - not much climate or energy information in the budget, perhaps there's more to be announced during the election. BYD's amazing stats. Matt Pollard's oped in RenewEconomy. 120,000 R&D staff!!! EV momentum Tim shares overall EV market stats, perhaps a lowlight for Tesla. Caroline's Wang work on electricity generation stats. Highlighting the first two months of 2025 performance. Lowlights Tim Buckley article in the Guardian. Peter Dutton's new energy plan sounds like a gas. In reality it means more emissions – and more profits for industry Main Story Harry Martin's International Solar PV and Bess Manufacturing Trends. See Climate Energy Finance report. What's coming up? The Electrification of everything announcement - National Household battery strategy.
"There you stood on the edge of your feather, expecting to fly.While I laughed, I wondered whether I could wave goodbye,"As we waved goodbye to Winter, Spring and its promise of renewal arrived Thursday. Please join me on this first weekend of Spring on this week's Whole 'Nuther Thing. Joining us are Earth Opera, Warren Zevon, The Hooters, Tim Buckley, Dr. John, Nilsson, Little Feat, Cream, ZZ Top, Deodato, Orleans, The Beatles, Beach Boys, Led Zeppelin, The Byrds, Bob Dylan, Tears For Fears, Traffic, Deodato, Tom Petty, Simon & Garfunkel, Peter Paul & Mary, Graham Parker and Buffalo Springfield...
Tim Buckley, Director of Climate Energy Finance, Australia, shares his journey from high finance to leading the charge in global energy transformation. He discusses Australia's role in renewable energy, the impact of China's leadership in decarbonization, and how industries must adapt—or be left behind.00:37- About Tim BuckleyTim Buckley is a director of Climate Energy Finance (CEF) and has 30 years of financial market experience covering the Australian, Asian, and global equity markets from both a buy and sell side perspective.
"Seem like every time you stop and turn aroundSomething else just hit the groundBroken cutters, broken saws, broken buckles, broken lawsBroken bodies broken bones, broken voices on broken phonesTake a deep breath feel like you're chokin'Everything is broken."Well, not quite everything, please join me for 2 hours of fixing, joining us are Pat Metheny, Laura Nyro, The Doors, Rascals, Beatles, Chambers Brothers, Joe Farrell Quartet, War, Traffic, Dr. John, King Crimson, Love, John Lennon, J. Geils Band, Tim Buckley, Leon Russell, Ian Hunter & Bob Dylan.
This week Tim shares his highlights, lowlights and main story with us starting with; Highlights Green iron report by Deloitte & WWF. The Fifth Estate forum with Matt Kean and Martijn Wilder hosted at the Greenhouse. China's massive US$11bn 19GW (85% RE) Qaidam Golmud East Desert Base Power Project. Canadian Solar's reported CY2024 BESS shipments surged 505% yoy to 6.5GWh. Engie pulls out of a Texas gas project as the numbers no longer stack up. And EV highlights for BYD, not so much for Tesla Lowlights Gas cartel stitch up. Story by Royce Kurmelovs via Drilled Media. Main Story ENGIE of France reconfirming its NZE by 2045 commitments and aims to invest €21-24 billion in growth capex over the next 3 years Coming up Climate Action Week Sydney - over 200 events in Sydeney and online. Link to Tickets. End
This week Tim shares some good news from Canberra with the Climate Capital Forum leading a delegation to meet with politicians across the spectrum and share a positive message. Our focus this week on the South Australian State government working in partnership with the PM Anthony Albanese Federal Government to put the financially distressed Sanjeev Gupta GFG Alliance's OneSteel Manufacturing division into administration, and to offer a A$2.4bn rescue and modernisation package to transform Whyalla into a potentially world leading green iron and steel centre. For more information, refer our detailed Linkedin post here: https://lnkd.in/gkxY-hCE And Climate Energy Finance's Matt Pollard published his key thoughts in RenewEconomy here: https://lnkd.in/g3J6HxQK Enjoy the podcast.
Esta semana, en Islas de Robinson, despedimos al fin el plomizo mes de enero. Lo hacemos con enormes clásicos, entre 1969 y 1974. Suenan: RICHARD & LINDA THOMPSON - "CALVARY CROSS" ("I WANT TO SEE THE BRIGHT LIGHTS TONIGHT", 1974) / NICK DRAKE - "THINGS BEHIND THE SUN" ("PINK MOON", 1972) / JOHN MARTYN - "SOLID AIR" ("SOLID AIR", 1973) / VAN MORRISON - "TWILIGHT ZONE (ALTERNATIVE TAKE)" (1974) / JONI MITCHELL - "COURT AND SPARK" ("COURT AND SPARK", 1974) / GRATEFUL DEAD - "CHINA DOLL" ("FROM MARS HOTEL", 1974) / TIM BUCKLEY - "CHASE THE BLUES AWAY" ("BLUE AFTERNOON", 1969) / PETER HAMMILL - "DROPPING THE TORCH" ("CHAMELEON IN THE SHADOW OF THE NIGHT", 1973) / ROY HARPER - "HORS D'OEUVRES" ("STORMCOCK", 1971) / DAVID ACKLES - "LOVE'S ENOUGH" ("AMERICAN GOTHIC", 1972) / TOWNES VAN ZANDT - "HIGH, LOW AND IN BETWEEN" ("HIGH, LOW AND IN BETWEEN", 1972) /Escuchar audio
"I can see you-Your brown skin shinin' in the sunYou got that top pulled down and that radio on, babyAnd I can tell you my love for you will still be strongAfter the boys of summer have gone"Don't forget your Sunscreen on a Springlike day here in Southern California. Please join me and the Boys of Summer along with T.Rex, Leonard Cohen, Lou Reed, The Grateful Dead, Joni Mitchell, The Bangles, Richie Havens, Counting Crows, Neil Young, Jeff Beck, Cat Stevens, Creedence Clearwater Revival, Jackson Browne, Bob Dylan, The Velvet Underground, Tim Buckley, Tim Hardin, Oasis, Mahavishnu Orchestra, Jean-Luc Ponty, Crosby Stills & Nash and Marianne Faithful.
Tim Buckley '09 is a television meteorologist covering all types of weather in North Carolina. Tim has covered snow, tornadoes, floods, and multiple hurricanes across the state, from Matthew to Florence to Sandy and Helene. He's received awards and recognition for his coverage, which includes being nominated for 10 regional EMMY awards. Tim is a 2009 graduate of the Penn State Department of Meteorology and Atmospheric Science. While in school, he was a member of the Penn State Blue Band. His passions include weather, communication, food and football. Connect with Tim on social media:FacebookXInstagramPlease note: This episode was previously recorded in December of 2024, before the departure of host Paul Clifford '20g from the Alumni Association.
For the first time in years, a major snowstorm could impact an extended portion of the Carolinas on Friday and Saturday. Starting on Friday and continuing into Saturday, snow, ice, sleet and rain are forecast for both North Carolina and South Carolina. For some places in the Carolinas, it could be the first significant snowfall in some time. This week on the Carolina Weather Group, our panel with the latest snow forecast and timing to help you understand what to expect. Our guests this week are Brad Panovich, chief meteorologist at WCNC Charlotte, and Tim Buckley, chief meteorologist at WFMY News 2. Plus the latest news headlines on the ongoing recovery from Helene in western North Carolina -- and a look at the wind-driven fires of southern California. #northcarolina #southcarolina #weather #ncwx #scwx #podcast
Send us a textA classic from the days of rock room radio we drop the needle on Tim Buckley's 1969 LP "Happy Sad." Drop in for an array of goofy talk, rare goods, and mind expanding Buckley cuts.Support the show
The Daily Memphian's Tim Buckley joins Greg and Eli to discuss the upcoming matchups for the Memphis Tigers basketball team and how they could shape their season. Also, Humdingers Trivia and more.
Welcome to Live From Progzilla Towers Edition 536. In this All Requests edition we heard music by Rosalie Cunningham, Adam Holzman, Camel, Adrian Belew, Midnight Oil, Black Dog Days, Go West, Brad Mehldau, Katy J Pearson, Band-Maid, Lux Terminus, Rupert Hine, Moon Safari, Brian Eno, The Mars Volta, Supermen Lovers, The Seahorses, Pilots Of The Daydreams, Poppy, Saviour Machine, Talk Talk, The Flower Kings, Tonto's Expanding Head Band, Wax Fang, Tim Buckley, Flying Colors, Carpenters & Weather Systems.
Tonight, the latest on the recovery in the Carolinas after Helene. Plus we explore the weather and the science that produced the predecessor rain event that helped create the disaster that Helene was. Our guests are Brad Panovich, Tim Buckley and Jason Boyer. For emergencies, dial 911. For local community resource assistance, call 211. To help with non-urgent storm cleanup, the Hurricane Helene Cleanup Hotline is available at 844-965-1386. The American Red Cross is also available to assist at 1-800-RED-CROSS (1-800-733-2767). If you would like to donate to help the people of the Carolinas as a Carolina Weather Group listener, you can donate to the American Red Cross using our special link: http://bit.ly/wxpodstelethon
Cuti Vericad abre su consulta para hablar de hijos que siguieron el ejemplo de sus padres en la música. Suenan Frank y Nancy Sinatra, Elvis y Lisa Marie Presley, Jeff y Tim Buckley o Johnny y Rosanne Cash, entre otros.
The Carolinas and the Southeast preparing for big impacts from Helene. Hurricane Helene is rapidly intensifying in the Gulf of Mexico and is forecast to make landfall along the big bend of Florida. From there, impacts from the storm will move quickly over Georgia and into both North Carolina and South Carolina. Excessive rain will cause flash flooding with the greatest risks across portions of the western North Carolina mountains, where the region is already being soaked by a predecessor rain event underway. With more than ten inches of rain possible, the risk of flash flooding in the mountains is extremely high. The risk of flooding extends across much of the Carolinas, where a couple of inches of rain is also possible. Even with Helene forecast to weaken to a tropical storm over Georgia and the Carolinas, gusty winds could still reach hurricane-force with some areas forecast to see 70 mph or greater wind gusts. This could easily topple trees and power lines. Power outages are anticipated with this storm. Plus an ongoing tornado threat caused by the tropical system will extend across much of both North Carolina and South Carolina, with coastal SC expected to see the greatest risk of tornadoes Thursday night. On this week's episode of the Carolina Weather Group podcast, meteorologists and experts from across the region to help you understand the localized impacts. We welcome WCNC's Brad Panovich, WFMY's Tim Buckley, WRDW's Riley Hale along with Duke Energy's Jeff Brooks. They join our panelists of James Brierton in Charlotte, Frank Strait in Columbia, Scotty Powell in Myrtle Beach, and Shea Gibson and Jared Smith both in Charleston.
Hunter & I had the distinct privilege of speaking with poet and songwriter Larry Beckett about his life, his art, his creative process, his relationship to Tim Buckley, the Beats, his poem turned song “Song to the Siren” (which was penned for Tim Buckley but has been covered by the likes of This Mortal Coil,... Read More
You may have heard that Underwood's primitive classic from 1988 entitled "California Sigh" was recently reissued by Drag City Records, but did you know that he played alongside the late and great Tim Buckley? Underwood was responsible for laying down those incredible guitar and piano parts on esteemed albums such as Buckley's self-titled debut, the monumental "Goodbye and Hello", "Starsailor" and countless others throughout their short, but transcendent career together. Underwood eventualy stepped away from music all together to write for prestigious publications as well as publishing books like "Inside Paul Horn" and the accalimed "Blue Monday: Tim Buckley Remembered".
You may have heard that Underwood's 1988 primitive classic, "California Sigh" was recently reissued by the great folks over at Drag City for the first time in over 30 years, but did you know that Underwood was also the lead guitarist for the legendary Tim Buckley throughout his short, but incredible influential career? He was responsible for those beautifully transcendent riffs and chord structures on albums such as Buckely's 1966 debut, the monumental "Goodbye and Hello", "Starsailor" and countless others. Eventually Underwood stepped away from recording music and the tiring industry all together to write for prestigious music publications as well as publish books like "Inside Paul Horn" and the acclaimed "Blue Monday: Tim Buckley Remembered". Hear his story through the cadence of this staticky conversation thats both cosmic and contagiously calming. Enjoy!
Employing controversial VAR technology, we re-examine various events on the rock and roll pitch and suggest a new perspective. Those key moments include … … the “bucolic frolic” at Knebworth 50 years ago as seen from 100 yards away just past the burger van and featuring Tim Buckley, Alex Harvey, the Mahavishnu Orchestra, Van Morrison, the Doobie Brothers and the Allman Brothers Band. And a stark naked Jesus. … when did the Age of Spectacle begin? … how Two-Way Family Favourites helped start Live Aid. … Waters v Gilmour, a feud way beyond candour and honesty. … the moment Van Morrison first became ‘Captain Letdown'. … memories of Wembley Stadium on July 13 1985 – Status Quo, U2, the non-appearance of Cat Stevens, the planned link with Ian Botham at Trent Bridge and swapping Tony Hancock lines with a man on Concorde. ... the three stages of rock and roll. … life before mobile phones. … The Revenant and Zone Of Interest, films that feel like the past without trying to make the past look cool. … “the older I get, the older I wanna get”. … Joni Mitchell and why we love an old curmudgeon. … and birthday guest Andrew Stocks wonders why some bands can't bury the hatchet.Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Employing controversial VAR technology, we re-examine various events on the rock and roll pitch and suggest a new perspective. Those key moments include … … the “bucolic frolic” at Knebworth 50 years ago as seen from 100 yards away just past the burger van and featuring Tim Buckley, Alex Harvey, the Mahavishnu Orchestra, Van Morrison, the Doobie Brothers and the Allman Brothers Band. And a stark naked Jesus. … when did the Age of Spectacle begin? … how Two-Way Family Favourites helped start Live Aid. … Waters v Gilmour, a feud way beyond candour and honesty. … the moment Van Morrison first became ‘Captain Letdown'. … memories of Wembley Stadium on July 13 1985 – Status Quo, U2, the non-appearance of Cat Stevens, the planned link with Ian Botham at Trent Bridge and swapping Tony Hancock lines with a man on Concorde. ... the three stages of rock and roll. … life before mobile phones. … The Revenant and Zone Of Interest, films that feel like the past without trying to make the past look cool. … “the older I get, the older I wanna get”. … Joni Mitchell and why we love an old curmudgeon. … and birthday guest Andrew Stocks wonders why some bands can't bury the hatchet.Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Employing controversial VAR technology, we re-examine various events on the rock and roll pitch and suggest a new perspective. Those key moments include … … the “bucolic frolic” at Knebworth 50 years ago as seen from 100 yards away just past the burger van and featuring Tim Buckley, Alex Harvey, the Mahavishnu Orchestra, Van Morrison, the Doobie Brothers and the Allman Brothers Band. And a stark naked Jesus. … when did the Age of Spectacle begin? … how Two-Way Family Favourites helped start Live Aid. … Waters v Gilmour, a feud way beyond candour and honesty. … the moment Van Morrison first became ‘Captain Letdown'. … memories of Wembley Stadium on July 13 1985 – Status Quo, U2, the non-appearance of Cat Stevens, the planned link with Ian Botham at Trent Bridge and swapping Tony Hancock lines with a man on Concorde. ... the three stages of rock and roll. … life before mobile phones. … The Revenant and Zone Of Interest, films that feel like the past without trying to make the past look cool. … “the older I get, the older I wanna get”. … Joni Mitchell and why we love an old curmudgeon. … and birthday guest Andrew Stocks wonders why some bands can't bury the hatchet.Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
After nearly a decade as a session guitarist, this visionary artist finally had his big break signing with Columbia and touring the world. A tragic accident cut his life short before his potential could even remotely be fully realized.Listen to the accompanying playlist for this episode on Spotify at https://open.spotify.com/playlist/3GU3SiDPr9pWmHQJN2kSOQ?si=33e4a639ba1c4401 .Support the Show.
We've long heard the arguments for how and why Australia should be a leader in renewable energy and decarbonisation, and finally, in the 2024 budget, we saw the Treasurer take decisive action, and chart a course for Australia to become a clean energy superpower. Of course we're not there yet, but on the show today I'm joined by Tim Buckley, an esteemed climate commentator who says the latest batch of government funding is a decent down-payment, on a clean-energy future for Australia. I'm excited to have Tim Buckley with us today, there's no-one better to help us decipher the climate outcomes from the latest budget. Tim is the founder and director of Clean Energy Finance, a think-tank that's laser-focussed on research and advocacy to accelerate the decarbonisation of the Australian economy. He's worked in finance for more than 30 years, and was previously the Australasian Director of the global Institute for Energy Economics and Financial Analysis. Early in his career he worked at Macquarie group in equity research, and since then he's been Head of Equity Research in Singapore at Deutsche Bank, and Managing Director, Head of Equity Research at Citigroup. You can find all the show notes and links on the website at www.Johntreadgold.com Plus, that's where you can sign up to my newsletter, your regular feed of impact investing and climate-finance news, as well as fresh startups and investment deals. Sign up, and follow along. Enjoy the show!
UC's new assistant basketball coach Tim Buckley is known best for recruiting an uncoveted talent named Dwayne Wade to Marquette. Buckley was on Tom Crean's staff for all nine seasons at Indiana and helped coach stars Victor Oladipo, Cody Zeller and Yogi Ferrell.
Last week the Australian Federal Budget 2024-25 was handed down, coinciding with Sydney's inaugural Climate Action Week.In this episode of The Greener Way, we hear from Tim Buckley, founder and director of Climate Energy Finance, a public interest pro bono think tank that produces research and analysis on accelerating the global energy transition.With more than three decades of financial market experience, Tim is a highly influential commentator on decarbonisation and sustainable finance.Does the 2024-25 Budget pave a greener way for Australia's clean energy future? What does a realistic road to net zero looks like? What are the key takeaways from Sydney's first ever Climate Week?Join senior journalist and host Rose Mary Petrass to unpack these questions and more.
Fruitful Radio Show with Nick Carling with new music from ... Another Taste, Jim, Luke Una, Mr Bongo, Z Records, Jimi Tenor, Tugboat plus some fine vintage music from Tim Buckley, Robert Owens, Genius Of Time, Culture, Bill and a whole lot more! Across the board Fruitful goodness - believe! For more info and tracklisting, visit: https://thefaceradio.com/fruitful-radio/Tune into new broadcasts of Fruitful Radio, LIVE, every 2nd Friday from 5 - 7 AM EST / 10 AM - Noon GMT, in association with 1BTN Brighton.//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.
EPISODE 111: Larry Beckett's poetry has been published in Zyzzyva, Field, Salamander, the anthology Portland Lightsfrom Nine Lights Press, and his first book, Songs and Sonnets from Rainy Day Women Press, was favorably reviewed in the San Francisco Chronicle. Beat Poetry, a study of the San Francisco renaissance, was put out by Beatdom Books. Three book-length poems have been published, Paul Bunyan, by Smokestack Books, Wyatt Earp, by Alternating Current Press, and Amelia Earhart, by Finishing Line Press, with strong reviews in Zyzzyva. These texts were collected, with seven others, as an epic, American Cycle, published by Running Wild Press. The Book of Merlin, a translation, is out from Livingston Press, and Song to the Siren is forthcoming from Halbaffe Press. His work has been commended by Jonah Raskin, Jack Hirschman, David Meltzer, Tom Clark, Ann Charters, Paul Wilner, David Young, and U.S. Poet Laureates William Meredith, W. S. Merwin and Charles Wright. larrybeckett.comContact us: makingsoundpodcast.comFollow on Instagram: @makingsoundpodcastFollow on Threads: @jannkloseJoin our Facebook GroupPlease support the show with a donation, thank you for listening!
Best. Covers. Ever. Wildcard EpisodeWhat're your favorite cover songs!? A great man once sang "It's like he's tracing Picasso and calling it art." On this wildcard episode, we each rank and celebrate the five greatest and single worst covers ever recorded, talk about the fascinatin' history of covers vs standards and reunite legendary trombone-fronted NYC band Cover Me Badd as guest rankers! Listen at WeWillRankYouPod.com, Apple, Spotify and your favorite Xerox store. Follow us and weigh in with your favorites on Facebook, Instagram & Threads and Twitter @wewillrankyoupod . SPOILERS/FILE UNDER:AC/DC, Air Supply, Argent, the Bangles, Barenaked Ladies, Bauhaus, Beastie Boys, the Beatles, Berlin, David Bowie, Jeff Buckley, Tim Buckley, Kate Bush, Johnny Cash, Centromatic, Joe Cocker, Leonard Cohen, Elvis Costello, Cover Me Badd, cover songs, covers, Coverville, Devo, Dream Academy, Bob Dylan, Electric Light Orchestra, Food For Feet, Funland, the Futureheads, the Guess Who, Guns n Roses, Robert Hazard, the Hollies, Wanda Jackson, Jellyfish, Mark Kozelek, Langley Schools Music Project, Cyndi Lauper, Led Zeppelin, Lucius, Madness, Paul McCartney, Joni Mitchell, the Posies, the Rolling Stones, Linda Ronstadt, Screaming Females, Simon & Garfunkel, Jessica Simpson, the Smiths, Star Spangled Banner, Taylor Swift, T Pain, THAT'S A COVER?!, This Mortal Coil, trombone, Lara Trump, Wall of Voodoo, Jack White, Will To Power, Wings, Stevie Wonder US: http://www.WeWillRankYouPod.com ::: wewillrankyoupod@gmail.com :::http://www.facebook.com/WeWillRankYouPod ::: http://www.instagram.com/WeWillRankYouPod :::https://www.threads.net/@WeWillRankYouPod ::: http://www.twitter.com/WeWillRankYouPo ::: http://www.YourOlderBrother.com (Sam's music page) ::: http://www.YerDoinGreat.com (Adam's music page) ::: https://open.spotify.com/user/dancecarbuzz (Dan's playlists)
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.
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