American singer, guitarist, and actor
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6 episodes with Trini Lopez
5 episodes with Trini Lopez
6 episodes with Trini Lopez
8 episodes with Trini Lopez
6 episodes with Trini Lopez
3 episodes with Trini Lopez
5 episodes with Trini Lopez
2 episodes with Trini Lopez
2 episodes with Trini Lopez
On the May 15 edition of the Music History Today podcast, a legendary group signs a record deal, a legendary group lineup debuts, and a legendary record makes its mark. Also, happy birthday to Trini Lopez and Brian Eno.For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts fromALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday
La Minute Crooner Attitude, le billet d'humeur de Jean-Baptiste Tuzet, tous les jours de la semaine, 9 h 15 et 19 h 15 sur Crooner RadioHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.
This week the motley crew that is Will, Ian & Nora will assemble to take on a suicide mission. If they complete it, they're free! Never to have to podcast again. If they fail, you're stuck with them for years to come. They'll Take on- THE DIRTY DOZEN (1967) (approved) 150 minutes Directed by: Robert Auldrich. Starring: Lee Marvin, Charles Bronsan, Telly Savales, Donald Sutherland, Ernest Borgnine, Jim Brown, John Cassavetes, Richard Jaeckel, George Kennedy, Trini Lopez, Clint Walker, Ralph Meeker, Robert Ryan, Robert Webber, Tom Busby, Ben Carruthers, Stuart Cooper and Many Other Talented People! 00:02:00- First Thoughts 00:06:30- Ian's Bit 00:17:00- The Dirty Dozen (1967) 00:20:30- Tasty Morsels 00:27:00- Rating/Review 01:03:00- Totals 01:03:45- Next Week/Bye Patreon: patreon.com/THELastActionCritics Instagram: @TheLastActionCritics email: Thelastactioncritics@gmail.com Next Week: The Substance (Available on Mubi)
Remontez le temps jusqu'en 1964 et revivez l'arrivée fracassante des Beatles sur la scène mythique de l'Olympia à Paris ! Dans cet épisode des 'Enfants d'Europe 1', plongez-vous dans les coulisses de cette soirée historique qui a marqué à jamais l'histoire de la radio et de la musique.Laissez-vous emporter par l'ambiance électrique qui régnait à l'extérieur de l'Olympia, alors que des milliers de fans en délire attendaient impatiemment l'arrivée des quatre garçons de Liverpool. Découvrez les témoignages émus de ces admirateurs, dont la ferveur n'a d'égale que leur fascination pour ce nouveau phénomène musical.Une fois à l'intérieur, revivez les moments-clés de cette soirée exceptionnelle : l'ouverture de la soirée par le chanteur Trini Lopez, suivie de la prestation de Sylvie Vartan, avant que les Beatles ne fassent leur entrée sur scène, sous les acclamations d'un public en transe. Écoutez les commentaires enthousiastes des journalistes d'Europe 1, qui retransmettent en direct cette performance unique.Vous aurez également l'occasion d'entendre les confidences de Paul McCartney lui-même, qui partage ses influences musicales et son processus de création. Et cerise sur le gâteau, vous pourrez écouter les Beatles improviser un jingle pour l'émission 'Salut les copains', un moment inoubliable qui n'a malheureusement pas été retenu.Notre équipe a utilisé un outil d'Intelligence artificielle via les technologies d'Audiomeans© pour accompagner la création de ce contenu écrit.
We've got a small-town Alabama group's rare version of Mr. Pitiful for you this week, plus R&B, northern soul, and more from Bobby McClure, Jackie Shane, The Traits, Trini Lopez, a Billy Joe Royal favorite, some British Psych from the Spencer Davis Group, and The Coasters' early 1970s take on Love Potion Number Nine.For more info and tracklisting, visit: https://thefaceradio.com/that-driving-beat/Tune into new broadcasts of That Driving Beat, Tuesdays from 8- 10 PM EST / 1 - 3 AM GMT//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.
We've got a small-town Alabama group's rare version of Mr. Pitiful for you today, plus R&B, northern soul, and more from Bobby McClure, Jackie Shane, The Traits, Trini Lopez, a Billy Joe Royal favorite, some British Psych from the Spencer Davis Group, and The Coasters' early 1970s take on Love Potion Number Nine. -Originally broadcast November 24, 2024- Willie Mitchell / That Driving BeatJunior Wells / You're Tuff EnoughThe Jagged Edge / Baby You Don't KnowJeanette Williams / All Of A SuddenThe Goodees / Condition RedThe Seeds / Can't Seem To Make You MineThe Fabulous Shades / Mr. PitifulPips / Room In Your HeartThe Sharpees / Do the 45"Big Jay McNeely & Band / ...Back ...Shack ...TrackBenny Spellman / Fortune TellerMary Wells / My GuyEvelyn Legrand / I Got CaughtTrini Lopez / What Have I Got of My OwnElvis Presley / Rubberneckin'Tension / It's a FactJohnny Jones & The King Casuals / Purple HazeCopper & Brass / Does Anybody Know What Time It IsPaul Anka / My Baby's Comin' HomeDee Clark / Cross Fire TimeBobby McClure / The Peak Of LoveThe Blue Notes / Hot Chills And Cold ThrillsCoasters / Love Potion Number NineRoger James Four / Leave Me AloneThe Furys / Never MoreJackie Shane / In My TenementSteve Alaimo / Every Day I Have To CryOscar Toney Jr. / You Can Lead Your Woman to the AltarBilly Joe Royal / Heart's DesireThe Persuaders / You Must Have Put Something In Your LoveTom Storm and the Peps / That's The Way Love IsThe Pirates / Mind Over Matter (I'm Gonna Make You Mine)The Traits / Harlem ShuffleThe Runarounds / You're A DragThe Avengers / Crying All AloneThe Spencer Davis Group / Time SellerHuman Beinz / This Little Girl of MineJr. Walker & The All Stars / Brain WasherBobby Fuller Four / The Magic Touch Hosted on Acast. See acast.com/privacy for more information.
Programa 275. 2 horas para escuchar música variada y apartados locos, pero sensatos… creemos. ADIVINA LA película Trini Lopez. LA BAMBA SAN TORAL Manuel Ausensi. EL SEMBRADOR de La Rosa del Azafrán Django Reinhardt – MINOR SWING CELEBRACIONES Rolando Villazón. EL ÚLTIMO ROMÁNTICO, romanza EFEMÉRIDES Eddie Cochran. C’MON EVERYBODY Tcham-Tchou Vidal – LES YEUX […] The post Los Tres Tenores 09/10/2024 first appeared on Ripollet Ràdio.
Nos sentimos obligados a hacer una segunda parte dedicada a las canciones que alcanzaron su puesto más alto en listas en julio de 1964. Una selección vinculada plenamente a artistas estadounidenses con mucho peso del soul, estilo que cada vez cobra más importancia, con especial atención a esa factoría de hits que era la disquera Motown de Detroit.(Foto del podcast; The Temptations con Smokey Robinson y el fundador de Motown, Berry Gordy)Playlist;(sintonía) HENRY MANCINI and HIS ORCHESTRA “A shot in the dark” (Top 97)THE IMPRESSIONS “Keep on pushing” (Top 10)SAM COOKE “Good times” (Top 11)SAM COOKE “Tennessee waltz” (Top 35)JAMES BROWN “The things that I used to do” (Top 99)ELVIS PRESLEY “Viva Las Vegas” (Top 92)TRINI LOPEZ “What have I got on my own” (Top 43)THE TEMPTATIONS “I’ll be in trouble” (Top 33)STEVIE WONDER “Hey Harmonica man” (Top 29)MARVIN GAYE “Try it baby” (Top 15)MARVIN GAYE and MARY WELLS “What’s the matter with you baby” (Top 17)EDDIE HOLLAND “Just ain’t enough love” (Top 54)MAJOR LANCE “It ain’t no use” (Top 68)MAJOR LANCE “Girls” (Top 68)CHUBBY CHECKER “Lazy Elsie Molly” (Top 40)ROUND ROBIN “Kick That Little Foot Sally" (Top 61)THE EVERLY BROTHERS “The Ferris Wheel” (Top 72)GLORIA LYNNE “Don't Take Your Love from Me” (Top 74)Escuchar audio
TRINI LOPEZ (May 15, 1937 – August 11, 2020) ‘THE LOST INTERVIEWS' WITH RAY SHASHO EPISODE 12 Interviewed November 28th 2014 Trini Lopez is an international music legend best known for recording classic covers and converting them into danceable songs by adding his own special spin and flavor. Lopez not only makes those notable tunes danceable, but he usually outsells all other artists who have also covered those songs including the recordings by the original songwriters. Born in Dallas, Texas, his Father Trinidad Lopez II was a singer, dancer, actor, and musician in Mexico. Trini's parents moved to Dallas when his dad was eighteen seeking a better life. Trini learned to play guitar from his father and played for money on street corners. He eventually began performing in clubs around the affluent parts of Dallas. Lopez even performed at a club owned by the notorious Jack Ruby. A true rock and roll visionary … Lopez uncannily wrote and recorded a song called “The Right to Rock” released on a small label called Volk Records in 1958. After hearing the single, King Records offered Trini a three-year contract. The only chart hit for Lopez on the King Records label was a Skyliners cover called “Since I Don't Have You,” Trini's rendition reached #10 on the Cashbox and Billboard charts. After one of Trini's performances Lopez met with another Texan, rock and roll pioneer Buddy Holly. Holly tried to help Trini by inviting him to meet with his record producer in Clovis, New Mexico. Lopez became great friends with Buddy Holly and The Crickets. Holly was killed in a plane crash along with Richie Valens and The Big Bopper on February 3rd 1959. Several months after the crash, Lopez received a phone call to come out to Hollywood, California to become the new lead singer of The Crickets. The Crickets plans never materialized and Lopez took a job at the Ye Little Club in Beverly Hills. The one-year run led to a historic engagement at the famous PJ'S nightclub. It was at PJ'S where Lopez landed his big break. Frank Sinatra took notice of Trini's one-man act and had Don Costaoffer him an eight-year recording contract on Sinatra's label Reprise Records. Trini's first two albums were recorded live at PJ'S and successfully launched an incredible music and acting career for the impending international superstar. Trini's most recognizable Hit Singles … “If I Had a Hammer” (#3 Billboard U.S. Hit-1963 -Reached #1 in 36 countries), “I'm Coming Home Cindy” (#39 Billboard Hit-1966), “Michael, (#42 Billboard Hit-1964), “Lemon Tree” (#20 Billboard Hit-1965) “Kansas City” (#23 Billboard Hit-1963), “America,” “La Bamba”(1966) “Gonna Get Along With Out Ya' Now” (1967), and The Bramble Bush (1967) to name just a few. (Trini's music was also spotlighted on various soundtracks including... Apollo 13, Born on the Fourth of July and numerous others). Trini Lopez acting career … Marriage on the Rocks (1965), The Dirty Dozen (1967), The Phynx (1970), The Reluctant Heroes (TV Movie -1971), Adam-12 (TV Series 1971-1972), Antonio (1973), The Mystery of the Silent Scream (1977), The Hardy Boys/Nancy Drew Mysteries (TV Series 1977). Trini Lopez incredible string of TV appearances … The Greatest Ever War Films (TV Movie documentary) 2014, Trini Lopez Presents Latin Music Legends (TV Movie) 2009, American High School (Video) 2009, Armed and Deadly: The Making of 'The Dirty Dozen' (Video documentary short) 2006, The Best of Music Flashback Television Shows: Featuring Music Scene and Hullabaloo (Video documentary short) 2001, Refrescante 95 (TV Series) 1995, Prima Donnas 1995, Querida Concha (TV Series) 1993, ,Musikladen (TV Series) 1981, A Gift of Music (TV Movie) 1981, Sha Na Na (TV Series) 1978, 1971-1976 The Mike Douglas Show (TV Series), 1976 Celebration: The American Spirit (TV Movie), 1975 Rock on with 45 (TV Series), 1970-1974 The Merv Griffin Show (TV Series), Caesar's Palace Week from Las Vegas (1974), 1972-1974 Stand Up and Cheer (TV Series) 1965-1973 The Tonight Show Starring Johnny Carson (TV Series), 1971-1972 The David Frost Show (TV Series),1970 The Dick Cavett Show (TV Series), 1970 Playboy After Dark (TV Series), 1968-1970 The Carol Burnett Show (TV Series),1967-1969 The Joey Bishop Show (TV Series),1968 The Song Is You (TV Movie), 1967 Operation Dirty Dozen (Short documentary),1967 Spotlight (TV Series),1967 The London Palladium Show (TV Series),1967 The Dean Martin Show (TV Series),1966-1967 The Andy Williams Show (TV Series),1967 Gypsy (TV Series),1966The Jack Benny Hour (TV Movie),1966 Hippodrome (TV Series) Host 1966 Danger Grows Wild, 1966 The Sammy Davis, Jr. Show (TV Series),1965-1966 Hullabaloo (TV Series) (Host), 1965 Marriage on the Rocks, 1965 What's My Line? (TV Series) - Mystery Guest, 1964-1965 The Ed Sullivan Show (TV Series), 1964-1965 The Hollywood Palace (TV Series), 1964 The Bob Hope Show (TV Series),1964 The Bob Hope Thanksgiving Special (TV Special), 1963 Celebrity Party (TV Movie) The Gibson guitar company asked Trini Lopez to design a guitar for them in 1964. The Trini Lopez Standard, a rock and roll model based on the Gibson ES-335 semi-hollow body, and the Lopez Deluxe, a variation of a Gibson jazz guitar designed by Barney Kessel. Both were in production from 1964 until 1971 and are highly sought out collector items. Some owners of the guitar include Dave Grohl of Foo Fighters and Noel Gallagher of Oasis. Trini's last few albums … (2008) ‘Ramblin' Man' and (2011) ‘Into the Future' have been critically acclaimed. ‘Into the Future' was Trini's 65th celebrated album of his illustrious musical career. Here's my latest interview with the legendary singer, musician, songwriter, actor, and one of the most exciting and recognized entertainers worldwide …TRINI LOPEZ Support us on PayPal!
This Memorial Day we hold those that sacrificed their lives for this country - the ultimate sacrifice not only an individual can make, but also how it destroys families. There is no bigger horror than parents losing a child, in the military it's an honor. We have tunes for the cook-out as well, funk, soul, reggae, cumbia - get those Beyond brats a sizzlin! Music; Funkadelic, Kim Wilde, Mexican Institute Of Sound, Trini Lopez, Bruce Springsteen, Sharon Jones & The Dapkings, Public Enemy and loads more!For more info and tracklisting, visit: https://thefaceradio.com/worldy/Tune into new broadcasts of Worldy with Matt and Dom, LIVE, Mondays from 10 AM - 12 Noon EST / 3- 5 PM GMT.//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.
731. It's a rockin' jungle out there... when you tune in to DJ Del Villarreal and his Wednesday nite "Go Kat, GO!" radio show! A special episode where we get to say "Happy Birthday!" to two important roots-rock legends; we're sending out warm, post-humous birthday greetings to the country music pioneer Eddy Arnold (108 years old!) and Latino-Chicano rocker Trini Lopez (87 years old!) in today's episode: enjoy deep cuts from both superstars throughout tonight's program! Super exclusive LIVE interview with the King Of Americana, Charles Phoenix! Taking time from his busy schedule to chat with us about his upcoming RETRO TIKI SLIDE SHOW which will be streaming LIVE this Saturday, May 18th (go to www.CharlesPhoenix.com for tickets & info!). We'll talk vintage cars, thrift store treasures & all things Midcentury Modern in an informative, frank and fun discussion and then we get primitive with an exotic Tiki-Billy ™ set to make the mood! Taking a turn towards to the recent rockin' era, we also celebrate the wild music & life of late Canadian country-rockin' hillbilly, Ray Condo, who would be celebrating his 74th birthday on Thursday. Hear choice cuts from Ray's crazy catalog including his Hard Rock Goners and Ricochets recordings! WORLDWIDE DEBUT of the instantly incendiary Ichi-Bon's "Leopard Skin" Rollin' Records single - a scorching strollin' CLASSIC plus the latest from Marcel Bontempi, The Soapbox Saints, Hillbilly Moon Explosion, Chris Casello, Low Life Drifters, the Messer Chups & MORE! Over 4 hours of the GREATEST rockin' sounds to thrill greasy ears from here to the California coast and beyond! DJ Del's "Go Kat, GO! The Rock-A-Billy Show!" -good to the last bop!™Please follow on FaceBook, Instagram & Twitter!
On the May 15 edition of the Music History Today podcast, a legendary group signs a record deal, a legendary group lineup debuts, and a legendary record makes its mark. Also, happy birthday to Trini Lopez and Brian Eno. 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 --- Send in a voice message: https://podcasters.spotify.com/pod/show/musichistorytodaypodcast/message Support this podcast: https://podcasters.spotify.com/pod/show/musichistorytodaypodcast/support
Trini Lopez is Dood maar niet vergeten. COVID-19 werd de zanger op 11 augustus 2020 fataal. Hij was toen 83 jaar oud. Anders zou hij op 15 mei 2024 87 zijn geworden. Trini Lopez is…Continue Reading "IM: Trini Lopez (If I had a hammer)"
Les Black Crowes dévoilent le clip de "Wanting And Waiting", animations graphiques, des flammes et du rock'n'roll, extrait de l'album ‘'Happiness Bastards'', qui sortira le 15 mars. Slash se met au blues, les premiers détails du prochain album du guitariste de Gun's and Roses le guitariste s'expliqué sur les réseaux sociaux. Nick Cave and the Bad Seeds annoncent leur 19ème album studio et la sortie du single " Wild God " enregistré entre Londres et le studio Miraval en Provence. Jay Weinberg, ex-batteur de Slipknot, rejoint un nouveau groupe , il officiera dorénavant au sein du groupe de metal : Suicidal Tendencies. Dave Grohl des Foo Fighters et Epiphone dévoilent une guitare signature DG-335, disponible en finition Pelham Blue, qui combine le corps de la fidèle ES, le manche acajou, une touche en laurier, incrustations en diamant divisé, et une tête de style Trini Lopez avec des accordeurs Grover Mini Rotomatic. Deux comédiens de ‘'Dune part two'' : Thimothee Chalamet et Austin Butler, dans une interview au magazine NME, ont évoqué le biopic dédié à Bob Dylan dans lequel Thimothee aura le 1er rôle. Mots-Clés : leader, Chris Robinson, tournée, Amérique, Nord, au Royaume-Uni, Europe, belge, Ancienne Belgique, guitare, enfant, enregistrer, disque, big fucking smile, inspiration, punk, metal, hardcore, Willy Wonka, Elvis, biopic, Baz Lurhmann, comédien, Radiohead, fan, Beatles, casting. --- Classic 21 vous informe des dernières actualités du rock, en Belgique et partout ailleurs. Le Journal du Rock, chaque jour à 7h30 et 18h30. Merci pour votre écoute Pour écouter Classic 21 à tout moment : www.rtbf.be/classic21 Retrouvez tous les contenus de la RTBF sur notre plateforme Auvio.be Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.
Les Black Crowes dévoilent le clip de "Wanting And Waiting", animations graphiques, des flammes et du rock'n'roll, extrait de l'album ‘'Happiness Bastards'', qui sortira le 15 mars. Slash se met au blues, les premiers détails du prochain album du guitariste de Gun's and Roses le guitariste s'expliqué sur les réseaux sociaux. Nick Cave and the Bad Seeds annoncent leur 19ème album studio et la sortie du single " Wild God " enregistré entre Londres et le studio Miraval en Provence. Jay Weinberg, ex-batteur de Slipknot, rejoint un nouveau groupe , il officiera dorénavant au sein du groupe de metal : Suicidal Tendencies. Dave Grohl des Foo Fighters et Epiphone dévoilent une guitare signature DG-335, disponible en finition Pelham Blue, qui combine le corps de la fidèle ES, le manche acajou, une touche en laurier, incrustations en diamant divisé, et une tête de style Trini Lopez avec des accordeurs Grover Mini Rotomatic. Deux comédiens de ‘'Dune part two'' : Thimothee Chalamet et Austin Butler, dans une interview au magazine NME, ont évoqué le biopic dédié à Bob Dylan dans lequel Thimothee aura le 1er rôle. Mots-Clés : leader, Chris Robinson, tournée, Amérique, Nord, au Royaume-Uni, Europe, belge, Ancienne Belgique, guitare, enfant, enregistrer, disque, big fucking smile, inspiration, punk, metal, hardcore, Willy Wonka, Elvis, biopic, Baz Lurhmann, comédien, Radiohead, fan, Beatles, casting. --- Classic 21 vous informe des dernières actualités du rock, en Belgique et partout ailleurs. Le Journal du Rock, chaque jour à 7h30 et 18h30. Merci pour votre écoute Pour écouter Classic 21 à tout moment : www.rtbf.be/classic21 Retrouvez tous les contenus de la RTBF sur notre plateforme Auvio.be Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.
Trinidad Lopez III was an American singer, Guitarist and actor in the Golden Days of Radio.
Nuevo capítulo de esta colección en donde recordamos canciones que alcanzaron su máximo puesto en listas estadounidenses hace exactamente 60 años. Todo lo que escuches estaba entre lo más vendido de enero de 1964, lo que nos permite ver la variedad de estilos que compartían espacio en la música popular de aquellos días. Playlist;(sintonía) DUANE EDDY “The son of rebel rouser” (top 97)BOBBY VINTON “There! I've said it again” (top 1)THE MURMAIDS “Popsicles and icicles” (top 3)NINO TEMPO and APRIL STEVENS “Whispering” (top 1)BETTY EVERETT “You’re no good” (top 51)THE EXCITERS “Do-Wah-Diddy” (top 78)THE RAINDROPS “That boy John” (top 64)THE ORLONS “Bon doo wah” (top 55)MARTHA and THE VANDELLAS “Quicksand” (top 8)THE SUPREMES “When the lovelight starts shining through his eyes” (top 23)THE MIRACLES “I’ve gotta dance to keep from crying” (top 35)JAN AND DEAN “Drag City” (top 10)THE TRASHMEN “Surfin’ bird” (top 4)SHIRLEY ELLIS “The Nitty Gritty” (top 8)TRINI LOPEZ “Kansas City” (top 10)FATS DOMINO “Who cares” (top 63)BARBARA LEWIS “Snap your fingers” (top 71)BRENDA LEE “As usual” (top 12)RAY CHARLES “That lucky old Sun” (top 20)Escuchar audio
Peter Seeger (May 3, 1919 – January 27, 2014) was an American folk singer and social activist. A fixture on nationwide radio in the 1940s, Seeger also had a string of hit records during the early 1950s as a member of the Weavers, notably their recording of Lead Belly's "Goodnight, Irene," which topped the charts for 13 weeks in 1950. Members of the Weavers were blacklisted during the McCarthy Era. In the 1960s, Seeger re-emerged on the public scene as a prominent singer of protest music in support of international disarmament, civil rights, counterculture, workers' rights, and environmental causes. A prolific songwriter, his best-known songs include "Where Have All the Flowers Gone?" (with additional lyrics by Joe Hickerson), "If I Had a Hammer (The Hammer Song)" (with Lee Hays of the Weavers), "Kisses Sweeter Than Wine" (also with Hays), and "Turn! Turn! Turn! (To Everything There Is a Season)", which have been recorded by many artists both in and outside the folk revival movement. "Flowers" was a hit recording for the Kingston Trio (1962); Marlene Dietrich, who recorded it in English, German and French (1962); and Johnny Rivers (1965). "If I Had a Hammer" was a hit for Peter, Paul and Mary (1962) and Trini Lopez (1963) while the Byrds had a number one hit with "Turn! Turn! Turn!" in 1965. Seeger was one of the folk singers responsible for popularizing the spiritual "We Shall Overcome" (also recorded by Joan Baez and many other singer-activists), which became the acknowledged anthem of the civil rights movement, soon after folk singer and activist Guy Carawan introduced it at the founding meeting of the Student Nonviolent Coordinating Committee (SNCC) in 1960. In the PBS American Masters episode "Pete Seeger: The Power of Song", Seeger said it was he who changed the lyric from the traditional "We will overcome" to the more singable "We shall overcome". PICTURE: By Fred Palumbo, World Telegram staff photographer - This image is available from the United States Library of Congress's Prints and Photographs divisionunder the digital ID cph.3c16961.This tag does not indicate the copyright status of the attached work. A normal copyright tag is still required. See Commons:Licensing., Public Domain, https://commons.wikimedia.org/w/index.php?curid=1273954
Cuarta entrega dedicada a picotear en la colección “The Mod Jazz Series” (Ace Records).(Foto del podcast; Johnny Griffin)Playlist;(sintonía) FREDDIE McCOY “Collard greens”KING CURTIS “Memphis soul stew”MEL TORME “Right now”RAY CHARLES “Heartbreaker”JOHNNY GRIFFIN and MATTHEW GEE and THE SOUL GROOVERS “Twist City”KAREN HERNANDEZ “I heard it through the grapevine”BILLY STEWART “Secret love”TRINI LOPEZ “Unchain my heart”ANDY WILLIAMS “House of bamboo”GOOGIE RENÉ and ORCHESTRA “Caesar’s pad”TAMIKO JONES and HERBIE MANN “The sidewinder”JEAN DUSHON “Feeling good”EDDIE JEFFERSON “Psychedelic Sally”FRANK FROST “My back scratcher”LES MCCANN “Burnin’ coal”MOSE ALLISON “Wild man on the loose”DAVE PIKE “Jet set”LEE JONES and THE UNFORGOTTEN TWO “I got to see my baby (part 2)”JACKIE IVORY “Do it to death”Escuchar audio
A fast moving hour of bubblegum sweetness! A dramatic reading of Danny Partridge and his escape from kidnappers! We've heard of Herb Alpert, but who's Dore Alpert? What bubblegum band was the first member of the Louisiana Music Hall of Fame? Ellen Greenwich as a solo artist! A couple of commercials sung by The Cyrkle! And a whole bunch more bubblegum pop by The Ohio Express, The Partridge Family, The McCoys, Trini Lopez, Bobby Sherman, Rodney Allen Rippy, The Jackpots, The Jalopy Five, The 1970 English World Cup Team, Dana Countryman, Cyan, John Fred and his Playboy Band, The Garden Gnomes, and The Cattanooga Cats!
A fast moving hour of tasty bubblegum sweetness! Ellen Greenwich sings her own songs! Will Danny Partridge survive a kidnapping? We've heard of Herb Alpert, but who's this Dore Alpert? A double bubble of commercials from The Cyrkle! Adorable Rodney Allen Rippy! A whole bunch of bubblegum pop from Bobby Sherman, Trini Lopez, The Partridge Family, The McCoys, The Ohio Express, Dana Countryman, The Cattanooga Cats, John Fred and His Playboy Band, Cyan, The Garden Gnomes, The Jackpots, The Jalopy Five, and The 1970 English World Cup Team!
Arrancamos una serie de programas mensuales en donde iremos recordando algunas de las canciones más exitosas de las listas del Billboard Hot 100 estadounidense de hace 60 años. Comenzamos en septiembre de 1963, cuando en las listas de éxitos confluían canciones de girl groups, soul, doo wop, surf, novelty o rocknrollPlaylist;(sintonía) LITTLE STEVIE WONDER “Fingertips pt 2”THE ANGELS “My boyfriend’s back”THE JAYNETTS “Sally goes round the roses”MARTHA and THE VANDELLAS “(Love is like a) Heatwave”THE CRYSTALS “Then he kissed me”TRINI LOPEZ “If I had a hammer”INEZ FOXX with CHARLIE FOXX “Mockingbird”MAJOR LANCE “The monkey time”THE SURFARIS “Wipe out”THE BEACH BOYS “Surfer girl”RANDY and THE RAINBOWS “Denise”DION “Donna the prima donna”THE MIRACLES “Mickey’s monkey”SAM COOKE “Frankie and Johnny”WILSON PICKETT “It’s too late”RAY CHARLES “Busted”ALLAN SHERMAN “Hello Muddah, Hello Faddah! (A letter from camp)”KAI WINDING “More” Escuchar audio
July of 1963 in the United States. Still no sign of the British invasion, but an interesting selection of songs ranging from terrible to all-time classics. Danke Schoen, Trini Lopez, Joey Dee and a Surfin Hootenanny!
Jesus loves Cover Me more than you would know. Jilly absolutely hates us though. We're talking The Graduate classic, "Mrs. Robinson" by Simon & Garfunkel! Covers by: Ray Connie, Frank Sinatra, Trini Lopez & Nancy Ames, Billy Paul, Sylvia Vrethammar, The Lemonheads, Las seventies Tidal playlist here
"Feed the French. Kill the Germans" The Dirty Dozen (1967) directed by Robert Aldrich and starring Lee Marvin, Charles Bronson, Jim Brown, Ernest Borgnine, John Cassavetes, Telly Savalas, Trini Lopez, Donald Sutherland and Clint Walker. Next Time: Tommy (1975)
On the May 15 edition of the Music History Today podcast, a legendary group signs a record deal, a legendary group lineup debuts, and a legendary record makes its mark. Also, happy birthday to Trini Lopez and Brian Eno. ALL MY MUSIC HISTORY TODAY PODCAST LINKS - https://allmylinks.com/musichistorytoday CHECK OUT MY OTHER PODCAST, THE MUSIC HALLS OF FAME PODCAST: LINKS - https://allmylinks.com/musichallsoffamepodcast Spotify link to THE MUSIC HALLS OF FAME PODCAST - https://podcasters.spotify.com/pod/show/musichallsoffamepodcast --- Send in a voice message: https://podcasters.spotify.com/pod/show/musichistorytodaypodcast/message Support this podcast: https://podcasters.spotify.com/pod/show/musichistorytodaypodcast/support
ALGUNAS DE LAS MEJORES BANDAS: POLICE, BEATLES, MEAT LOAF, YES, BEACH BOYS, MONKEES, SPENCER DAVIS, MITCH RYDER,... ALGUNOS DE LOS MEJORES INTERPRETES: BEYONCE, ROD STEWARD, STEVIE WONDER, ELVIS PRESLEY, DIANA ROSS& SUPREMES, DIONNE WARWICK, PETER CETERA, ELTON JOHN, BARRY WHITE, BILLY JOEL, McCARTNEY, MICHAEL JACKSON, TAYLOR SWIFT, BOBBY VINTON, AZNAVOUR, TRINI LOPEZ,... ALGUNOS DE NUESTRO MEJORES INTERPRETES: MARIA TERESA CHACIN, ROBERTO CARLOS, HUGO BLANCO, TITO RODRIGUEZ, ENRIQUE IGLESIAS, DAIQUIRI, GRAN COMBO, LUIS MIGUEL, ENRIQUE GUZMAN, INDIOS TABAJARAS, RITA PAVONE, GLORIA ESTEFAN,... ALGUNOS DE NUESTRO MEJORES RECUERDOS: "ANGELES DE CHARLIE", "RAICES", "INFIERNO EN LA TORRE", "OO7", ... --- Support this podcast: https://anchor.fm/genteenambiente/support
182. For the BEST in both modern & vintage rockin' sounds, it's gotta be DJ Del Villarreal's "Go Kat, GO!" Happy to unwrap the latest waxing from France's The Nite Howlers -dig the fantstic new single "Corona Bop" infecting ears & filling dance floors around the world! We're also importing the hot new Marco DiMaggio All-Star Band collaboration, chock full of amazing recordings with some of the best musicians from round the globe! You'll also be able to hear fabulous recent rockers from Relax Trio, Little Dave & The Sun Session, Son Demon & His Holy Boys, The Rockats, Kyle Eldridge, The Bullets, Lucky Jones, Bloodshot Bill & even Dominic Halpin! Sing along to incredible past recordings from Sammy Masters, Brenda Lee, Bonnie Guitar, Glenn Barber, Wanda Jackson, Trini Lopez, Hayden Thompson and The Everly Brothers, too! Get yourself some good rockin' tonight with "Go Kat, GO! The Rock-A-Billy Show!" -good to the last BOP!™
Nueva selección de éxitos mayores o menores de la primera mitad de los años 60, picoteando entre todos los estilos que dieron forma a la música popular de aquellos maravillosos años. Playlist; (sintonía) THE VENTURES “Telstar” JOHN LEYTON “Johnny remember me” PAT READER “Cha cha on the moon” CHRIS KENNER “I like it like that” CANNIBAL and THE HEADHUNTERS “Land of 1000 dances” SHAPE and SIZES “Rain on my feet” TRINI LOPEZ “Unchain my heart” LAVERN BAKER and JIMMY RICKS “You’re the boss” THE ROLLING STONES “Congratulations” CLYDE McPHATTER “Spanish Harlem” SANDIE SHAW “(There’s) always something there to remind me” TIPPIE and THE CLOVERS “Bossa Nova baby” THE ESSEX “A walking mircle” THE VERNON GIRLS “I’m gonna let my hair down” NASHVILLE TEENS “Google eye” ELVIS PRESLEY “One broken heart for sale” CLIFF RICHARD “What I’ve got to do” SIMON and GARFUNKEL “I am a rock” BARBARA LEWIS “Hello stranger” RUBY and THE ROMANTICS “What a difference a day makes” Escuchar audio
145. Survived my trip to the 24th annual Rockabilly Rave! Not only that, but I managed to smuggle back into the USA a small fortune in records, LPs and CDs to share with YOU folks here on "Go Kat, GO! The Rock-A-Billy Show!" Great rockin' time with great rockin' friends in the UK (big THANKS to Jerry Chattabox, Robin, Ruby Ann & the Rave crew) but it's also great to be back in the Motorbilly Studios again to serve up a fresh new show! Turn it up loud and enjoy tunes from Lew Lewis and his All Star Trio, Darrel Higham, The Sundown Boys, The Boneshakers, Toto & The Raw Deal, The Dice Cubes, Belle Starr and the Boot Jacks, Dave Bennett, The Radions, Lily Locksmith, The Kickers, Red Hot Riot, Legacaster, The Crawdads & The Hi-Fi Lowdowns. As usual, we deliver up a generous portion of incredible vintage songs, favorites from the 50's including Ricky Coyne, Little Richard, Trini Lopez, Buddy Holly, LaVerne Baker, Roy Orbison, Sammy Salvo, Jack Scott, The Cochran Brothers and Vince Taylor. The Aztec Werewolf's gots the greasy goods to make you howl with pleasure on a Tuesday nite! "Go Kat, GO!" -good to the last bop!™
On the May 15 edition of the Music History Today podcast, a legendary group signs a record deal, a legendary group lineup debuts, and a legendary record makes its mark. Also, happy birthday to Trini Lopez and Brian Eno. ALL MY LINKS - https://allmylinks.com/musichistorytoday --- Send in a voice message: https://anchor.fm/musichistorytodaypodcast/message Support this podcast: https://anchor.fm/musichistorytodaypodcast/support
I would like to welcome my local cable channel, WMCT-TV in Marlborough, MA as an affiliate of Norm Nathan’s Vault of Silliness! Now I don’t know about you, but I get quite a few local channels from the surrounding communities so even if you’re not in Marlborough you just may be able to find it on your cable carrier. It will air later in the evening while the message boards fill your screen with that all-important community info. They will begin with Episode 1 and roll on from there. When the time comes to incorporate a video aspect we just may move to ‘prime-time’ (wink-wink). Granted, by the time THIS episode airs everything I just said will be old news to the viewers. We are just so darn thankful to WMCT for expanding the reach of our silliness. I have titled this DBG from May 13th, 1996: Truth, Lies and Analog Tape. From the moment we press play the game is on! But the first bday guessed is absent. Side note: We are joined in the Teen Canteen by reporters from some local papers that are covering this highly contested competition: The Brockton Enterprise, The Middleboro Gazette, The Chelsea Record, The Salem Evening News and the The Lynnfield/Saugus Hadassah Newsletter. Players: Lisa Susan Tess in studio Karen Regal in traffic Michael in Arlington Mike Epstein producing and playing Bdays: ? Harvey Keitel Peter Gabriel Dennis Rodman Bdays from 5/15: Lainie Kazan…nope Trini Lopez…pass Anna Maria Alberghetti gets the nod! The game is held over until after the news because of commercial content! But Karen from traffic has vanished. We continue with: Eddie Arnold AND Lainie Kazan and Trini Lopez make a triumphant return to the list! Ever wonder what happens to the DBG Scoresheets? They are all entered in to the WBZ H.o.F. where Broadcasting is our middle name. Classic Commercials Content: BJ’s Cellular Centers and CELLULAR ONE Living Trust Seminars with Attorney’s Guliomo and Cody of Braintree And a Jack Benny impression begins a commercial, but it gets cut off. A post-game caller talking jazz closes out this episode. Ep 86, Truth, Lies and Analog Tape is all hooked up and ready to analyze.
In this special episode, Donna and Dr Adam speak with Donna's longtime friends, filmmakers P. David Ebersole and Todd Hughes. Todd and David are the documentary filmmakers behind works exploring the lives and careers of luminaries including Pierre Cardin, Trini Lopez, Patty Schemel, Cher and her mother Georgia Holt, and Jayne Mansfield. David and Todd join the podcast on the eve of the release of David's new novel, the noir thriller 99 Miles from L.A. Hear about their work and how Donna became involved as a musical guest in David and Todd's docu-drama, Mansfield 66/67.
Hi friends. Hank and Dave recorded this week's episode before Taylor Hawkins' passing; however, we did review Dream Widow's new record (it slams) so we got to honor him in that way. RIP Taylor Hawkins.Otherwise, this was a big gear week as Taylor Guitars was named one of the top ten innovative manufacturers in the world, so obviously we needed to talk about why.Also discussed: Strum Perfect, Mattoverse Electronics' Solar Sound sun-powered pedal, Line 6 updating the DL4, the new Boss RE-202 Space Echo, Gibson partnering with Triumph motorcycles, UA Ukraine updates and Spark tease, Western Electric making guitar tubes, Trini Lopez deals, Alex Lifeson's upcoming auction, NAMM updates, and Gibson's 1967 Factory Tour.The Craftory.
Episode one hundred and thirty-eight of A History of Rock Music in Five Hundred Songs looks at “I Fought the Law", and at the mysterious death of Bobby Fuller. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "Hanky Panky" by Tommy James and the Shondells. 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 No Mixcloud this week due to the large number of tracks by the Bobby Fuller Four Resources Information about the Crickets' post-Holly work comes from Buddy Holly: Learning the Game, by Spencer Leigh. There are two books available about Bobby Fuller -- the one I consulted most is Rock and Roll Mustangs by Stephen McParland, which can be bought as a PDF from https://payhip.com/cmusicbooks I also consulted I Fought the Law: The Life and Strange Death of Bobby Fuller by Miriam Linna and Randell Fuller. One minor note -- both these books spell Bob Keane's name Keene. Apparently he spelled it multiple ways, but I have chosen to use the spelling he used on his autobiography, which is also the spelling I have used for him previously. There are several compilations available of the Bobby Fuller Four's material, but the best collection of the hit singles is Magic Touch: The Complete Mustang Singles Collection. And this is an expanded edition of the Crickets' In Style album. Erratum I say Sonny Curtis wrote "Oh Boy!" -- I meant Sonny West. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A warning, before I begin. This episode, more than most, deals with events you may find disturbing, including graphic descriptions of violent death. Please check the transcript on the podcast website at 500songs.com if you are worried that you might be upset by this. This episode will not be a pleasant listen. Now on with the episode... More than anything, Bobby Fuller wanted desperately to be Buddy Holly. His attitude is best summed up in a quote from Jim Reese, the guitarist with the Bobby Fuller Four, who said "Don't get me wrong, I thought the world of Bobby Fuller and I cared a lot for him, so I say this with the best intentions -- but he was into Buddy Holly so much that if Buddy Holly decided to wear one red sock and one blue sock and Bobby Fuller found out about it, Bobby Fuller would've had one red sock and one blue sock. He figured that the only way to accomplish whatever Buddy Holly had accomplished was to be as much like Buddy Holly as possible." And Reese was right -- Bobby Fuller really was as much like Buddy Holly as possible. Buddy Holly was from Texas, so was Bobby Fuller. Buddy Holly played a Fender Stratocaster, Bobby Fuller played a Fender Stratocaster. Buddy Holly performed with the Crickets, Bobby Fuller's biggest hit was with a Crickets song. Buddy Holly recorded with Norman Petty, Bobby Fuller recorded with Norman Petty. Of course, there was one big difference. Buddy Holly died in an accident when he was twenty-two. Bobby Fuller lived to be twenty-three. And his death was no accident... [Excerpt: The Bobby Fuller Four, "I Fought the Law"] After Buddy Holly quit the Crickets in 1958, they continued recording with Norman Petty, getting in guitarist Sonny Curtis, who had been an associate of the band members even before they were a band, and who had been a frequent collaborator with Buddy, and vocalist Earl Sinks. But while they kept recording, Petty didn't release any of the recordings, and the group became convinced that he wasn't really interested in doing so. Rather, they thought that he was just using them as leverage to try to get Buddy back. "Love's Made a Fool of You" was the record that made the Crickets lose their faith in Norman Petty. The song was one that Buddy Holly and Bob Montgomery had written way back in 1954, and Holly had revived it for a demo in 1958, recording it not as a potential song for himself but to give to the Everly Brothers, reworked in their style, though they never recorded it: [Excerpt: Buddy Holly, "Love's Made a Fool of You"] When Holly and the Crickets had parted ways, the Crickets had recorded their own version of the song with Petty producing, which remained unreleased like everything they'd recorded since Buddy left. But on the very day that Buddy Holly died, Petty shipped a copy of the tape to Decca, express mail, so that a single could be released as soon as possible: [Excerpt: The Crickets, "Love's Made a Fool of You"] The Crickets never worked with Norman Petty again after that, they were so disgusted at his determination to cash in on the death of their friend and colleague. Petty continued to exploit Holly's work, getting in a band called the Fireballs to add new instrumental backing to Holly's old demos so they could be released as new singles, but the split between Petty and Holly's living colleagues was permanent. But the Crickets didn't give up performing, and continued recording new material, mostly written either by Sonny Curtis or by the group's drummer Jerry Allison, who had co-written several of the group's earlier hits with Holly. "More Than I Can Say" was written by Curtis and Allison, and didn't make the top forty in the US, but did become a top thirty hit in the UK: [Excerpt: The Crickets, "More Than I Can Say"] That was later also covered in hit versions by Bobby Vee and Leo Sayer. The B-side, "Baby My Heart", wasn't a hit for the Crickets, but was covered by the Shadows on their first album, which made number one on the UK charts. That performance was one of the few Shadows records at this point to have vocals: [Excerpt: The Shadows, "Baby My Heart"] The group's first post-Holly album collected all their singles without Holly to that point, plus a few new filler tracks. The album, In Style With the Crickets, didn't chart in the US, but was a success in the UK. Around the time that album was released, Earl Sinks quit the group, and became a songwriter. He collaborated with Buddy Holly's old musical partner Bob Montgomery on a variety of hits for people like Brenda Lee, and in the seventies went back into performing for a while, having minor solo country hits as Earl Richards, and then bought a chain of abbatoirs. Allison and Curtis supplemented their income from the Crickets with session work -- Allison backed the Everly Brothers on "Til I Kissed You": [Excerpt: The Everly Brothers, "Til I Kissed You"] and both of them played on Eddie Cochran's last studio session, playing on "Three Steps to Heaven", with Curtis playing the electric lead while Cochran played the acoustic: [Excerpt: Eddie Cochran, "Three Steps to Heaven"] After that, the group went on tour in the UK as the backing band for the Everly Brothers, where they coincidentally bumped into Cochran, who told them "If I knew you guys were coming, I'd have asked you to bring me a bottle of American air.” They would never see Cochran again. Shortly after that tour, Sonny Curtis was drafted -- though while he was in the army, he wrote "Walk Right Back" for the Everly Brothers, as we discussed in the episode on "Cathy's Clown": [Excerpt: The Everly Brothers, "Walk Right Back"] Joe Mauldin gave up on music for a while, and so for a while The Crickets consisted of just Jerry Allison, new singer Jerry Naylor, and guitarist Tommy Allsup, who had played with Holly after Holly left the Crickets. That lineup recorded the "Bobby Vee Meets the Crickets" album, with Bobby Vee singing lead: [Excerpt: Bobby Vee and the Crickets, "Well... All Right"] Curtis would return once his time in the army was over, and eventually, in the 1970s, the group would stabilise on a lineup of Curtis, Mauldin, and Allison, who would play together more or less consistently until 2015. But for a few years in the early sixties there was a lot of lineup shuffling, especially as Allison got drafted not long after Curtis got out of the Army -- there was one UK tour where there were no original members at all, thanks to Allison's absence. When Curtis was out of the group around the time of the Bobby Vee album, Snuff Garrett tried to get a friend of his to join as the group's new lead singer, and brought him to LA, but it didn't work out. Garrett later said "He and Jerry didn't hit it off in the way I imagined. After a few months, it was over and the guy started playing clubs around LA. I did demos with him and took them to my boss, the president of Liberty, and he said, ‘You've got enough of your friends signed to the label. You've signed the Crickets and Buddy Knox and they're not doing much business, and this guy can hardly speak English.' I said, ‘Well, I think he's going to be something.' ‘Okay,' he said, ‘Drop one of the acts you've got and you can sign him.' I said, ‘Forget it.' A year later, he was an international star and his name was Trini Lopez" Lopez's big hit, "If I Had a Hammer", was recorded in a live show at a club called PJs: [Excerpt: Trini Lopez, "If I Had a Hammer"] PJs was owned by a gangster named Eddie Nash, who is now best known as the prime suspect in a notorious case known as the Wonderland Murders, when in 1981 four people were horribly beaten to death, either with the assistance of or to send a message to the porn star John Holmes, depending on which version of the story you believe. If you're unfamiliar with the case, I advise you not to google it, as it's very far from pretty. I bring this up because PJs would soon play a big part in the career of the Bobby Fuller Four. Bobby Fuller was born in the Gulf Coast of Texas, but his family moved about a lot during his formative years, mostly in the Southwestern US, living in Lubbock, Texas, Hobbs, New Mexico, and Salt Lake City, Utah, among other places, before finally settling down in El Paso. El Paso is a border town, right up close to the border with Mexico, and that meant that it had a complicated relationship with Juarez, the nearest large town on the Mexican side of the border. Between 1919 and 1933, the selling and consumption of alcohol had been made illegal in the United States, a period known as Prohibition, but of course it had not been criminalised in Mexico, and so during those years any time anyone from El Paso wanted to get drunk they'd travel to Juarez. Even after Prohibition ended, Juarez had a reputation as a party town, and Randy Fuller, Bobby's brother, would later tell a teen magazine "You can grow up in El Paso and get really bad -- it's Juarez that makes it that way. Whatever personality you have, you have it 100%. You can go to Juarez and get drunk, or stay in El Paso and get religion" Of course, from the outside, that sounds a whole lot like "now look what YOU made ME do". It's not the fault of those white people from Texas that they travel to someone else's city in someone else's country and get falling-down drunk and locked up in their jails every weekend, but it's the fault of those tempting Mexicans. And when Bobby and Randy Fuller's older brother Jack disappeared in 1961, while Bobby was off at university, that was at first what everyone thought had happened -- he'd gone to Juarez, got drunk, and got locked up until he could sleep it off. But when he didn't reappear after several days, everyone became more concerned. It turned out that Jack had met a man named Roy Handy at a bus depot and started chatting with him. They'd become friendly, and had gone off to do some target shooting together in the desert. But Handy had seen what looked like a wad of thousand-dollar bills in Jack's sun visor, and had decided to turn the gun on Jack rather than the target, killing him. The thousand-dollar bills had been play money, a gift bought for a small child who lived nearby. Because of the murder, Bobby Fuller moved back to El Paso from Denton in North Texas, where he had been studying music at university. He did enroll in a local college, but gave up his studies very quickly. Bobby had been something of a musical prodigy -- his original plan before going to North Texas State University had actually been to go to Juilliard, where he was going to study jazz drumming. Instead, while Bobby continued his drumming, he started living a party lifestyle, concentrating on his car, on women -- he got multiple women pregnant in his late teens and early twenties -- and on frequent trips to Juarez, where he would spend a lot of time watching a local blues musician, Long John Hunter: [Excerpt: Long John Hunter, "El Paso Rock"] Meanwhile, a music scene had been growing in El Paso since the late 1950s. A group called the Counts were at the forefront of it, with instrumentals like "Thunder": [Excerpt: The Counts, "Thunder"] The Counts splintered into various groups, and one of them became The Embers, who Bobby Fuller joined on drums. Fuller was also one of a tiny number of people at this time who actually had a home studio. Fuller had started out with a simple bedroom studio, but thanks to his parents' indulgence he had repurposed a big chunk of their house as a studio, including building, with his brother Randy, an echo chamber (though it didn't work very well and he stuck with tape echo). It was in that home studio that the Embers recorded their first single, "Jim's Jive", with Fuller on drums and Jim Reese on lead guitar: [Excerpt: Jerry Bright and The Embers, "Jim's Jive"] That was released on a tiny local label, Yucca Records, which also released the Embers' second single -- and also released two Bobby Fuller solo singles, starting with "You're in Love": [Excerpt: Bobby Fuller, "You're in Love"] That was recorded at Fuller's home studio, with the Embers backing him, and became the number one single locally, but Yucca Records had no national distribution, and the record didn't get a wider release. Fuller's second single, though, was the first time his Buddy Holly fixation came to the forefront. Fuller was, by many accounts, *only* interested in sounding like Buddy Holly -- though his musical tastes were broad enough that he also wanted to sound like Eddie Cochran, Ritchie Valens, and the Crickets. But that was the extent of Fuller's musical world, and so obviously he wanted to work with the people who had worked with Holly. So his second single was recorded at Norman Petty's studio in Clovis, New Mexico, with Petty's wife Vi, who had played keyboards on some Buddy Holly records, on keyboards and backing vocals: [Excerpt: Bobby Fuller, "Gently My Love"] But as it turned out, Fuller was very underwhelmed by the experience of working with Petty, and decided that he was going to go back to recording in his home studio. Fuller left the Embers and started performing on his own, playing rhythm guitar rather than drums, with a band that initially consisted of his brother Randy on bass, Gaylord Grimes on drums, and Jim Reese on lead guitar, though there would be constant lineup changes. Two of the many musicians who drifted in and out of Fuller's revolving band lineup, Larry Thompson and Jerry Miller, were from the Pacific Northwest, and were familiar with the scene that I talked about in the episode on "Louie, Louie". Thompson was a fan of one of the Pacific Northwest bands, the Frantics, who had hits with tracks like "Werewolf": [Excerpt: The Frantics, "Werewolf"] Thompson believed that the Frantics had split up, and so Fuller's group took on that name for themselves. When they found out that the group *hadn't* split up, they changed their name to the Fanatics, though the name on their bass drum still read "The Frantics" for quite a while. Jerry Miller later moved back to Seattle, where he actually joined the original Frantics, before going on to become a founder member of Moby Grape. Fuller started his own record label, Eastwood Records, and put out another solo single, which covered the full breadth of his influences. The B-side was "Oh Boy!", the song Sonny Curtis had written for Buddy Holly, while the A-side was "Nervous Breakdown", which had originally been recorded by Eddie Cochran: [Excerpt: Bobby Fuller, "Nervous Breakdown"] Everything was very fluid at this point, with musicians coming and going from different lineups, and none of these musicians were only playing in one band. For example, as well as being lead guitarist in the Fanatics, Jim Reese also played on "Surfer's Paradise" by Bobby Taylor and the Counts: [Excerpt: Bobby Taylor and the Counts, "Surfer's Paradise"] And Bobby's record label, renamed from Eastwood to Exeter, was releasing records by other artists as well as Bobby and the Fanatics, though none of these records had any success. In early 1963 Fuller and his latest lineup of Fanatics -- Randy, drummer Jimmy Wagnon, and guitarist Tex Reed -- travelled to LA to see if they could become successful outside El Paso. They got a residency at the Hermosa Biltmore, and also regularly played the Rendezvous Ballroom in Balboa, where the Beach Boys and Dick Dale had both played not long before, and there they added some surf instrumentals to their repertoire. Bobby soon became almost as keen on surf music as he was on rockabilly. While in LA, they tried all the record companies, with no success. The most encouragement they got came from Bob Keane at Del-Fi, the label that had previously been Ritchie Valens' label, who told him that the tapes they brought him of their El Paso recordings sounded good but they needed better songs, and to come back to him when they had a hit song. Bobby determined to do just that. On their return to El Paso, Bobby Fuller and the Fanatics recorded "Stringer" for Todd Records, a small label owned by Paul Cohen, the former Decca executive who had signed Buddy Holly but not known what to do with him: [Excerpt: Bobby Fuller and the Fanatics, "Stringer"] Fuller also opened his own teen nightclub, the Teen Rendezvous, which he named after the Balboa ballroom. The Fanatics became the regular band there, and at this point they started to build up a serious reputation as live performers. The Teen Rendezvous only stayed open for a few months, though -- there were complaints about the noise, and also they booked Bobby Vee as a headliner one night. Vee charged a thousand dollars for his appearance, which the club couldn't really afford, and they didn't make it back on the doors. They'd hoped that having a prestigious act like Vee play there might get more people to come to the club regularly, but it turned out that Vee gave a sub-par performance, and the gamble didn't pay off. It was around this time that Fuller made his first recording of a song that would eventually define him, though it wasn't his idea. He was playing the Crickets In Style album to his brother Randy, and Randy picked up on one song, a Sonny Curtis composition which had never been released as a single: [Excerpt: The Crickets, "I Fought the Law"] Randy thought the Crickets' actual record sounded horrible, but he also thought the song had the potential to be a really big hit. He later explained "The James Dean movie Rebel Without a Cause had made a big impression on me, and I told Bobby, 'Man, let's do that one... it oughta sell a million copies'. Everyone was into the whole rebel thing, with switchblades and stuff like that. It just seemed like a natural thing for us to do." Fuller recorded his own version of the song, which once again became a local hit: [Excerpt: Bobby Fuller, "I Fought The Law (El Paso version)"] But even though the record did get some national distribution, from VeeJay Records, it didn't get any airplay outside the Southwest, and Fuller remained a local star with absolutely no national profile. Meanwhile, he was still trying to do what Bob Keane had asked and come up with a hit song, but he was stuck in a musical rut. As Jim Reese would later say, "Bobby was a great imitator. He could sing just like Holly, McCartney, Lennon, or Eddie Cochran. And he could imitate on the guitar, too. But Bobby never did Bobby". To make matters worse, the Beatles came on to the American musical scene, and caused an immediate shift in the public taste. And Bobby Fuller had a very complicated relationship with the Beatles. He had to play Beatles songs live because that's what the audiences wanted, but he felt that rock and roll was *American* music, and he resented British people trying to play it. He respected them as songwriters, but didn't actually like their original material. He could tell that they were huge Buddy Holly fans, like him, and he respected that, but he loathed Motown, and he could tell they were listening to that too. He ended up trying to compromise by playing Buddy Holly songs on stage but introducing them by talking about how much the Beatles loved Buddy Holly. Another person who was negatively affected by the British Invasion was Bob Keane, the man who had given Fuller some encouragement. Keane's Del-Fi Records had spent the previous few years making a steady income from churning out surf records like "Surf Rider" by the Lively Ones: [Excerpt: The Lively Ones, "Surf Rider"] And the Surfer's Pajama Party album by the Bruce Johnston Surfing Band: [Excerpt: Bruce Johnston, "The Surfer Stomp"] But as surf music had suddenly become yesterday's news, Del-Fi were in financial trouble, and Keane had had to take on a partner who gave the label some financial backing, Larry Nunes. Now, I am going to be very, very, careful about exactly what I say about Nunes here. I am aware that different people give very, very, different takes on Nunes' personality -- Barry White, for example, always said that knowing Nunes was the best thing that ever happened to him, credited Nunes with everything good in his career, and gave him credit on all his albums as his spiritual advisor. However, while White made Nunes out to be pretty much a saint, that is not the impression one gets from hearing Bob Keane or any of Bobby Fuller's circle talk about him. Nunes had started out in the music business as a "rack jobber", someone who ran a small distribution company, selling to small family-owned shops and to secondary markets like petrol stations and grocery stores. The business model for these organisations was to get a lot of stock of records that hadn't sold, and sell them at a discount, to be sold in discount bins. But they were also a perfect front for all sorts of criminal activity. Because these were bulk sales of remaindered records, dead stock, the artists weren't meant to get royalties on them, and no real accounting was done of the sales. So if a record label "accidentally" pressed up a few thousand extra copies of a hit record and sold it on to a rack jobber, the artists would never know. And if the Mafia made a deal with the record pressing plant to press up a few thousand extra copies, the *record label* would never know. And so very, very, quickly this part of the distribution system became dominated by organised crime. I have seen no proof, only rumours, that Nunes was directly involved in organised crime, but Bob Keane in particular later became absolutely convinced he was. Keane would later write in his autobiography: “I wondered if I had made a deal with the Devil. I had heard that Larry had a reputation for being associated with the Mob, and as it turned out three years later our relationship ended in deception, dishonesty, and murder. I consider myself very lucky to have come out of my relationship with Nunes in one piece, virtually unscathed." Again, this is Keane's interpretation of events. I am not saying that Larry Nunes was a mobster, I am saying that Bob Keane repeatedly made that accusation many times, and that other people in this story have said similar things. By late 1964, Bobby Fuller had come up with a song he was pretty sure *would* be a successful single, like Keane had wanted, a song called "Keep on Dancing" he'd written with Randy: [Excerpt: Bobby Fuller, “Keep On Dancing”] After some discussion he managed to persuade Randy, Jim Reese, and drummer DeWayne Quirico to move with him to LA -- Bobby and Randy's mother also moved with them, because after what had happened to her eldest son she was very protective of her other children. Jim Reese was less keen on the move than the others, as he thought that Fuller was only interested in himself, not in the rest of the Fanatics. As Reese would later say, "Bobby wanted us all to go to California, but I was leery because it always had been too one-sided with Bobby. He ran everything, hired and fired at the least whim, and didn't communicate well with other people. He was never able to understand that a musician, like other people, needs food, gasoline, clothes, a place to live, etc. I often felt that Bobby thought we should be following him anywhere just for the thrill of it." Eventually, Fuller got them to go by agreeing that when they got to LA, everything would be split equally -- one for all and all for one, though when they finally made a deal with Keane, Fuller was the only one who ended up receiving royalties. The rest of the group got union scale. Keane agreed that "Keep on Dancing" could be a hit, but that wasn't the first record the group put out through one of Keane's labels. The first was an instrumental titled "Thunder Reef": [Excerpt: The Shindigs, "Thunder Reef"] That wasn't released as by the Fanatics, but as by The Shindigs -- Keane had heard that Shindig! needed a house band and thought that naming the group after the show might be a way to get them the position. As it happened, the TV show went with another group, led by James Burton, who they called the Shindogs, and Keane's plan didn't work out. The Shindigs single was released on a new Del-Fi subsidiary, Mustang, on which most future records by the group would be released. Mustang was apparently set up specifically for the group, but the first record released on that label was actually by a studio group called The Surfettes: [Excerpt: The Surfettes, "Sammy the Sidewalk Surfer"] The Surfettes consisted of Carol Connors, the former lead singer of the Teddy Bears and writer of "Hey Little Cobra", and her sister Cheryl. Carol had written the single with Buzz Cason, of Brenda Lee's band, and the session musicians on that single included several other artists who were recording for Del-Fi at the time -- David Gates, Arthur Lee, and Johnny Echols, all of whom we'll be hearing more about in future episodes. Almost simultaneously with the Shindigs single, another single by the Fanatics was released, "Those Memories of You": [Excerpt: Bobby Fuller and the Fanatics, "Those Memories of You"] That single, backed by a surf instrumental called "Our Favourite Martian", was released on Donna Records, another Del-Fi subsidiary, as by Bobby Fuller and the Fanatics, which made the other group members furious -- what had happened to one for all and all for one? Randy Fuller, who was a very aggressive young man, was so annoyed that he stormed into Bob Keane's office and frisbeed one of the singles at his head. They didn't want to be Bobby's backing band, they wanted to be a proper group, so it was agreed the group's name would be changed. It was changed to The Bobby Fuller Four. Jim Reese claimed that Keane and Fuller formed The Bobby Fuller Four Inc, without the other three members having participation, and made them employees of the corporation. Reese said "this didn't fit in with my concept of the verbal agreement I had with Bobby, but at least it was better than nothing". The group became the house band at the Rendezvous, playing their own sets and backing people like Sonny and Cher. They then got a residency at the Ambassador Hotel in Hollywood, and then Jim Reese quit the band. Fuller phoned him and begged him to come back, and as Reese said later "I again repeated my conditions about equal treatment and he agreed, so I went back -- probably the biggest mistake I ever made." The group's first single as the Bobby Fuller Four, released on Mustang as all their future records were, was "Take My Word": [Excerpt: The Bobby Fuller Four, "Take My Word"] The record was unsuccessful -- Keane's various labels, while they were better distributed than Bobby's own labels back in El Paso, still only had spotty distribution, and Mustang being a new label it was even more difficult to get records in stores. But the group were getting a reputation as one of the best live acts in the LA area at the time. When the club Ciro's, on the Sunset Strip, closed and reopened under its new name It's Boss, the group were chosen to perform at its grand reopening, and they played multiple four- to six-week residencies at PJ's. The next record the group released, "Let Her Dance", was a slight rewrite of "Keep on Dancing", the song the Fuller brothers had written together, though Bobby was the only credited writer on the label: [Excerpt: The Bobby Fuller Four, "Let Her Dance"] That was the first single they recorded at a new state-of-the-art studio Keane had opened up. That studio had one of the first eight-track machines in LA, and a truly vast echo chamber, made up from a couple of unused vaults owned by a bank downstairs from the studio. But there were big arguments between Fuller and Keane, because Fuller wanted only to make music that could be reproduced live exactly as it was on the record, while Keane saw the record as the important thing. Keane put a percussion sound on the record, made by hitting a bottle, which Fuller detested as they couldn't do it live, and the two would only end up disagreeing more as they continued working together. There's a lot of argument among Fuller fans about this -- personally I can see both sides, but there are people who are very much Team Bobby and think that nothing he recorded for Mustang is as good as the El Paso recordings, because of Bob Keane diluting the raw power of his live sound. But in an era where studio experimentation was soon to lead to records like "Strawberry Fields Forever" or "Good Vibrations", I think a bit of extra percussion is hardly an unforgivable dilution: [Excerpt: The Bobby Fuller Four, "Let Her Dance"] KRLA radio started playing "Let Her Dance" every hour, at the instigation of Larry Nunes -- and most of the people talking about this have implied that he bribed people in order to get this to happen, or that it was through his alleged Mob connections. Certainly, he knew exactly when they would start playing the record, and how frequently, before they did. As a result of this exposure, "Let Her Dance" became a massive local hit, but they still didn't have the distribution to make it a hit outside California. It did, though, do well enough that Liberty Records asked about putting the record out nationally. Keane came to a verbal agreement, which he thought was an agreement for Liberty to distribute the Mustang Records single, and Liberty thought was an agreement to put out the single on their own label and have an option on future Fuller recordings. Liberty put the record out on their own label, without Keane having signed anything, and Keane had to sue them. The result was that the record was out on two different labels, which were suing each other, and so it hardly had any chance at any kind of success. The legal action also affected the next single, "Never to Be Forgotten": [Excerpt: The Bobby Fuller Four, "Never to Be Forgotten"] That's often considered the best of the band's originals for Mustang, and was written by the Fuller brothers -- and both of them were credited this time -- but Liberty sued Keane, claiming that because they'd released "Let Her Dance", they also had an option on the next single. But even though the group still weren't selling records, they were getting other opportunities for exposure, like their appearance in a film which came out in April 1966. Though admittedly, this film was hardly A Hard Day's Night. Indeed, a lot of people have claimed that The Ghost in the Invisible Bikini was cursed. The film, which went through the working titles Pajama Party in a Haunted House, Slumber Party in a Haunted House, Bikini Party in a Haunted House, and Ghost in a Glass Bikini, was made by the cheapy exploitation company American International Pictures, and several people involved in it would die in the next four years, starting with Buster Keaton, who was meant to appear in the film, but had to back out due to his health problems and died before the film came out. Then on the first day of filming, a grip fell to his death. In the next four years, two of the film's young stars, Sue Hamilton and John Macchia, would die, as would Philip Bent, an actor with a minor role who died in July 1966 in a plane crash which also took the life of Peter Sachse, an extra on the film who was married to a cast member. Three more stars of the film, Francis X Bushman, Basil Rathbone, and Boris Karloff would also all be dead within a handful of years, but they were all elderly and unwell when filming started. I don't believe in curses myself, but it is a horrible run of bad luck for a single film. To make matters worse, the group weren't even playing their own music in the film, but lipsynching to tracks by other musicians. And they had to play Vox instruments in the film, because of a deal the filmmakers had made, when the group all hated Vox instruments, which Jim Reese thought of as only good for starting bonfires. For the next single, Keane had discussed with Fuller what songs the group had that were "different", but Fuller apparently didn't understand what he meant. So Keane went to the rest of the group and asked them what songs always went over well in live performances. All three band members said that "I Fought the Law" should be the next single. Bobby disagreed, and almost got into a fistfight with his brother over it -- they'd already released it as a single once, on his own label, and he didn't want to do it again. He also wanted to record his own material not cover versions. But the others prevailed, and "I Fought the Law" became the record that would define the group: [Excerpt: The Bobby Fuller Four, "I Fought the Law"] "I Fought the Law" became the group's breakthrough hit. It made the top ten, and turned the song, which had previously been one of the Crickets' most obscure songs, into a rock and country standard. In the seventies, the song would be recorded by Hank Williams Jr, the Clash, the Dead Kennedys and more, and all of them would be inspired by the Bobby Fuller Four's version of the song, not the Crickets' original. Around this time, the group also recorded a live album at PJs, in the hope of duplicating Trini Lopez's success with his earlier album. The album was shelved, though, because it didn't capture the powerhouse live act of the group's reputation, instead sounding rather dull and lifeless, with an unenthused audience: [Excerpt: The Bobby Fuller Four, "Oh Boy!"] While "I Fought the Law" was a huge success, it started a period of shifts within the band. Shortly after the PJs album was recorded, DeWayne Quirico quit the band and moved back to El Paso. He was temporarily replaced by Johnny Barbata, who would later become a member of the Turtles, before Fuller's preferred replacement Dalton Powell was able to get to LA to join the band. There seems to have been some shuffling about, as well, because as far as I can tell, Powell joined the band, then quit and was replaced by Barbata returning, and then rejoined again, all in about a six month period. Given the success of "I Fought the Law", it only made sense that at their first recording session with Powell, the group would record more tracks that had originally been on the Crickets' In Style album. One of these, their version of "Baby My Heart", went unreleased at the time, though to my taste it's the best thing the group ever did: [Excerpt: The Bobby Fuller Four, "Baby My Heart"] The other, "Love's Made a Fool of You", became the group's next single: [Excerpt: The Bobby Fuller Four, "Love's Made a Fool of You"] "Love's Made a Fool of You" was also a success, making number twenty-six in the charts, but the group's next session, which would produce their last single, was the cause of some conflict. Keane had noticed that soul music was getting bigger, and so he'd decided to open up a sister label to Mustang, Bronco, which would release soul and R&B music. As he didn't know much about that music himself, though of course he had worked with Sam Cooke, he decided to hire an A&R man to deal with that kind of music. The man he chose was a piano player named Barry White, still several years from making his own hit records. White had had some success as an arranger and producer already, having arranged "The Harlem Shuffle" for Bob and Earl, on which he also played piano: [Excerpt: Bob and Earl, "The Harlem Shuffle"] Despite White's remit, the records he produced for Bronco and Mustang weren't especially soulful. "Back Seat 38 Dodge" by Opus 1, for example, is a psychedelic updating of the kind of car songs that the Beach Boys and Jan and Dean had been doing a couple of years earlier: [Excerpt: Opus 1, "Back Seat 38 Dodge"] White was present at what became the final Bobby Fuller Four session, though accounts differ as to his involvement. Some have him arranging "The Magic Touch”, others have him playing drums on the session, some have him co-producing. Bob Keane always said that the record had no involvement from White whatsoever, that he was there but not participating, but various band members, while differing on other things, have insisted that White and Fuller got into huge rows, as Fuller thought that White was trying to turn his music into Motown, which he despised. The finished record does sound to me like it's got some of White's fingerprints on it: [Excerpt: The Bobby Fuller Four, "The Magic Touch"] But "The Magic Touch" flopped -- it departed too far from the updated Buddy Holly sound of the group's hit singles, and audiences weren't responding. “The Ghost in the Invisible Bikini” came out and was an embarrassment to the band – and on July the eleventh the next in that horrible series of deaths linked to the film happened, the plane crash that killed Philip Bent and Peter Sachse. On July the sixteenth, William Parker, the long-serving chief of the LAPD, had died. If, hypothetically, someone wanted to commit a crime in LA and not have it investigated too closely, the few days after Parker's death, when the entire department was in mourning and making preparations for a massive public funeral, would have been a good time to do so. Two days after Parker's death, July the eighteenth 1966, was going to be the crunch point for the Bobby Fuller Four. They had a recording session scheduled for 8:30AM, but they also were planning on having a band meeting after the session, at which it was likely the group were going to split up. Jim Reese had just got his draft notice, Bobby and Randy were getting on worse, and nobody was happy with the music they were making. They were going to finish the album they were working on, and then Bobby was going to go solo. Or at least that was what everyone assumed -- certainly Ahmet Ertegun had been sniffing round Bobby as a solo artist, though Bobby kept saying publicly he wanted to continue working with the band. There were also later rumours that Morris Levy had been after Bobby, and had even signed him to a deal, though no documentary evidence of such a deal has surfaced. It seemed that if there was to be a group at all, it would just be a name for any random musicians Bobby hired. Bobby also wanted to become a pure recording artist, and not tour any more -- he hated touring, thought people weren't listening to the band properly, and that being away from home meant he didn't have time to write songs, which in turn meant that he had to record what he thought of as substandard material by other people rather than his own original material. He wanted to stay in LA, play clubs, and make records. But even though making records was what he wanted to do, Bobby never turned up for the recording session, and nor did he turn up for the group meeting afterwards. The group's next single had been announced as "It's Love Come What May": [Excerpt: Randy Fuller, "It's Love Come What May"] When that was released, it was released as a Randy Fuller solo single, with Randy's voice overdubbed on top of Bobby's. Because there was no use putting out a record by a dead man. Here's what we actually know about Bobby Fuller's death, as far as I can tell. There are a lot of conflicting claims, a lot of counternarratives, and a lot of accusations that seek to tie in everyone from Charles Manson to Frank Sinatra, but this is as close as I can get to the truth. Bobby and Randy were living together, with their mother, though Randy was out a lot of the time, and the two brothers at that point could barely stand to be in the same room with each other, as often happens in bands where brothers work together. On the night of July the seventeenth, Bobby Fuller left the house for a couple of hours after getting a phone call -- some people who were around said he was going to see a girlfriend named Melody to buy some acid from her, but she says he didn't see her that night. Melody was a sex worker, who was also reputedly the girlfriend of a local nightclub owner who had Mob connections and was jealous of her attachments to other men -- though she denies this. Nobody has ever named which club owner, but it's generally considered to be Eddie Nash, the owner of PJs. Melody was also friends with Larry Nunes, and says she acted as a go-between for Nunes and Fuller. Fuller got back in around 2:30 AM and spent some time having beer with the building manager. Then at some point he went out again -- Bobby was a night owl. When his mother, Lorraine, woke up, she noticed her car, which Bobby often used to borrow, wasn't there. She had a terrible bad feeling about her son's whereabouts -- though she often had such feelings, after the murder of her eldest son. She kept checking outside every half hour or so to see if he was coming home. At 5PM, two musicians from El Paso, Ty Grimes and Mike Ciccarelli, who'd come to LA to see Fuller, pulled into the parking lot near his apartment block. There were no other cars nearby. A car pulled in beside them, but they didn't pay any attention. They went up the stairs and rang the doorbell. While they were ringing the doorbell, Lorraine Fuller was out checking the mail, and noticed her car, which hadn't been there earlier. She opened the door. Ty Grimes later said "When we walked back to Mike's car, Bobby's car was now parked next to Mike's, and he was laying in the front seat already dead. We also saw his mom being helped toward the apartment." Fuller had been dead long enough for rigor mortis to have set in. While Lorraine Fuller later said that his hand had been on the ignition key, there was actually no key found in the car. He had apparently died from inhaling petrol. His body was covered in bruises, and the slippers he was wearing looked like they'd been dragged across the ground. His body was covered in petrol, and his right index finger was broken. Bob Keane has later said that Larry Nunes knew some details of the crime scene before he was told them. According to the other members of the band, there was an eight hundred thousand dollar life insurance policy on Bobby's life, held by the record company. Keane didn't get any money from any such policy, and stated that if such a policy existed it must have been taken out by Nunes, who soon stopped working with Keane, as Keane's labels collapsed without their one remaining star. The death was initially ruled a suicide, which would not pay out on an insurance claim, and later changed to accidental death, which would. Though remember, of course, we have only the word of Bobby's other band members that any insurance policy existed. No real police investigation was ever carried out, because it was such an open-and-shut case. At no point was it ever considered a murder by the famously corrupt LAPD. Bob Keane hired private investigators to investigate the case. One of them was shot at, and the others gave up on the investigation, scared to continue. The autopsy report that was issued months after the fact bore no resemblance to what any of the witnesses said they saw of the state of Fuller's body. More than thirty years later, Keane tried to get the information the LAPD held about the case, and was told that it could only be accessed by a family member. Keane contacted Randy Fuller, who was then told that the entire case file was missing. So all we can go on as far as the official records go is the death certificate. Which means that I lied to you at the start of the episode. Because officially, no matter what impression you might have got from everything I just said, Bobby Fuller's death *was* an accident.
On today's episode you will hear music by Los Saicos, Los Yorks, Trini Lopez, Los Crazy Birds and more, as Brandon goes south of the boarder and beyond for this collection of rock scorchers from around the world. Theme songs: Mini theme song by Niko Riley Theme song: Apache by Jorgan Ingmann Follow us on Facebook and Instagram. Email us at blueislandradio@gmail.com or call the hotline and leave us a message to be played on the show: 708-986-1659
Your Weekly Dose Show # 222 opens with Watching You by Rodney Atkins for Father's Day. Zach talks about his trip to the doctors with his girlfriend. Sean Announces being a part of a Trini Lopez tribute concert in Vegas. Next they talk about the new holiday Juneteenth, give you Dadvice tweets, play the M&B PSA for dads and a new segment - Would You Press The Button? LINKS: Rodney Atkins Music
Your Weekly Dose Show # 222 opens with Watching You by Rodney Atkins for Father's Day. Zach talks about his trip to the doctors with his girlfriend. Sean Announces being a part of a Trini Lopez tribute concert in Vegas. Next they talk about the new holiday Juneteenth, give you Dadvice tweets, play the M&B PSA for dads and a new segment - Would You Press The Button? LINKS: Rodney Atkins Music
Les 50 ans d'Orange mécanique, film réalisé par Stanley Kubrick. Et les 25 ans de Trainspotting, film britannique écrit par John Hodge et réalisé par Danny Boyle. On en parle avec notre spécialiste cinéma, Dick Tomasovic. « Bagarre dans la Discothèque » à 11h30, avec Nicolas Herman et Jacques De Pierpont. Et dès midi : "L'objet Pop" de Nicolas Herman : le frisbee. Les 50 ans d'Orange mécanique, réalisé par Stanley Kubrick. Au XXIème siècle, où règnent la violence et le sexe, Alex, jeune chef de bande, exerce avec sadisme une terreur aveugle. Après son emprisonnement, des psychanalystes l'emploient comme cobaye dans des expériences destinées à juguler la criminalité... Les 25 ans de Trainspotting, film britannique écrit par John Hodge et réalisé par Danny Boyle. Les aventures tragi-comiques de Mark Renton, junkie d'Edimbourg, qui va tenter de se séparer de sa bande de copains, losers, menteurs, psychopathes et voleurs. On en parle avec Dick Tomasovic, chargé de cours en histoire et esthétique du cinéma et des arts du spectacle à l'ULg. La chanson de Pompon : "If I Had a Hammer" de Trini Lopez (1963).
Les 50 ans d'Orange mécanique, film réalisé par Stanley Kubrick. Et les 25 ans de Trainspotting, film britannique écrit par John Hodge et réalisé par Danny Boyle. On en parle avec notre spécialiste cinéma, Dick Tomasovic. « Bagarre dans la Discothèque » à 11h30, avec Nicolas Herman et Jacques De Pierpont. Et dès midi : "L'objet Pop" de Nicolas Herman : le frisbee. Les 50 ans d'Orange mécanique, réalisé par Stanley Kubrick. Au XXIème siècle, où règnent la violence et le sexe, Alex, jeune chef de bande, exerce avec sadisme une terreur aveugle. Après son emprisonnement, des psychanalystes l'emploient comme cobaye dans des expériences destinées à juguler la criminalité... Les 25 ans de Trainspotting, film britannique écrit par John Hodge et réalisé par Danny Boyle. Les aventures tragi-comiques de Mark Renton, junkie d'Edimbourg, qui va tenter de se séparer de sa bande de copains, losers, menteurs, psychopathes et voleurs. On en parle avec Dick Tomasovic, chargé de cours en histoire et esthétique du cinéma et des arts du spectacle à l'ULg. La chanson de Pompon : "If I Had a Hammer" de Trini Lopez (1963).
"L'objet Pop" de Nicolas Herman : le frisbee. Les 50 ans d'Orange mécanique, réalisé par Stanley Kubrick. Au XXIème siècle, où règnent la violence et le sexe, Alex, jeune chef de bande, exerce avec sadisme une terreur aveugle. Après son emprisonnement, des psychanalystes l'emploient comme cobaye dans des expériences destinées à juguler la criminalité... Les 25 ans de Trainspotting, film britannique écrit par John Hodge et réalisé par Danny Boyle. Les aventures tragi-comiques de Mark Renton, junkie d'Edimbourg, qui va tenter de se séparer de sa bande de copains, losers, menteurs, psychopathes et voleurs. On en parle avec Dick Tomasovic, chargé de cours en histoire et esthétique du cinéma et des arts du spectacle à l'ULg. La chanson de Pompon : "If I Had a Hammer" de Trini Lopez (1963).
We are glad you could tune in with us to enjoy some of the best music from a classic era of sound. .. We are time traveling into the 50s60s era which is one of the best era's of music with artist who helped pioneer the source of great sound in the music industry. I would like to dedicate the show to Ms. Mary Wilson the Co-Founder of the Supremes. Motown girl group staring act extraordinaire of the 60s and one of the best groups that most often helped others to perfect and personify their methodology of stage performance and singing in girl group's. The original members of The Primettes, all from from the Brewster-Douglass public housing project in Detroit, were Florence Ballard, Mary Wilson, Diana Ross, and Betty McGlown. Tonight we honor the sound of the 50s and 60s with Motown artist and other artist that encompassed the era. Artist include: Diana Ross & Marvin Gaye, Tammi Terrell, Michael Jackson, Martha Reeves & The Vandellas, Mary Wells, Ike & Tina Turner, The Temptations, Smokey Robinson & The Miracles, The Supremes, The Shirelles, The Chiffons, Frankie Valli, Lou Rawls, Fabian, Dee Dee Sharp, The Larks, Aretha Franklin, Bobby Darin, Jackie Wilson, Ray Charles, Trini Lopez, Ben E King, Otis Redding, Fabian The Miracles. Groove with us today later tis week with some soft rock-rock-a little rnb & hip hop from the past. Thank you for joining us. 50s60s70s80s-Classic-Radio Episode 1
Paul and Andy are joined by Tartan Army foot-soldier Ally Ross, Irish Sunday Times journalist Mark Tighe, squad number nine Martin Kelner and TV reviewer for The Star Mike Ward. See acast.com/privacy for privacy and opt-out information.
In this episode, Barney & Jasper welcome the legendary Alan McGee into RBP's virtual cupboard. The Creation Records founder talks us through his storied career, from his school days in Glasgow to the Creation 23 label of the 21st century. Reminiscing about the early '80s Living Room gigs he put on in London, Alan describes the signings of Oasis, the Jesus and Mary Chain another great Creation acts. He also explains how Primal Scream got from Sonic Flower Groove to Screamadelica; how he almost signed Teenage Fanclub's idol Alex Chilton; how My Bloody Valentine's Loveless did (or didn't) almost bankrupt his & Dick Green's baby; and how appalled Sony were by Kevin Rowland's My Beauty album after the company acquired 49% of Creation's shares in 1992.Slightly cheekily, RBP's co-hosts then force Alan to listen to clips from a 2007 audio interview with Alex James of Oasis's Britpop nemesis Blur — except it turns out he never really hated those soft southern Sassenachs in the first place: it was all the Gallaghers' fault. Quel surprise…After paying their respects to fallen pop heroes Wayne Fontana, Trini Lopez and Seeds guitarist Jan Savage, Barney & Jasper talk through their highlights of the week's new "library load ". These include Lillian Roxon's 1966 report on "Music City USA" (i.e. Nashville); Michael Goldberg's 1983 report on MTV's exclusion of Black music videos; Joni Mitchell bellyaching in 1981 about being "written out of rock history"; a breathless 2002 review of Scandi garage rockers the Hives live at London's Astoria, and a riveting Aphex Twin interview from 2003…Pieces discussed: Creation, Creationer, Creationest, Jesus & Mary Chain, Vile Evil from East Kilbride, Primal Scream, Blur's Alex James audio, Wayne Fontana, Trini Lopez, The Seeds' Jan Savage, Death Discs, Nashville, Wizzard, Patti Smith, MTV, Joni Mitchell, Cleveland punk, Jerry Ragovoy, The Hives, Aphex Twin and Beyoncé.This show is part of Pantheon Podcasts.
In this episode, Barney & Jasper welcome the legendary Alan McGee into RBP's virtual cupboard. The Creation Records founder talks us through his storied career, from his school days in Glasgow to the Creation 23 label of the 21st century. Reminiscing about the early '80s Living Room gigs he put on in London, Alan describes the signings of Oasis, the Jesus and Mary Chain another great Creation acts. He also explains how Primal Scream got from Sonic Flower Groove to Screamadelica; how he almost signed Teenage Fanclub's idol Alex Chilton; how My Bloody Valentine's Loveless did (or didn't) almost bankrupt his & Dick Green's baby; and how appalled Sony were by Kevin Rowland's My Beauty album after the company acquired 49% of Creation's shares in 1992.Slightly cheekily, RBP's co-hosts then force Alan to listen to clips from a 2007 audio interview with Alex James of Oasis's Britpop nemesis Blur — except it turns out he never really hated those soft southern Sassenachs in the first place: it was all the Gallaghers' fault. Quel surprise…After paying their respects to fallen pop heroes Wayne Fontana, Trini Lopez and Seeds guitarist Jan Savage, Barney & Jasper talk through their highlights of the week's new "library load ". These include Lillian Roxon's 1966 report on "Music City USA" (i.e. Nashville); Michael Goldberg's 1983 report on MTV's exclusion of Black music videos; Joni Mitchell bellyaching in 1981 about being "written out of rock history"; a breathless 2002 review of Scandi garage rockers the Hives live at London's Astoria, and a riveting Aphex Twin interview from 2003…Pieces discussed: Creation, Creationer, Creationest, Jesus & Mary Chain, Vile Evil from East Kilbride, Primal Scream, Blur's Alex James audio, Wayne Fontana, Trini Lopez, The Seeds' Jan Savage, Death Discs, Nashville, Wizzard, Patti Smith, MTV, Joni Mitchell, Cleveland punk, Jerry Ragovoy, The Hives, Aphex Twin and Beyoncé.
Mike sits down with Dallas native Henry Munoz, Pianist, and Entertainer who also owns Munoz Sign Company. Henry has played at some of Dallas' most iconic night clubs and restaurants for over 60 years. The 80-year-old Munoz will discuss everything from his early childhood growing up in a segregated Dallas, working at the Carousel Club for Jack Ruby, his thoughts about the Kennedy Assassination, working in the movies and writing commercial jingles, politics, remembering other entertainers like Trini Lopez and how he met his wife of over sixty years Gloria. He performs Sinatra, Tony Bennett, and other classic American standards but also is known for his up-tempo Latin music. Mr. Munoz currently performs weekly at III Forks in North Dallas and Table 13 in Addison. You will love Henry's insights about today's music and Mike's heartfelt interview with this Dallas icon.
Mike sits down with Dallas native Henry Munoz, Pianist, and Entertainer who also owns Munoz Sign Company. Henry has played at some of Dallas' most iconic night clubs and restaurants for over 60 years. The 80-year-old Munoz will discuss everything from his early childhood growing up in a segregated Dallas, working at the Carousel Club for Jack Ruby, his thoughts about the Kennedy Assassination, working in the movies and writing commercial jingles, politics, remembering other entertainers like Trini Lopez and how he met his wife of over sixty years Gloria. He performs Sinatra, Tony Bennett and other classic American standards but also is known for his up tempo Latin music. Mr. Munoz currently performs weekly at III Forks in North Dallas and Table 13 in Addison. You will love Henry's insights about today's music and Mike's heartfelt interview with this Dallas icon.
Ouça os destaques do Caderno 2 desta segunda-feira (16/09/19)See omnystudio.com/listener for privacy information.
We look at the shifting political winds........Willie Brown warns Democrats.....Jimmy Kimmel and Trump jokes.....Washington Post reporting that GOP intensity may have been understated.......George Wallace shot in 1972......Nolan Ryan 1973....Happy # 81 Trini Lopez......Happy #65 George Brett.....and others stories............. Please check our blog or follow me on Twitter. Check Carlos Guedes' schedule this week in Dallas
Frank Vincent is an acclaimed actor, musician, comedian, author and producer. He was born in North Adams, Massachusetts of first generation Italian-Americans and raised in the Greenville section of Jersey City, New Jersey. Frank's father, an amateur actor, introduced him to show business at an early age. Frank acted in school plays and studied music at St. Paul's grammar school. He played piano, trumpet and drums, but his love for the drums soon took center stage. Frank spent his adolescence playing and traveling with various national championship drum and bugle corps. This passion evolved into playing in small combos at various nightclubs. He then met record producer Bill Ramal who became his musical mentor. In time, he became a successful recording drummer for such prominent names as Don Costa, Paul Anka, Del Shannon, Trini Lopez and the Belmonts. He found himself playing 5-6 nights a week and recording 3-4 days a week. His insatiable desire for performing soon came to the forefront and his drum playing became secondary. At this pace, he developed a stage personality and learned the meaning of comedic timing and discipline, which would soon lend itself to his acting career. In 1975, Frank made his feature film acting debut in Ralph DeVito's "Death Collector". Martin Scorsese saw his work and cast him in the 1980 Academy Award-nominated film of the decade, "Raging Bull"... From that point until the present day, Frank has appeared in numerous television shows, music videos and over fifty feature films. Frank has demonstrated the ultimate degree of versatility as an actor from his Raging Bull's arrogant "Salvi", to his Do The Right Thing's soaking wet "Charlie", Jungle Fevers racist "Mike Tucci", Casino's suave "Frankie Marino" and his "Go home and get your shine box" Goodfella "Billy Batts"... Frank has worked with some of the greatest directors of our time, notably Martin Scorsese, Brian De Palma, Spike Lee, John Sayles, Andrew Bergman and Sydney Lumet... He has acted with such greats as Robert De Niro, Joe Pesci, Bruce Willis, Demi Moore, Richard Dreyfuss, Anthony Quinn, Sharon Stone, Adrien Brody and Sylvester Stallone, among others... His voice is featured in the multi-million dollar PlayStation game series Grand Theft Auto as "Don Salvatore Leone" as well as in DreamWorks' hit animated film "Shark Tale"... Frank is also the spokesperson for "Permanent TSB," one of the largest banks in Ireland... In addition, his career has taken him from recording with great musical legends to working on music videos with such names as Bruce Hornsby, Hype Williams, Nas, DMX, Method Man and T-Boz. Most recently, Frank starred as feared New York mob boss "Phil Leotardo" on HBO's epic series The Sopranos. Leotardo's simmering vendetta with "Tony Soprano" brought exhilarating excitement to millions of viewers week-after-week... Frank also penned a top-selling book entitled, "A Guy's Guide to Being A Man's Man," which was published by Penguin Putnam. GQ Magazine said, "It's awesome!"... Frank also recently starred as the lead in the upcoming movie, "Chicago Overcoat". Fans are sure to be pleased with Frank's riveting performance as an aging hit man who comes back for one last score. Over the years, Frank has received many awards for his various achievements on and off the screen. In 2002, he was awarded a Lifetime Achievement Award presented by the Back East Picture Show at the Hoboken Film Festival. That same year he received the Italian-American Entertainer of the Year Award presented by the Italian Tribune. In 2005, he received the Lifetime Achievement Award from the Garden State Film Festival. In 2006, Frank received the Honorary Branford Fellow from Branford College, Yale University. That same year he received a Best Supporting Actor Award for the film "Remedy" at the International Film and Screenplay Festival. Frank was a cast member when The Sopranos received the Emmy Award in 2007. In 2008, Frank received the coveted SAG Award for Outstanding Performance by an Ensemble in a Drama Series for The Sopranos. Frank currently resides in New Jersey and Florida, and has many film and television projects in the works.
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