Podcasts about vini poncia

This week Tom & Zeus review the 1979 polarizing KISS album, "Dynasty." This was KISS' 7th studio album and the 21st KISS studio album reviewed by SIOL. Dynasty was the first studio album since Love Gun in 1977. This was the longest time between studio albums for KISS. It was the last studio to feature all original members until Psycho Circus in 1998. The album was produced by Vini Poncia, who Peter Criss demanded and had previously produced Peter's 1978 solo album. The band was definitely changing. Super KISS had been formed. The band wore flashier outfits with capes and became more comic book-like. They experimented with more pop and yes, even disco, with their huge international smash, "I Was Made For Lovin' You, written with this new upcoming songwriter, Desmond Child. Producer Vini Poncia was instrumental in this new sound, however the band did write some of their best songs, like the brilliant, "Sure Know Something." Yes brilliant! However, this departure in sound and style alienated a lot of the KISS Army. The album also featured all four members sing at least on song, just as they did on Love Gun. However, this album featured Ace Frehley on three songs, by far his most. Gene Simmons only sang on only two. The album also featured ghost player, Anton Fig on drums. Peter Criss only played drums on his song, "Dirty Livin'." The album cover was the iconic photo of the four faces of the band. The inside photo of the band in black also became legendary. As usual the guys breakdown and analyze the tracks and rank the songs SIOL style. As always, they then compare the album and album cover and rank it against the previous studio albums reviewed. So tune in to another must listen to SIOL album review. For all things Shout It Out Loudcast check out our amazing website by clicking below:   www.ShoutItOutLoudcast.com   Interested in more Shout It Out Loudcast content? Care to help us out? Come join us on Patreon by clicking below:   SIOL Patreon   Get all your Shout It Out Loudcast Merchandise by clicking below:   Shout It Out Loudcast Merchandise at AMAZON   Shop At Our Amazon Store by clicking below: Shout It Out Loudcast Amazon Store   Please Email us comments or suggestions by clicking below: ShoutItOutLoudcast@Gmail.com   Please subscribe to us and give us a 5 Star (Child) review on the following places below: iTunes Podchaser Stitcher iHeart Radio Spotify   Please follow us and like our social media pages clicking below: Twitter Facebook Page Facebook Group Page Shout It Out Loudcasters Instagram YouTube   Proud Member of the Pantheon Podcast click below to see the website: Pantheon Podcast Network Learn more about your ad choices. Visit megaphone.fm/adchoices

This week Tom & Zeus review the 1979 polarizing KISS album, "Dynasty." This was KISS' 7th studio album and the 21st KISS studio album reviewed by SIOL. Dynasty was the first studio album since Love Gun in 1977. This was longest time between studio albums for KISS. It was the last studio to feature all original members until Psycho Circus in 1998. The album was produced by Vini Poncia, who Peter Criss demanded and had previously produced Peter's 1978 solo album. The band was definitely changing. Super KISS had been formed. The band wore flashier outfits with capes and became more comic book-like. They experimented with more pop and yes, even disco, with their huge international smash, "I Was Made For Lovin' You, written with this new upcoming songwriter, Desmond Child. Producer Vini Poncia was instrumental in this new sound, however the band did write some of their best songs, like the brilliant, "Sure Know Something." Yes brilliant! However, this departure in sound and style alienated a lot of the KISS Army. The album also featured all four members sing at least on song, just as they did on Love Gun. However, this album featured Ace Frehley on three songs, by far his most. Gene Simmons only sang on only two. The album also featured ghost player, Anton Fig on drums. Peter Criss only played drums on his song, "Dirty Livin'." The album cover was the iconic photo of the four faces of the band. The inside photo of the band in black also became legendary. As usual the guys breakdown and analyze the tracks and rank the songs SIOL style. As always, they then compare the album and album cover and rank it against the previous studio albums reviewed. So tune in to another must listen to SIOL album review. For all things Shout It Out Loudcast check out our amazing website by clicking below:   www.ShoutItOutLoudcast.com   Interested in more Shout It Out Loudcast content? Care to help us out? Come join us on Patreon by clicking below:   SIOL Patreon   Get all your Shout It Out Loudcast Merchandise by clicking below:   Shout It Out Loudcast Merchandise at AMAZON   Shop At Our Amazon Store by clicking below: Shout It Out Loudcast Amazon Store   Please Email us comments or suggestions by clicking below: ShoutItOutLoudcast@Gmail.com   Please subscribe to us and give us a 5 Star (Child) review on the following places below: iTunes Podchaser Stitcher iHeart Radio Spotify   Please follow us and like our social media pages clicking below: Twitter Facebook Page Facebook Group Page Shout It Out Loudcasters Instagram YouTube   Proud Member of the Pantheon Podcast click below to see the website: Pantheon Podcast Network Learn more about your ad choices. Visit megaphone.fm/adchoices

The record is flipped as we travel through "Devil Woman", the how's why's and extended versions of "Six O'Clock", right through to a bit more of the legend of Jack Nitzsche, Klaus Voorman, Vini Poncia, David Hentschel and the inimitable Ringo Starr.    We'd like to thank you for making that little bit of plastic.  

This week Tom & Zeus breakdown, discuss and rank all the Producers of the KISS albums. Bob Ezrin, Ron Nevison and Eddie Kramer are not just well known producers in the KISS Army but in all of music. What about the other producers of the KISS studio albums, Michael James Jackson, Vini Poncia and more? Well Tom & Zeus break down the 14 separate producers of the KISS studio albums (1978 solo albums included) and discuss each of their albums. They breakdown the pros and cons of their efforts. As SIOL always does, the guys then rank the 14 producers and debate their merits. Be sure to catch the beginning of the episode and hear about the possible SIOL Xmas merchandise and toys. Look out there's also a new "IT" couple looking to take the throne of SIOL's favorite handsome couple! For all things Shout It Out Loudcast check out our amazing website by clicking below:   www.ShoutItOutLoudcast.com   Interested in more Shout It Out Loudcast content? Care to help us out? Come join us on Patreon by clicking below:   SIOL Patreon   Get all your Shout It Out Loudcast Merchandise by clicking below:   Shout It Out Loudcast Merchandise at AMAZON   Shop At Our Amazon Store by clicking below: Shout It Out Loudcast Amazon Store   Please Email us comments or suggestions by clicking below: ShoutItOutLoudcast@Gmail.com   Please subscribe to us and give us a 5 Star (Child) review on the following places below: iTunes Podchaser Stitcher iHeart Radio Spotify   Please follow us and like our social media pages clicking below: Twitter Facebook Page Facebook Group Page Shout It Out Loudcasters Instagram YouTube   Proud Member of the Pantheon Podcast click below to see the website: Pantheon Podcast Network Learn more about your ad choices. Visit megaphone.fm/adchoices

This week Tom & Zeus breakdown, discuss and rank all the Producers of the KISS albums. Bob Ezrin, Ron Nevison and Eddie Kramer are not just well known producers in the KISS Army but in all of music. What about the other producers of the KISS studio albums, Michael James Jackson, Vini Poncia and more? Well Tom & Zeus break down the 14 separate producers of the KISS studio albums (1978 solo albums included) and discuss each of their albums. They breakdown the pros and cons of their efforts. As SIOL always does, the guys then rank the 14 producers and debate their merits. Be sure to catch the beginning of the episode and hear about the possible SIOL Xmas merchandise and toys. Look out there's also a new "IT" couple looking to take the throne of SIOL's favorite handsome couple! For all things Shout It Out Loudcast check out our amazing website by clicking below:   www.ShoutItOutLoudcast.com   Interested in more Shout It Out Loudcast content? Care to help us out? Come join us on Patreon by clicking below:   SIOL Patreon   Get all your Shout It Out Loudcast Merchandise by clicking below:   Shout It Out Loudcast Merchandise at AMAZON   Shop At Our Amazon Store by clicking below: Shout It Out Loudcast Amazon Store   Please Email us comments or suggestions by clicking below: ShoutItOutLoudcast@Gmail.com   Please subscribe to us and give us a 5 Star (Child) review on the following places below: iTunes Podchaser Stitcher iHeart Radio Spotify   Please follow us and like our social media pages clicking below: Twitter Facebook Page Facebook Group Page Shout It Out Loudcasters Instagram YouTube   Proud Member of the Pantheon Podcast click below to see the website: Pantheon Podcast Network Learn more about your ad choices. Visit megaphone.fm/adchoices

Peter Criss es el primer álbum de estudio de Peter Criss, batería y vocalista de la banda de hard rock estadounidense Kiss.nota 1​ Salió a la venta el 18 de septiembre de 1978 a través de Casablanca Records, al igual que los debuts en solitario de sus tres compañeros en el grupo: Ace Frehley, Gene Simmons y Paul Stanley. Antes de comenzar la grabación, el músico sufrió un accidente automovilístico que le impidió tocar la batería en algunas de las canciones, además tuvo problemas para encontrar un productor hasta la llegada de Vini Poncia. Peter Criss, a diferencia de los otros tres trabajos, se distanció del sonido de Kiss debido al interés del batería por explorar sus raíces musicales como el R&B y el soul, cuyo alejamiento del hard rock provocó que fuera el menos vendido de los cuatro. A pesar de la consecución de un disco de platino de la RIAA, fue el único que no alcanzó el top 40 del Billboard 200 y solo llegó al puesto 43. Respecto a su recepción crítica, recibió principalmente reseñas negativas y con el paso del tiempo, varias pubicaciones lo han situado como uno de los peores de la discografía de Kiss. Ace Frehley es un álbum de 1978 lanzado por el guitarrista líder de la banda de hard rock estadounidense Kiss. Es uno de cuatro álbumes solistas lanzados por los miembros de Kiss el 18 de septiembre de 1978. Los otros álbumes fueron lanzados por Paul Stanley, Gene Simmons y Peter Criss. La canción "New York Groove", compuesta por Russ Ballard, alcanzó el puesto #13 en las listas de éxitos estadounidenses, la posición más alta para Kiss desde "Beth" en 1976, incluida en el disco Destroyer, hasta la canción "I Was Made For Loving You", un año después (#11). El propio álbum alcanzó el lugar #26 en las listas estadounidenses, y el certificado de Platino el 28 de septiembre de 1978, cuando vendió 1 000 000 de copias.1​ De los 4 álbumes en solitario de los miembros de Kiss, este fue el que obtuvo más popularidad entre sus fanáticos. Gene Simmons es el primer álbum de estudio de Gene Simmons, bajista y vocalista de la banda de hard rock estadounidense Kiss.nota 1​ Salió a la venta el 18 de septiembre de 1978 a través de Casablanca Records, al igual que los debuts en solitario de sus tres compañeros en el grupo, Ace Frehley, Peter Criss y Paul Stanley. El músico, que realizó las labores de producción junto a Sean Delaney, grabó la mayoría de las pistas básicas en Reino Unido antes de regresar a los Estados Unidos, donde contó con la participación de Donna Summer, Joe Perry, Bob Seger, Rick Nielsen, Janis Ian o Cher, entre otros. Simmons decidió mostrar otras de sus facetas como artista y decidió tocar la guitarra en lugar del bajo, escribir canciones al estilo de The Beatles y versionar el tema principal de la película Pinocho (1940). El disco llegó hasta el puesto 21 del Billboard 200, mejor que los conseguidos por los trabajos de sus tres compañeros y al igual que estos, recibió una certificación de platino de la RIAA. Respecto a la opinión de la crítica, las reseñas obtenidas fueron divididas, aunque la mayoría coincidieron en criticar la interpretación de «When You Wish upon a Star». Paul Stanley es un álbum de estudio del guitarrista de la banda estadounidense Kiss, publicado en 1978.​ Es uno de los cuatro álbumes en solitario lanzados por los miembros de Kiss el 18 de septiembre de 1978, junto a los de Gene Simmons, Peter Criss y Ace Frehley. El álbum alcanzó el lugar #40 en las listas estadounidenses. Alcanzó el certificado de Platino el 2 de octubre de 1978, al vender un millón de copias.

This week Tom & Zeus review the 1978 Peter Criss solo album by KISS. This is the 4th and final 1978 KISS solo album to be reviewed by Shout It Out Loudcast. This is the 18th KISS studio album reviewed by SIOL.  Produced by future KISS producer, Vini Poncia, this was the most maligned and non-KISS album of the four solo albums. Peter was bold and chose to do an album that he wanted to do and went back to his roots and released an album filled with old school rock, soul and R&B flavored songs, along with a few ballads as well. The album also featured the first disco flavored song by KISS. Many of the songs penned by Peter and his writing partner, Stan Penridge were songs from Peter's older band Lips. A couple were written by fifth member of KISS, Sean Delaney and another was classic rock and roll cover song. The musicians used for the album were top notch session players, filled with piano and horns as well. As usual the guys breakdown and analyze the tracks and rank the songs SIOL style. As always, they then compare the album and album cover and rank it against the previous studio albums reviewed. See if Zeus' love for Peter blinds him when he ranks this album, see if Tom is a fan of disco Peter and find out why Ace is fan of Panera bread!  For all things Shout It Out Loudcast check out our amazing website by clicking below: www.ShoutItOutLoudcast.com Interested in more Shout It Out Loudcast content?  Care to help us out?  Come join us on Patreon by clicking below: SIOL Patreon Shop At Our Amazon Store by clicking below: Shout It Out Loudcast Amazon Store Please go to Klick Tee Shop for all your Shout It Out Loudcast Merchandise by clicking below:SIOL Merchandise at Klick Tee Shop Please Email us comments or suggestions by clicking below:ShoutItOutLoudcast@Gmail.com Please subscribe to us and give us a 5 Star (Child) review on the following places below:iTunesPodchaserStitcheriHeart RadioSpotify  Please follow us and like our social media pages clicking below:TwitterFacebook PageFacebook Group Page Shout It Out LoudcastersInstagramYouTube Please check out our sponsor AB CPA, Inc. for all your accounting and tax needs by clicking below:AB CPA, Inc. Proud Member of the Pantheon Podcast click below to see the website:Pantheon Podcast Network

This week Tom & Zeus review the 1978 Peter Criss solo album by KISS. This is the 4th and final 1978 KISS solo album to be reviewed by Shout It Out Loudcast. This is the 18th KISS studio album reviewed by SIOL.  Produced by future KISS producer, Vini Poncia, this was the most maligned and non-KISS album of the four solo albums. Peter was bold and chose to do an album that he wanted to do and went back to his roots and released an album filled with old school rock, soul and R&B flavored songs, along with a few ballads as well. The album also featured the first disco flavored song by KISS. Many of the songs penned by Peter and his writing partner, Stan Penridge were songs from Peter's older band Lips. A couple were written by fifth member of KISS, Sean Delaney and another was classic rock and roll cover song. The musicians used for the album were top notch session players, filled with piano and horns as well. As usual the guys breakdown and analyze the tracks and rank the songs SIOL style. As always, they then compare the album and album cover and rank it against the previous studio albums reviewed. See if Zeus' love for Peter blinds him when he ranks this album, see if Tom is a fan of disco Peter and find out why Ace is fan of Panera bread!  For all things Shout It Out Loudcast check out our amazing website by clicking below: www.ShoutItOutLoudcast.com Interested in more Shout It Out Loudcast content?  Care to help us out?  Come join us on Patreon by clicking below: SIOL Patreon Shop At Our Amazon Store by clicking below: Shout It Out Loudcast Amazon Store Please go to Klick Tee Shop for all your Shout It Out Loudcast Merchandise by clicking below:SIOL Merchandise at Klick Tee Shop Please Email us comments or suggestions by clicking below:ShoutItOutLoudcast@Gmail.com Please subscribe to us and give us a 5 Star (Child) review on the following places below:iTunesPodchaserStitcheriHeart RadioSpotify  Please follow us and like our social media pages clicking below:TwitterFacebook PageFacebook Group Page Shout It Out LoudcastersInstagramYouTube Please check out our sponsor AB CPA, Inc. for all your accounting and tax needs by clicking below:AB CPA, Inc. Proud Member of the Pantheon Podcast click below to see the website:Pantheon Podcast Network

Leo Sayer, Ray Parker Jr., and Vini Poncia.

Þegar árið 1980 gekk í garð fóru okkar menn að vinna sína næstu plötu sem yrði þá fyrsta platan án allra fjögurra meðlima sveitarinnar. Þarna var Peter hættur í KISS og sló því ekki högg á plötunni og söng ekki eitt einasta lag. Meðlimir voru hér nokkuð hræddir við hvað aðdáendur myndu segja ef þeir vissu að einn af þeim væri hættur og fóru þeir því með þetta eins og mannsmorð, enginn mátti vita að fjarveru Peters. Þetta var jú í fyrsta skiptið sem mannabreytingar voru að eiga sér stað í KISS, en svo sannarlega ekki það síðasta. Anton Fig (eða Figgarinn frægi) fékk það starf að tromma plötuna en Peter var þó skráður fyrir trommuleiknum og prýddi framhlið plötunnar ásamt öðrum meðlimum sveitarinnar. Reyndar var það þó vel ljóst að endirinn var í aðsigi hjá Ace líka, en hann hékk þó aðeins lengur á vagninum. Þó kom hann ekki að öllum lögum þessarar næstu plötu þeirra og var þá restin af gítarleiknum í höndum Paul, Gene og Bob Kulick. Upptökustjórinn Vini Poncia sem þótti skila fínu starfi á plötunni Dynasty ári áður var fenginn aftur til að taka þá upp. Aftur tóku okkar menn upp plötu sem fikrast meira í átt að poppinu fremur en rokkinu en í takt við ákveðin tíðaranda þessa tíma. Að einhverjum ástæðum héldu KISS að poppið væri eitthvað sem þeir þyrftu að halla sér að á meðan bönd eins og AC/DC og Van Halen tættu í sig vinsældarlistana. Kannski voru það mikil mistök en þessi plata varð fyrsta platan síðan „Dressed to Kill“ kom út sem ekki fór í platínum-sölu, heldur náði hún „aðeins“ í gull þann 30.júlí 1980. Engu að síður þá kom þessi plata út þann 20. maí 1980 og náði hún bara í 35. sæti Billboard vinsældarlistans í Bandaríkjunum. KISS voru opinberlega ekki lengur konungar Bandaríska tónlistarmarkaðarins. Þó er það ekki þar með sagt platan Unmasked, sem hér um ræðir, hafi verið hafnað út um allan heim. Hreint alls ekki, því sem dæmi þá elskuðu Ástralskir aðdáendur hreinlega þessa plötu og var þetta sennilegast platan sem gerðu KISS endanlega að guðum þar í landi með brjálæði sem samsvaraði Bítlaæðinu. Sem dæmi varð lagið Shandi mikill hittari þar í landi á sama tíma og ekkert lag af plötunni varð að hittara í heimalandinu. Túrinn sem farið var á var fyrsti túrinn hans Eika Carr með KISS og fór hann allur fram í Evrópu, Ástralíu og Nýja-Sjálandi ef frá er talið einir tónleikar í New York, sem voru þeir fyrstu á Unmasked túrnum. Í þessum þætti sem margir hafa beðið spenntir eftir kíkjum við betur á Unmasked. See acast.com/privacy for privacy and opt-out information.

Tre dåvarande och nuvarande Kiss Army presidenter i ett och samma program.. och ett orakel, som samtalar om att slutet är nära. Dagens ämnen vi har berört Finsk grammatik, Kiss biljetter, kvinnliga lyssnare, Kiss i Jäähalli, Raija & Janne, Wasp, Kiss cruises, Ghost, Sparks, Village People, Pride 2019, The Kings of Disco, Marie & Johan, Life in the Woods, Kiss Nerds of Sweden, Johan Wallin, Johan Wallins Crazy Nights, Tummar upp och ned, KISS Off The Soundboard: Donnington 1996, Alex Bergdahls publik, KISS Off The Soundboard: Tokyo 2001, färgad eller svart vinyl, bildskivor, Greatest Hits bildskivor 500 ex för 200 USD, Vinnie Vincent piratkopierade "Creatures of the Night", KISS museum, Vinnie Vincent, CreaturesFest, Johan Carlen, Niclas Olsson, Cynthia Albrighton, Plaster Caster, Jimi Hendrix, Eric Burton (Animals), Rammstein, "avgjutningar", Två sminkade Spaceman, Ace Frehley live 2022, Gene Simmons band, Paul Stanley nya Chevy, Sydamerika, Queen Isstadion 1982, Kiss Globen 1996, Bruce Kulick, KISS 80-talet, Alex Bergdahl, Peter Criss, Vini Poncia, Niklas Olsson, Kiss i Sverige 2022, Tidningen Destroyer, flest sedda KISS-konserter, Johan Kihlbergs Impera, Klicktrack, Ali Lundbohm, Rolf Wikströms hjärtslag, A Vikings KISS, Bliss, Velvet Insane, Carr Jam -21. Några länkar i "Let Me Know" Bernts Village People filmer: https://music.youtube.com/search?q=Bernt+månsson+Village+people The Kings of Disco: https://globaltouringandpromotion.com/index.php/portfolio/kings-disco När Bernt kom ut ur KISS ångest-garderoben: https://youtu.be/I1ZMzjodMt8 Ace Frehley och massor med färgad vinyl: Se tidningen Destoryer 53. Rammstein's avgjutningar: https://www.youtube.com/watch?v=PvweZ5wMFCo Kiss i Bueno Aires 2022: https://youtu.be/DXH3GN-91fg Alex Bergdahls föreläsning 2 juli i Helsingborg : https://www.bibliotekfh.se/sv/event/författarbesök-alex-bergdahl Releasefest "Den sista dynastin" 3 juni https://fb.me/e/1hoyebb7J

Vini Poncia  musician, songwriter and record producer.During the 1970s, Poncia became Ringo Starr's co-writer, and appeared on several of his solo albums:[3] Ringo (1973), Goodnight Vienna (1974), Ringo's Rotogravure (1976), Ringo the 4th (1977), and Bad Boy (1978).[4] He also produced albums for Melissa Manchester[3] and Lynda Carter's 1978 album Portrait. As a songwriter, he wrote songs for Jackie DeShannon, Martha Reeves, and Tommy James. Poncia is also listed as co-writer on "You Make Me Feel Like Dancing" with Leo Sayer. In 1978, he produced Peter Criss' 1978 solo album.[3] At Criss's prompting, Poncia was brought in to produce Kiss's 1979 album Dynasty and co-wrote their hit song "I Was Made for Lovin' You" from that album.**************************************************** The New Website ➜ https://www.adikalive.com/Merch Store ➜ https://adikalive.bigcartel.com/The Ultimate VIP ALL ACCESS BACKSTAGE PASSFull episodes can be seen in Patreon! Get exclusive content and entry into the vinyl games on Patreon: ➜ https://www.patreon.com/The_adika_group?fan_landing=trueYour Donation Helps Support your Favorite Show & Channel ➜ https://www.paypal.me/stephenadika1AMAZON WISHLIST ➜ https://www.amazon.com/hz/wishlist/ls/30GQNR69L9048?ref_=wl_shareCLICK TO SUBSCRIBE ➜  https://www.youtube.com/c/TheAdikaGroup?sub_confirmation=1Artists on Record |  ADIKA Live The PodcastApple ➜ https://podcasts.apple.com/us/podcast/coffee-talk-with-adika-live/id1529816802?uo=4Spotify ➜ https://open.spotify.com/show/2lXgg3NVdnU3LmXgCrgHwk iHeartRadio ➜ https://www.iheart.com/podcast/269-coffee-talk-with-adika-liv-71566693/*Follow ADIKA Live on Tik Tok: ➜https://vm.tiktok.com/TTPdMmEfFm/ADIKA Live on Twitter➜ https://twitter.com/TalkAdikaThank you for your support!_____________________________________________Artists On Record: https://m.facebook.com/profile.php?id=868952540607953&ref=content_filterTheme Song - Mark SlaughterWebsite:   https://www.markslaughter.com/Support the show (https://www.patreon.com/The_adika_group?fan_landing=true)

Í janúar 1979 eða um fjórum mánuðum eftir útkomu þeirra margumtöluðu sólóplatna í september 1978, hentu KISS sér aftur í stúdíóið til að hefja upptökur á sinni sjöundu hljóðversplötu. Sú plata átti að marka „ENDURKOMU KISS“ eða „THE RETURN OF KISS“ enda hafði ekki komið breiðskífa frá bandinu sem slíku síðan Love Gun kom út árið 1977. KISS áttu hér í alvarlegum vandræðum með Peter Criss en til að reyna að létta lundina hjá trommaranum sínum og jafnvel freista þess að heyra hann ekki hóta því að hætta í hljómsveitinni, réðu þeir Vini Poncia sem upptökustjóra í þetta skiptið, það var jú hann sem stýrði upptökunum á hinni frægu sólóplötu Peters þarna ári fyrr. Gene, Paul og Ace héldu að þar með væru þeir að gera hlutina eitthvað auðveldari...en svo var bara alls ekki! Blessaður kallinn. Ace hins vegar var fullur sjálfstrausts þegar hér er komið sögu. Gene og Paul voru líka meðvitaðir um að Ásinn væri í einhverskonar uppáhaldi meðal KISS aðdáenda og því létu þeir honum eftir ekki bara 1, og ekki 2, heldur 3 lög til að syngja á plötunni. Hallelujah! Í þessum þætti kíkjum við nánar á plötuna DYNASTY sem kom út í mai árið 1979. See acast.com/privacy for privacy and opt-out information.

Rockshow episode 144 The Making of the 4 KISS solo albums Ace Frehley is a 1978 solo album from Ace Frehley, the lead guitarist of American hard rock band Kiss. It was one of four Kiss solo albums released by Casablanca Records on September 18, 1978. Paul Stanley is a 1978 solo album from American musician Paul Stanley, the singer-songwriter being best known for serving as the rhythm guitarist and lead vocalist of hard rock band Kiss. It was one of four solo albums released by the members of Kiss on September 18, 1978, coming out alongside Peter Criss, Ace Frehley, and Gene Simmons. It is the only release out of the four Kiss solo albums to feature all original songs, as Simmons, Criss and Frehley each recorded one cover song on their albums. Peter Criss is the 1978 debut solo album by Peter Criss, the drummer of American hard rock band Kiss. It was one of four solo albums released by the members of Kiss on September 18, 1978.The album was produced by Vini Poncia, who went on to produce the Kiss albums Dynasty (1979) and Unmasked (1980). Criss covered "Tossin' and Turnin'", which was a No. 1 hit for Bobby Lewis in the U.S. during the summer of 1961.The song was subsequently covered by Kiss on their 1979 tour. Gene Simmons is a 1978 solo album by Gene Simmons, the bassist and co-vocalist of the American hard rock band Kiss. It was one of four solo albums released by the members of Kiss on September 18, 1978. Reaching number 22 on the US Billboard 200 albums chart, it was the highest-placing of all the four Kiss solo albums. Mainly a hard rock album, it also features choirs and string arrangements on some songs, as well as incorporating various musical genres including Beatles-inspired pop, 1970s funk, and rock and roll. https://consequence.net/2018/09/releasing-four-solo-albums-in-one-day-marked-the-beginning-of-the-end-for-kiss/amp/ https://norselandsrock.com/kiss-solo-albums-1978/ https://spinditty.com/genres/KISS-The-1978-Solo-Albums-Review Please follow us on Youtube,Facebook,Instagram,Twitter,Patreon and at www.gettinglumpedup.com https://linktr.ee/RobRossi Get your T-shirt at https://www.prowrestlingtees.com/gettinglumpedup And https://www.bonfire.com/store/getting-lumped-up/ https://app.hashtag.expert/?fpr=roberto-rossi80 https://dc2bfnt-peyeewd4slt50d2x1b.hop.clickbank.net https://8bcded2xph1jdsb8mqp8th3y0n.hop.clickbank.net/?cbpage=nb Subscribe to the channel and hit the like button --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/rob-rossi/support https://itunes.apple.com/us/podcast/getting-lumped-up-with-rob-rossi/id1448899708 https://open.spotify.com/show/00ZWLZaYqQlJji1QSoEz7a https://www.patreon.com/Gettinglumpedup #musicvideo #musicstudio #musiclover #musiclife #musicindustry #musiclovers #musiccover #musician #musicproducer #musicproduction #musicians #musicislife #musicartist #musicphotography #musicvideos #music --- Support this podcast: https://anchor.fm/rob-rossi/support

It's April, 1978, and Ringo Starr has a new album, a new TV special, and a new live performance in the works. First up the release of Starr's 7th post-Beatle LP, Bad Boy - a tighter, warmer departure from the previous year's effort Ringo The 4th. With highlight cuts like Hard Times, Heart On My Sleeve and Tonight, Ringo and producer (and longtime collaborator) Vini Poncia hoped to recapture the lightning in a bottle that was Ringo's self-titled 1973 effort -- but once again success proved elusive. Unlike former bandmate McCartney, whose solo work only grew in popularity since the demise of the fab four, Ringo's strong start was looking like diminishing returns by the later half of the 70's, and frustration was setting in. Ringo's self-titled TV special, released in conjunction with the Bad Boy album, was again a fun, fairly tight affair featuring co-stars such as the freshly white-hot Hollywood starlet Carrie Fischer. But like the album, Ringo's TV special came up short. Perhaps the biggest indicator of things to come from the entire project was a live concert performance filmed for the TV special - an "all star" cast if you will... See acast.com/privacy for privacy and opt-out information.

Í þessum 12 þætti förum við yfir meðlagahöfunda okkar manna. Þar erum við að tala um utanaðkomandi aðila eins og Desmond Child, Vini Poncia, Bob Ezrin og mun fleiri til, sem er ekki furða þar sem lögin eru fjölmörg. Við hringdum líka í "Dr. Love vikunnar" sem að þessu sinni er bassaleikari MEIK, sjálfur Eiður Arnarsson og fengum hans input í málefni vikunnar. See acast.com/privacy for privacy and opt-out information.

  Episode 110 of A History of Rock Music in Five Hundred Songs looks at “Be My Baby”, and at the career of the Ronettes and Ronnie Spector.  Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on “Little Saint Nick” by the Beach Boys. 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/ —-more—- Erratum I say Ray Peterson’s version of “Tell Laura I Love Her” was an American number one. It wasn’t — it only made number seven.   Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. A lot of resources were used for this episode. Be My Baby: How I Survived Mascara Miniskirts and Madness, or My Life as a Fabulous Ronette by Ronnie Spector and Vince Waldron is Ronnie’s autobiography and was the main source. Always Magic in the Air: The Bomp and Brilliance of the Brill Building Era by Ken Emerson is a good overview of the Brill Building scene, and provided me with the information on Barry and Greenwich. I’ve referred to two biographies of Spector in this episode, Phil Spector: Out of His Head by Richard Williams and He’s a Rebel by Mark Ribkowsky. And information on the Wrecking Crew largely comes from The Wrecking Crew by Kent Hartman. There are many compilations available with some of the hits Spector produced, but I recommend getting Back to Mono, a four-CD overview of his career containing all the major singles put out by Philles. If you want something just covering Ronnie Spector and the Ronettes, The Very Best of Ronnie Spector  covers all the Ronettes hits and the best of her solo career. And the AFM contract listing the musicians on “Be My Baby” can be found here.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we’re going to take a look at the record that, more than anything, ensured Phil Spector’s place in popular music history — a record that changed the lives of several people who heard it for the better, and changed the life of its singer for the worse, and one which has the most imitated drum intro in the world. We’re going to look at “Be My Baby” by the Ronettes: [Excerpt: The Ronettes, “Be My Baby”] Before I start this one, two things need saying. The first is that this episode, by necessity, deals with spousal abuse. As always, I will try to discuss the issue with sensitivity, and touch on it as briefly as possible, but if you worry that it might upset you, please either skip this episode, or read the transcript to see if you’ll be OK listening to it. I imagine that very few people will be upset by anything I say here, but it’s always a possibility. And secondly, I’d like to apologise for this episode being so late. I had a major disruption in my personal life over Christmas — one of those really bad life events that only happens once or twice in most people’s lifetimes — and that made it impossible for me to get any work done at all for the last couple of weeks. I’m now able to work again, and this should not be anything that affects the podcast for the rest of the year. Anyway, enough about that, let’s get on with the story. The story of the Ronettes begins when Ronnie Bennett, a mixed-race girl from Harlem, became obsessed with the sound of Frankie Lymon and the Teenagers: [Excerpt: Frankie Lymon and the Teenagers, “Why Do Fools Fall In Love?”] Ronnie became the Teenagers’ biggest fan, and even managed to arrange a meeting between herself and Lymon when they were both thirteen, but had her illusions torn away when he turned up drunk and made a pass at her. But that didn’t stop her from trying her best to imitate Lymon’s vocals, and forming a vocal group with several friends and relatives. That group had a male lead singer, but when they made their first appearance on one of the Harlem Apollo’s talent shows, the lead singer got stage fright and couldn’t start singing when he got on stage. Ronnie stepped forward and took over the lead vocal, and the group went down well enough even with the Apollo’s notoriously hostile audience that a smaller group of them decided to start performing regularly together. The group took the name Ronnie and the Relatives, and consisted of Ronnie, her sister Estelle, and their cousin Nedra Talley. They originally only performed at private parties, bar mitzvahs and the like, but they soon reached the attention of Stu Phillips at Colpix Records, a label owned by the film studio Columbia Pictures. The first single by Ronnie and the Relatives was not a success — “I Want a Boy” came out in August 1961 and didn’t chart: [Excerpt: Ronnie and the Relatives, “I Want a Boy”] And nor did their second, “I’m Gonna Quit While I’m Ahead”: [Excerpt: Ronnie and the Relatives, “I’m Gonna Quit While I’m Ahead”] Those records did apparently sell to at least one person, though, as when Ronnie met President Clinton in 1997, he asked her to sign a record, and specifically got her to sign an album of those early recordings for Colpix. While the girls were not having any commercial success, they did manage to accidentally get themselves a regular gig at the most important nightclub in New York. They went to the Peppermint Lounge, just as the Twist craze was at its height, and as they were underage they dressed up especially well in order to make themselves look more grown up so they could get in. Their ruse worked better than they expected. As they were all dressed the same, the club’s manager assumed they were the dancers he’d booked, who hadn’t shown up. He came out and told them to get on stage and start dancing, and so of course they did what he said, and started dancing to the Twist sounds of Joey Dee and the Starliters: [Excerpt: Joey Dee and the Starliters, “The Peppermint Twist”] The girls’ dancing went down well, and then the band started playing “What’d I Say?”, a favourite song of Ronnie’s and one the group did in their own act, and Ronnie danced over to David Brigati, who was singing lead on the song, and started dancing close to him. He handed her the mic as a joke, and she took over the song. They got a regular spot at the Peppermint Lounge, dancing behind the Starliters for their whole show and joining them on vocals for a few numbers every night. Inspired by the Bobbettes and the Marvelettes, Ronnie and Estelle’s mother suggested changing the group’s name. She suggested “the Rondettes”, and they dropped the “d”, becoming the Ronettes. The singles they released on ColPix under the new name did no better than the others, but they were such an important part of the Peppermint Lounge that when the Lounge’s owners opened a second venue in Florida, the girls went down there with the Starliters and were part of the show.  That trip to Florida gave them two very different experiences. The first was that they got to see segregation firsthand for the first time, and they didn’t like it — especially when they, as light-skinned mixed-race women, were read as tanned white women and served in restaurants which then refused to serve their darker-skinned mothers. But the second was far more positive. They met Murray the K, who since Alan Freed had been driven out of his job had become the most popular DJ in New York. Murray was down in Florida for a holiday, and was impressed enough by the girls’ dancing that he told them if they were ever in New York and wanted a spot on one of his regular shows at the Brooklyn Fox Theatre they should let him know. They replied that they lived in New York and went to those shows all the time — of course they wanted to perform on his shows. They became regular performers at the Brooklyn Fox, where they danced between the other, bigger, acts, sang backing vocals, did a song or two themselves, and took part in comedy sketches with Murray. It was at these shows, as well, that they developed the look they would become famous with — huge hair piled up on top of their heads, tons of mascara, and tight skirts slit to show their legs. It was a style inspired by street fashion rather than by what the other girl groups were wearing, and it made them incredibly popular with the Fox audience. But the Ronettes, even under their new name, and even with the backing of New York’s most prominent DJ, were still not selling any records. They knew they were good, and the reaction to their stage performances proved as much, so they decided that the problem must be with Colpix. And so in 1963 they made a New Year’s resolution — they were going to get Phil Spector to produce them.  By this time, Spector was becoming very well known in the music industry as a hit maker. We already saw in the recent episode on the Crystals how he was making hits for that group and the Blossoms, but he was also making hits with studio groups like Bob B. Soxx and the Blue Jeans, who he took into the top ten with a remake of the old Disney song “Zip-a-Dee-Doo-Dah”: [Excerpt: Bob B. Soxx and the Blue Jeans, “Zip-a-Dee-Doo-Dah”] and as well as the records he was putting out on Philles, he was also working as a freelance producer for people like Connie Francis, producing her top ten hit “Second-Hand Love”: [Excerpt: Connie Francis, “Second-Hand Love”] So the Ronettes were convinced that he could make them into the stars they knew they had the potential to be. The group had no idea how to get in touch with Spector, so they tried the direct route — Estelle called directory enquiries, got the number for Philles Records, and called and asked to be put through to Spector. She was as astonished as anyone when he agreed to talk to her — and it turned out that he’d seen the group regularly at the Brooklyn Fox and was interested in working with them.  At their audition for Spector, the group first performed a close-harmony version of “When the Red Red Robin Goes Bob-Bob-Bobbin’ Along”, which they’d been taught by their singing teacher. Spector told them that he wanted to hear what they did when they were singing for themselves, not for a teacher, and so Ronnie launched into “Why Do Fools Fall In Love?”  It only took her getting to the second line of the song before Spector yelled at her to stop — “THAT is the voice I’ve been looking for!” The Ronettes’ first recordings for Spector weren’t actually issued as by the Ronettes at all. To start with, he had them record a version of a song by the writing team of Jeff Barry and Ellie Greenwich, “Why Don’t They Let Us Fall In Love?”, but didn’t release it at the time. It was later released as by “Veronica”, the name under which he released solo records by Ronnie: [Excerpt: Veronica, “Why Don’t They Let Us Fall In Love?”] But at the time, when Ronnie asked him when the record was coming out, Spector answered “Never”. He explained to her that it was a good record, but it wasn’t a number one, and he was still working on their first number one record. Their next few recordings were covers of then-current dance hits, like “The Twist”: [Excerpt, “The Crystals”, “The Twist”] And “The Wah-Watusi”, one of the few times that one of the other Ronettes took the lead rather than Ronnie, as Nedra sang lead: [Excerpt, “The Crystals”, “The Wah-Watusi”] But these, and two other tracks, were released as album tracks on a Crystals album, credited to the Crystals rather than the Ronettes. The song that eventually became the group’s first hit, “Be My Baby”, was mostly written by one of the many husband-and-wife songwriting teams that had developed at the Brill Building, Jeff Barry and Ellie Greenwich. Barry had started out as a performer who occasionally wrote, putting out records like “It’s Called Rock and Roll”: [Excerpt: Jeff Barry, “It’s Called Rock and Roll”] But while his performing career had gone nowhere, he’d started to have some success as a songwriter, writing “Teenage Sonata” for Sam Cooke: [Excerpt: Sam Cooke, “Teenage Sonata”] And “Tell Laura I Love Her”, which was recorded by several people, but the biggest hit version was the American number one by Ray Peterson: [Excerpt: Ray Peterson, “Tell Laura I Love Her”] Ellie Greenwich had also started as a performer, recording “Silly Isn’t It?” under the name Ellie Gaye: [Excerpt: Ellie Gaye, “Silly, Isn’t It?”] She’d become one of the most important demo singers in New York, and had also started writing songs. She’d first collaborated with Doc Pomus, cowriting songs like “This is It”, which had been a flop single for Jay and the Americans: [Excerpt: Jay and the Americans, “This is It”] She’d then been taken on by Trio Music, Leiber and Stoller’s company, where she had largely collaborated with another writer named Tony Powers. Trio had first refusal on anything the two of them wrote, and if Leiber and Stoller didn’t like it, they could take the song elsewhere. Greenwich and Powers had their biggest successes with songs that Leiber and Stoller rejected, which they sold to Aaron Schroeder. And they’d started up a collaboration with Phil Spector — although Spector and Greenwich’s first meeting had not exactly gone smoothly. He’d gone into her office to hear her play a song that she thought would be suitable for the Paris Sisters, but had kept wandering out of the office, and had kept looking at himself in a mirror and primping himself rather than listen to her song. Eventually she said to him  “Listen to me, you little prick. Did you come to look at yourself or to hear my songs?”, and she didn’t make that sale. But later on, Spector became interested in a song she’d sold to Schroeder, and made an appointment to meet her and talk about her writing some stuff for him — that second meeting, which Spector didn’t realise was with someone he’d already made a bad impression on, Spector turned up four hours late.  But despite that, Greenwich and Powers wrote several songs for Spector, who was also given songwriting credit, and which became big hits in versions he produced — “(Today I Met) The Boy I’m Gonna Marry”, a single by Darlene Love: [Excerpt: Darlene Love, “(Today I Met) The Boy I’m Gonna Marry”] And “Why Do Lovers Break Each Others’ Hearts?”, released as by Bob B. Soxx and the Blue Jeans, but with Love once again on lead vocals: [Excerpt: Bob B. Soxx and the Blue Jeans, “Why Do Lovers Break Each Others’ Hearts?”] I say that Spector was also given songwriting credit on those records, because there is some debate about how much he contributed to the songs he’s credited on. Some of his co-writers have said that he would often only change a word or a phrase, and get himself cut in on an already-completed song, while others have said that he contributed a reasonable amount to the songwriting, though he was never the primary writer — for example Barry Mann has said that Spector came up with the middle section for “You’ve Lost That Lovin’ Feelin'”. I tend towards the belief that Spector’s contribution to the writing on those songs he’s co-credited on was minimal — in his whole career, the number of songs he wrote on his own seems to be in the single figures, while those other writers wrote dozens of hit records without any contribution from Spector — and so when I talk about records he produced I’ll tend to use phrasing like “a Goffin and King song co-credited to Phil Spector” rather than “a song by Goffin, King, and Spector”, but I don’t want that to give the impression that I’m certain Spector made no contribution.  But while Greenwich and Powers were a mildly successful team, their partnership ended when Greenwich met Jeff Barry at a family Thanksgiving dinner — Greenwich’s uncle was Barry’s cousin. As Greenwich later put it, when they started talking together about music and realised how much they had in common, “I went ‘ooh’, he went ‘mmmhh’, and his wife went ‘I don’t think I like this'”. Soon their previous partnerships, both romantic and musical, were over, and Jeff Barry and Ellie Greenwich became the third of the great Brill Building husband-and-wife songwriting teams.  Where Goffin and King had a sophisticated edge to their writing, with a hint of sexual subversion and the mingling of pain and pleasure, and Mann and Weill tried to incorporate social comment into their songs, Barry and Greenwich were happy to be silly — they were writing songs like “Hanky Panky”, “Da Doo Ron Ron”,  and “Doo Wah Diddy Diddy”: [Excerpt: Ellie Greenwich “Doo Wah Diddy Diddy (demo)”] This worked extremely well for them, to the extent that after they broke up a few years later, Barry would continue this formula with songs such as “Sugar Sugar”, “Jingle Jangle” and “Bang Shang A Lang”. Barry and Greenwich’s style was to jam in as many hooks as possible, maybe put in a joke or two, keep the lyrics simple, and get out in two minutes. Very few of their songs were masterpieces of songwriting, but they *were* absolutely perfect templates for masterpieces of production. It sounds like I’m damning them with faint praise, but I’m really not. There is a huge skill involved in what they were doing — if you’re writing some heartwrenching masterpiece about the human condition, people will forgive the odd lapse in craft, but if you’re writing “My baby does the hanky panky”, there’s no margin for error, and you’re not going to get forgiven if you mess it up.  Barry and Greenwich were good enough at this that they became the go-to writers for Spector for the next couple of years. He would record songs by most of the Brill Building teams, but when you think of the classic records Spector produced, they’re far more likely than not to be Barry and Greenwich songs — of the twenty-seven Philles singles released after Barry and Greenwich started writing together, fourteen are credited to Barry/Greenwich/Spector, and other than the joke release “Let’s Dance the Screw”, which we talked about back in the episode on the Crystals, there’s a run of eleven singles released on the label between late 1962 and early 1964 which are credited either as Greenwich/Powers/Spector or Barry/Greenwich/Spector. And so it was naturally to Barry and Greenwich that Spector turned to write the first big hit for the Ronettes — and he let Ronnie hear the writing session. By this time, Spector had become romantically involved with Ronnie, and he invited her into his apartment to sit in the next room and listen to them working on the song — usually they got together in hotels rather than at Spector’s home. While she was there, she found several pairs of women’s shoes — Spector hadn’t told her he was married, and claimed to her when she asked that they belonged to his sister. This should probably have been a sign of things to come. Assuming that Spector did contribute to the writing, I think it’s easy to tell what he brought to “Be My Baby”. If you listen to that Connie Francis record I excerpted earlier, on which Spector is also a credited co-writer, the melody line for the line “that you don’t feel the same” leading into the chorus: [Excerpt: Connie Francis, “Second-Hand Love”] is identical to the melody line leading into the chorus of “Be My Baby”: [Excerpt: The Ronettes, “Be My Baby”] So that transition between the verse and the chorus is likely his work. After rehearsing Ronnie for several weeks in New York, Spector flew her out to LA to make the record in Gold Star Studios, where she spent three days recording the lead vocals. The backing vocals weren’t provided by the other Ronettes, but rather by the Blossoms, with a few extra singers — notably Spector’s assistant Sonny Bono, and his new girlfriend Cher — but what really made the track was not the vocals — although the song was perfect for Ronnie — but Hal Blaine’s drum intro: [Excerpt: The Ronettes, “Be My Baby”] That intro was utterly simple — Blaine was always a minimalist player, someone who would play for the song rather than play fussy fills — but that simple part, combined with the powerful sound that the engineer Larry Levine got, was enough to make it one of the most memorable intros in rock music history. Brian Wilson of the Beach Boys talks to this day about how he had to pull over to the side of the road when he first heard it on his car radio, and he would listen to the record incessantly for hours at a time. Incidentally, since I’m talking about the musicians, a lot of sources credit Carol Kaye for playing the bass on this track, so I’m going to say something once, here, which should be taken as read whenever I’m talking about records made in LA in the sixties — Carol Kaye is not only an unreliable source about what records she played on, she is an utterly dishonest one. For those who don’t know, Ms. Kaye was one of the great bass players of the sixties, and also one of the better session guitarists. She played on hundreds of records in the sixties, including many, many, classics from the Beach Boys, Spector, Frank Zappa, and others, and she was the only woman getting regular session work in LA on a rock instrument — there may have been session orchestral musicians who were women, but when it comes to guitar, bass, drums, keyboards, sax, and so on, she was the only one. For that, she deserves a huge amount of credit. Unfortunately, she has never been happy only being credited for the records she actually played on, and insists she played on many, many, more. Some of this can be reasonably put down to lapses in memory more than fifty years later — if you’re playing two or three sessions a day, and you play on a bunch of Beach Boys records, then it’s easy enough to misremember having played on “Surfin’ USA” when maybe you played on a similar-sounding record, and there are things like her claiming to have played on “Good Vibrations”, where there were multiple sessions for that track, and it happened that the takes eventually used weren’t the ones where she was playing bass, but she had no way of knowing that. That’s completely forgivable. But Ms. Kaye also claims, with no evidence whatsoever on her side and a great deal of evidence against her, to have been responsible for playing almost the entire recorded works of James Jamerson, Motown’s main bass player, claiming tapes were secretly shipped from Detroit to LA — something that has been denied by every single person working at Motown, and which can be easily disproved just by listening to the tapes. She claims to have played the bass on “I’m a Believer” by the Monkees — a track recorded in New York, by New York musicians. And whenever anyone points out the falsehoods, rather than saying “I may have made a mistake” she hurls abuse at them, and in some cases libels them on her website. So, Carol Kaye did not play on this record, and we know that because we have the AFM session sheets, which show that the bass players on the track were Ray Pohlman and Jimmy Bond. I’ll link a PDF of that sheet in the show notes. So in future, when I mention someone other than Carol Kaye playing on a song, and Wikipedia or somewhere says she played on it, bear this in mind. Two people who did play on the record were Bill Pitman and Tommy Tedesco, and this is why the B-side, an instrumental, is named “Tedesco and Pitman”. Spector was enough of a control freak that he didn’t want DJs ever to play the wrong side of his singles, so he stuck instrumental jam sessions by the studio musicians — with the songwriting credited to him rather than to them — on the B-sides. I don’t know about you, but I actually quite like “Tedesco and Pitman”, but then I’ve always had a soft spot for the vibraphone: [Excerpt: “The Ronettes” (The Wrecking Crew), Tedesco and Pitman”] “Be My Baby” was a massive hit — it went to number one on the Cashbox chart, though only number two on the Billboard chart, and sold millions of copies. The group were invited on to Dick Clark’s Caravan of Stars tour, but Spector wanted Ronnie to be in California to record the follow-up, so the girls’ cousin Elaine filled in for her for the first couple of weeks of the tour, while Ronnie recorded another Barry, Greenwich and Spector song, “Baby I Love You”: [Excerpt: The Ronettes, “Baby I Love You”] Ronnie didn’t realise it at the time, but Spector was trying to isolate her from the other group members, and from her family. But at first this seemed to her like a sensible way of solving the problem, and she rejoined the tour after the record was made. Soon after this, the group travelled to the UK for a brief tour in early 1964, during which they became friendly with the Beatles — Ronnie had a brief chaste flirtation with John Lennon, and Estelle something a little more with George Harrison. They also got to know their support act on the tour, the Rolling Stones — at least once Ronnie had had a row with Andrew Loog Oldham, as Spector had sent a telegram forbidding the Rolling Stones from spending time with the Ronettes. Once Ronnie pointed out that they were there and Spector wasn’t, the two groups became very friendly — and more than friendly, if Keith Richards’ autobiography is to be believed. On their return to the US, they continued having hits through 1964 — nothing was as big as “Be My Baby”, but they had three more top forty hits that year, with two mediocre records, “The Best Part of Breaking Up” and “Do I Love You?”, co-written by the team of Pete Andreoli and Vini Poncia, and then a return to form with the magnificent “Walking in the Rain”, written by Barry Mann and Cynthia Weill: [Excerpt: The Ronettes Featuring Veronica, “Walking in the Rain”] But Spector was becoming more and more erratic in his personal life, and more and more controlling. I won’t go into too many details here, because we’re going to see a lot more of Phil Spector over the next year or so, but he recorded many great records with the Ronettes which he refused to release, claiming they weren’t quite right — Ronnie has later realised that he was probably trying to sabotage their career so he could have her all to himself, though at the time she didn’t know that. Neither of the two singles they did release in 1965 made the top fifty, and the one single they released in 1966, a return to songs by Barry and Greenwich, only made number one hundred, for one week: [Excerpt: The Ronettes, “I Can Hear Music”] Also in 1966, the Ronettes were invited by the Beatles to be their support act on their last ever tour, but once again Spector insisted that Ronnie couldn’t go, because she needed to be in the studio, so Elaine substituted for her again, much to the Beatles’ disappointment. Nothing from the studio sessions during that tour was released. The group broke up in 1967, and the next year Ronnie married Phil Spector, who became ever more controlling and abusive. I won’t go into details of the way he treated her, which you can read all about in her autobiography, but suffice to say that I was completely unsurprised when he murdered a woman in 2003. You’ll probably get some idea of his behaviours when I talk about him in future episodes, but what Ronnie suffered in the years they were together was something no-one should have to go through. By the time she managed to leave him, in June 1972, she had only released one track in years, a song that George Harrison had written for her called “Try Some, Buy Some”, which Spector had recorded with her at Harrison’s insistence, during a period when Spector was working with several of the ex-Beatles and trying to rebuild his own career on the back of them: [Excerpt: Ronnie Spector, “Try Some, Buy Some”] Neither Ronnie nor Spector were particularly keen on the track, and it was a commercial flop — although John Lennon later said that the track had inspired his “Happy Xmas (War is Over)”. Ronnie eventually escaped from Spector’s abuse — leaving the house barefoot, as Spector had stolen her shoes so she couldn’t leave — and started to build a new life for herself, though she would struggle with alcoholism for many years. She got nothing in their divorce settlement, as Spector threatened to hire a hit man to kill her if she tried to get anything from him, and she made a living by touring the nostalgia circuit with various new lineups of Ronettes — the others having given up on their music careers — and while she never had another hit, she did have a recording career. Her solo career got its proper start because of a chance meeting in New York. Her old friend John Lennon saw her on the street and called her over for a chat, and introduced her to the friend he was with, Jimmy Iovine, who was producing an album for Southside Johnny and the Asbury Dukes. Bruce Springsteen had written a song for that band, and Iovine thought it might work well as a duet with Ronnie, and he invited her to the studio that day, and she cut the song with them: [Excerpt: Southside Johnny and the Asbury Dukes, “You Mean So Much To Me”] That song became one of the most popular songs on the album, and so when the Asbury Dukes toured supporting Bruce Springsteen and the E-Street Band, they brought Ronnie along with them to sing on that song and do a couple of her own hits. That led to the E-Street Band themselves backing Ronnie on a single — a version of Billy Joel’s “Say Goodbye to Hollywood”, a song that Joel had written with her in mind: [Excerpt: Ronnie Spector and the E-Street Band, “Say Goodbye to Hollywood”] However, that was a flop, and so were all her later attempts to have comebacks, though she worked with some great musicians over the years. But she was able to continue having a career as a performer, even if she never returned to stardom, and she never made much money from her hits. She did, though, sing on one more top-ten hit, singing backing vocals on Eddie Money’s “Take Me Home Tonight”: [Excerpt: Eddie Money, “Take Me Home Tonight”] Phil Spector continued to earn money from his ex-wife for a long time after their divorce. By 1998, when the Ronettes finally sued Spector for unpaid royalties, they had earned, between them, a total of $14,482.30 in royalties from all their hit records — the amount that came from a single 1964 royalty payment. In court, Spector argued that he didn’t owe them any more, and indeed that *they* still owed *him* money, because the cost of recording their singles meant that they had never actually earned more money than they cost. Eventually, after a series of appeals, the group members each got about half a million dollars in 2002 — obviously a great deal of money, but a small fraction of what they actually earned. Spector, who was on the board of the Rock and Roll Hall of Fame, prevented the Ronettes from being inducted out of spite towards his ex until he was imprisoned, at which point they were finally recognised, in 2007.  Ronnie continues to perform, and seems to have a happy life. Estelle, sadly, did not — she suffered from anorexia and schizophrenia, spent a period of time homeless, and died in 2009. Nedra became a born-again Christian shortly after the group split up, and recorded a couple of unsuccessful albums of Christian music in the seventies, before going off to work in real estate. In September last year, it was announced that a film is going to be made of Ronnie Spector’s life story.  It’s nice to know that there’ll be something out there telling her story with her as the protagonist, rather than as a background character in the story of her abusive husband.

  Episode 110 of A History of Rock Music in Five Hundred Songs looks at "Be My Baby", and at the career of the Ronettes and Ronnie Spector.  Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on "Little Saint Nick" by the Beach Boys. 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/ ----more---- Erratum I say Ray Peterson's version of "Tell Laura I Love Her" was an American number one. It wasn't -- it only made number seven.   Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. A lot of resources were used for this episode. Be My Baby: How I Survived Mascara Miniskirts and Madness, or My Life as a Fabulous Ronette by Ronnie Spector and Vince Waldron is Ronnie's autobiography and was the main source. Always Magic in the Air: The Bomp and Brilliance of the Brill Building Era by Ken Emerson is a good overview of the Brill Building scene, and provided me with the information on Barry and Greenwich. I've referred to two biographies of Spector in this episode, Phil Spector: Out of His Head by Richard Williams and He's a Rebel by Mark Ribkowsky. And information on the Wrecking Crew largely comes from The Wrecking Crew by Kent Hartman. There are many compilations available with some of the hits Spector produced, but I recommend getting Back to Mono, a four-CD overview of his career containing all the major singles put out by Philles. If you want something just covering Ronnie Spector and the Ronettes, The Very Best of Ronnie Spector  covers all the Ronettes hits and the best of her solo career. And the AFM contract listing the musicians on "Be My Baby" can be found here.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we're going to take a look at the record that, more than anything, ensured Phil Spector's place in popular music history -- a record that changed the lives of several people who heard it for the better, and changed the life of its singer for the worse, and one which has the most imitated drum intro in the world. We're going to look at "Be My Baby" by the Ronettes: [Excerpt: The Ronettes, "Be My Baby"] Before I start this one, two things need saying. The first is that this episode, by necessity, deals with spousal abuse. As always, I will try to discuss the issue with sensitivity, and touch on it as briefly as possible, but if you worry that it might upset you, please either skip this episode, or read the transcript to see if you'll be OK listening to it. I imagine that very few people will be upset by anything I say here, but it's always a possibility. And secondly, I'd like to apologise for this episode being so late. I had a major disruption in my personal life over Christmas -- one of those really bad life events that only happens once or twice in most people's lifetimes -- and that made it impossible for me to get any work done at all for the last couple of weeks. I'm now able to work again, and this should not be anything that affects the podcast for the rest of the year. Anyway, enough about that, let's get on with the story. The story of the Ronettes begins when Ronnie Bennett, a mixed-race girl from Harlem, became obsessed with the sound of Frankie Lymon and the Teenagers: [Excerpt: Frankie Lymon and the Teenagers, "Why Do Fools Fall In Love?"] Ronnie became the Teenagers' biggest fan, and even managed to arrange a meeting between herself and Lymon when they were both thirteen, but had her illusions torn away when he turned up drunk and made a pass at her. But that didn't stop her from trying her best to imitate Lymon's vocals, and forming a vocal group with several friends and relatives. That group had a male lead singer, but when they made their first appearance on one of the Harlem Apollo's talent shows, the lead singer got stage fright and couldn't start singing when he got on stage. Ronnie stepped forward and took over the lead vocal, and the group went down well enough even with the Apollo's notoriously hostile audience that a smaller group of them decided to start performing regularly together. The group took the name Ronnie and the Relatives, and consisted of Ronnie, her sister Estelle, and their cousin Nedra Talley. They originally only performed at private parties, bar mitzvahs and the like, but they soon reached the attention of Stu Phillips at Colpix Records, a label owned by the film studio Columbia Pictures. The first single by Ronnie and the Relatives was not a success -- "I Want a Boy" came out in August 1961 and didn't chart: [Excerpt: Ronnie and the Relatives, "I Want a Boy"] And nor did their second, "I'm Gonna Quit While I'm Ahead": [Excerpt: Ronnie and the Relatives, "I'm Gonna Quit While I'm Ahead"] Those records did apparently sell to at least one person, though, as when Ronnie met President Clinton in 1997, he asked her to sign a record, and specifically got her to sign an album of those early recordings for Colpix. While the girls were not having any commercial success, they did manage to accidentally get themselves a regular gig at the most important nightclub in New York. They went to the Peppermint Lounge, just as the Twist craze was at its height, and as they were underage they dressed up especially well in order to make themselves look more grown up so they could get in. Their ruse worked better than they expected. As they were all dressed the same, the club's manager assumed they were the dancers he'd booked, who hadn't shown up. He came out and told them to get on stage and start dancing, and so of course they did what he said, and started dancing to the Twist sounds of Joey Dee and the Starliters: [Excerpt: Joey Dee and the Starliters, "The Peppermint Twist"] The girls' dancing went down well, and then the band started playing "What'd I Say?", a favourite song of Ronnie's and one the group did in their own act, and Ronnie danced over to David Brigati, who was singing lead on the song, and started dancing close to him. He handed her the mic as a joke, and she took over the song. They got a regular spot at the Peppermint Lounge, dancing behind the Starliters for their whole show and joining them on vocals for a few numbers every night. Inspired by the Bobbettes and the Marvelettes, Ronnie and Estelle's mother suggested changing the group's name. She suggested "the Rondettes", and they dropped the "d", becoming the Ronettes. The singles they released on ColPix under the new name did no better than the others, but they were such an important part of the Peppermint Lounge that when the Lounge's owners opened a second venue in Florida, the girls went down there with the Starliters and were part of the show.  That trip to Florida gave them two very different experiences. The first was that they got to see segregation firsthand for the first time, and they didn't like it -- especially when they, as light-skinned mixed-race women, were read as tanned white women and served in restaurants which then refused to serve their darker-skinned mothers. But the second was far more positive. They met Murray the K, who since Alan Freed had been driven out of his job had become the most popular DJ in New York. Murray was down in Florida for a holiday, and was impressed enough by the girls' dancing that he told them if they were ever in New York and wanted a spot on one of his regular shows at the Brooklyn Fox Theatre they should let him know. They replied that they lived in New York and went to those shows all the time -- of course they wanted to perform on his shows. They became regular performers at the Brooklyn Fox, where they danced between the other, bigger, acts, sang backing vocals, did a song or two themselves, and took part in comedy sketches with Murray. It was at these shows, as well, that they developed the look they would become famous with -- huge hair piled up on top of their heads, tons of mascara, and tight skirts slit to show their legs. It was a style inspired by street fashion rather than by what the other girl groups were wearing, and it made them incredibly popular with the Fox audience. But the Ronettes, even under their new name, and even with the backing of New York's most prominent DJ, were still not selling any records. They knew they were good, and the reaction to their stage performances proved as much, so they decided that the problem must be with Colpix. And so in 1963 they made a New Year's resolution -- they were going to get Phil Spector to produce them.  By this time, Spector was becoming very well known in the music industry as a hit maker. We already saw in the recent episode on the Crystals how he was making hits for that group and the Blossoms, but he was also making hits with studio groups like Bob B. Soxx and the Blue Jeans, who he took into the top ten with a remake of the old Disney song "Zip-a-Dee-Doo-Dah": [Excerpt: Bob B. Soxx and the Blue Jeans, "Zip-a-Dee-Doo-Dah"] and as well as the records he was putting out on Philles, he was also working as a freelance producer for people like Connie Francis, producing her top ten hit "Second-Hand Love": [Excerpt: Connie Francis, "Second-Hand Love"] So the Ronettes were convinced that he could make them into the stars they knew they had the potential to be. The group had no idea how to get in touch with Spector, so they tried the direct route -- Estelle called directory enquiries, got the number for Philles Records, and called and asked to be put through to Spector. She was as astonished as anyone when he agreed to talk to her -- and it turned out that he'd seen the group regularly at the Brooklyn Fox and was interested in working with them.  At their audition for Spector, the group first performed a close-harmony version of "When the Red Red Robin Goes Bob-Bob-Bobbin' Along", which they'd been taught by their singing teacher. Spector told them that he wanted to hear what they did when they were singing for themselves, not for a teacher, and so Ronnie launched into "Why Do Fools Fall In Love?"  It only took her getting to the second line of the song before Spector yelled at her to stop -- "THAT is the voice I've been looking for!" The Ronettes' first recordings for Spector weren't actually issued as by the Ronettes at all. To start with, he had them record a version of a song by the writing team of Jeff Barry and Ellie Greenwich, "Why Don't They Let Us Fall In Love?", but didn't release it at the time. It was later released as by "Veronica", the name under which he released solo records by Ronnie: [Excerpt: Veronica, "Why Don't They Let Us Fall In Love?"] But at the time, when Ronnie asked him when the record was coming out, Spector answered "Never". He explained to her that it was a good record, but it wasn't a number one, and he was still working on their first number one record. Their next few recordings were covers of then-current dance hits, like "The Twist": [Excerpt, "The Crystals", "The Twist"] And "The Wah-Watusi", one of the few times that one of the other Ronettes took the lead rather than Ronnie, as Nedra sang lead: [Excerpt, "The Crystals", "The Wah-Watusi"] But these, and two other tracks, were released as album tracks on a Crystals album, credited to the Crystals rather than the Ronettes. The song that eventually became the group's first hit, "Be My Baby", was mostly written by one of the many husband-and-wife songwriting teams that had developed at the Brill Building, Jeff Barry and Ellie Greenwich. Barry had started out as a performer who occasionally wrote, putting out records like "It's Called Rock and Roll": [Excerpt: Jeff Barry, "It's Called Rock and Roll"] But while his performing career had gone nowhere, he'd started to have some success as a songwriter, writing "Teenage Sonata" for Sam Cooke: [Excerpt: Sam Cooke, "Teenage Sonata"] And "Tell Laura I Love Her", which was recorded by several people, but the biggest hit version was the American number one by Ray Peterson: [Excerpt: Ray Peterson, "Tell Laura I Love Her"] Ellie Greenwich had also started as a performer, recording "Silly Isn't It?" under the name Ellie Gaye: [Excerpt: Ellie Gaye, "Silly, Isn't It?"] She'd become one of the most important demo singers in New York, and had also started writing songs. She'd first collaborated with Doc Pomus, cowriting songs like "This is It", which had been a flop single for Jay and the Americans: [Excerpt: Jay and the Americans, "This is It"] She'd then been taken on by Trio Music, Leiber and Stoller's company, where she had largely collaborated with another writer named Tony Powers. Trio had first refusal on anything the two of them wrote, and if Leiber and Stoller didn't like it, they could take the song elsewhere. Greenwich and Powers had their biggest successes with songs that Leiber and Stoller rejected, which they sold to Aaron Schroeder. And they'd started up a collaboration with Phil Spector -- although Spector and Greenwich's first meeting had not exactly gone smoothly. He'd gone into her office to hear her play a song that she thought would be suitable for the Paris Sisters, but had kept wandering out of the office, and had kept looking at himself in a mirror and primping himself rather than listen to her song. Eventually she said to him  "Listen to me, you little prick. Did you come to look at yourself or to hear my songs?", and she didn't make that sale. But later on, Spector became interested in a song she'd sold to Schroeder, and made an appointment to meet her and talk about her writing some stuff for him -- that second meeting, which Spector didn't realise was with someone he'd already made a bad impression on, Spector turned up four hours late.  But despite that, Greenwich and Powers wrote several songs for Spector, who was also given songwriting credit, and which became big hits in versions he produced -- "(Today I Met) The Boy I'm Gonna Marry", a single by Darlene Love: [Excerpt: Darlene Love, "(Today I Met) The Boy I'm Gonna Marry"] And "Why Do Lovers Break Each Others' Hearts?", released as by Bob B. Soxx and the Blue Jeans, but with Love once again on lead vocals: [Excerpt: Bob B. Soxx and the Blue Jeans, "Why Do Lovers Break Each Others' Hearts?"] I say that Spector was also given songwriting credit on those records, because there is some debate about how much he contributed to the songs he's credited on. Some of his co-writers have said that he would often only change a word or a phrase, and get himself cut in on an already-completed song, while others have said that he contributed a reasonable amount to the songwriting, though he was never the primary writer -- for example Barry Mann has said that Spector came up with the middle section for "You've Lost That Lovin' Feelin'". I tend towards the belief that Spector's contribution to the writing on those songs he's co-credited on was minimal -- in his whole career, the number of songs he wrote on his own seems to be in the single figures, while those other writers wrote dozens of hit records without any contribution from Spector -- and so when I talk about records he produced I'll tend to use phrasing like "a Goffin and King song co-credited to Phil Spector" rather than "a song by Goffin, King, and Spector", but I don't want that to give the impression that I'm certain Spector made no contribution.  But while Greenwich and Powers were a mildly successful team, their partnership ended when Greenwich met Jeff Barry at a family Thanksgiving dinner -- Greenwich's uncle was Barry's cousin. As Greenwich later put it, when they started talking together about music and realised how much they had in common, "I went 'ooh', he went 'mmmhh', and his wife went 'I don't think I like this'". Soon their previous partnerships, both romantic and musical, were over, and Jeff Barry and Ellie Greenwich became the third of the great Brill Building husband-and-wife songwriting teams.  Where Goffin and King had a sophisticated edge to their writing, with a hint of sexual subversion and the mingling of pain and pleasure, and Mann and Weill tried to incorporate social comment into their songs, Barry and Greenwich were happy to be silly -- they were writing songs like "Hanky Panky", "Da Doo Ron Ron",  and "Doo Wah Diddy Diddy": [Excerpt: Ellie Greenwich "Doo Wah Diddy Diddy (demo)"] This worked extremely well for them, to the extent that after they broke up a few years later, Barry would continue this formula with songs such as "Sugar Sugar", "Jingle Jangle" and "Bang Shang A Lang". Barry and Greenwich's style was to jam in as many hooks as possible, maybe put in a joke or two, keep the lyrics simple, and get out in two minutes. Very few of their songs were masterpieces of songwriting, but they *were* absolutely perfect templates for masterpieces of production. It sounds like I'm damning them with faint praise, but I'm really not. There is a huge skill involved in what they were doing -- if you're writing some heartwrenching masterpiece about the human condition, people will forgive the odd lapse in craft, but if you're writing "My baby does the hanky panky", there's no margin for error, and you're not going to get forgiven if you mess it up.  Barry and Greenwich were good enough at this that they became the go-to writers for Spector for the next couple of years. He would record songs by most of the Brill Building teams, but when you think of the classic records Spector produced, they're far more likely than not to be Barry and Greenwich songs -- of the twenty-seven Philles singles released after Barry and Greenwich started writing together, fourteen are credited to Barry/Greenwich/Spector, and other than the joke release "Let's Dance the Screw", which we talked about back in the episode on the Crystals, there's a run of eleven singles released on the label between late 1962 and early 1964 which are credited either as Greenwich/Powers/Spector or Barry/Greenwich/Spector. And so it was naturally to Barry and Greenwich that Spector turned to write the first big hit for the Ronettes -- and he let Ronnie hear the writing session. By this time, Spector had become romantically involved with Ronnie, and he invited her into his apartment to sit in the next room and listen to them working on the song -- usually they got together in hotels rather than at Spector's home. While she was there, she found several pairs of women's shoes -- Spector hadn't told her he was married, and claimed to her when she asked that they belonged to his sister. This should probably have been a sign of things to come. Assuming that Spector did contribute to the writing, I think it's easy to tell what he brought to “Be My Baby”. If you listen to that Connie Francis record I excerpted earlier, on which Spector is also a credited co-writer, the melody line for the line “that you don't feel the same” leading into the chorus: [Excerpt: Connie Francis, “Second-Hand Love”] is identical to the melody line leading into the chorus of “Be My Baby”: [Excerpt: The Ronettes, “Be My Baby”] So that transition between the verse and the chorus is likely his work. After rehearsing Ronnie for several weeks in New York, Spector flew her out to LA to make the record in Gold Star Studios, where she spent three days recording the lead vocals. The backing vocals weren't provided by the other Ronettes, but rather by the Blossoms, with a few extra singers -- notably Spector's assistant Sonny Bono, and his new girlfriend Cher -- but what really made the track was not the vocals -- although the song was perfect for Ronnie -- but Hal Blaine's drum intro: [Excerpt: The Ronettes, "Be My Baby"] That intro was utterly simple -- Blaine was always a minimalist player, someone who would play for the song rather than play fussy fills -- but that simple part, combined with the powerful sound that the engineer Larry Levine got, was enough to make it one of the most memorable intros in rock music history. Brian Wilson of the Beach Boys talks to this day about how he had to pull over to the side of the road when he first heard it on his car radio, and he would listen to the record incessantly for hours at a time. Incidentally, since I'm talking about the musicians, a lot of sources credit Carol Kaye for playing the bass on this track, so I'm going to say something once, here, which should be taken as read whenever I'm talking about records made in LA in the sixties -- Carol Kaye is not only an unreliable source about what records she played on, she is an utterly dishonest one. For those who don't know, Ms. Kaye was one of the great bass players of the sixties, and also one of the better session guitarists. She played on hundreds of records in the sixties, including many, many, classics from the Beach Boys, Spector, Frank Zappa, and others, and she was the only woman getting regular session work in LA on a rock instrument -- there may have been session orchestral musicians who were women, but when it comes to guitar, bass, drums, keyboards, sax, and so on, she was the only one. For that, she deserves a huge amount of credit. Unfortunately, she has never been happy only being credited for the records she actually played on, and insists she played on many, many, more. Some of this can be reasonably put down to lapses in memory more than fifty years later -- if you're playing two or three sessions a day, and you play on a bunch of Beach Boys records, then it's easy enough to misremember having played on "Surfin' USA" when maybe you played on a similar-sounding record, and there are things like her claiming to have played on "Good Vibrations", where there were multiple sessions for that track, and it happened that the takes eventually used weren't the ones where she was playing bass, but she had no way of knowing that. That's completely forgivable. But Ms. Kaye also claims, with no evidence whatsoever on her side and a great deal of evidence against her, to have been responsible for playing almost the entire recorded works of James Jamerson, Motown's main bass player, claiming tapes were secretly shipped from Detroit to LA -- something that has been denied by every single person working at Motown, and which can be easily disproved just by listening to the tapes. She claims to have played the bass on "I'm a Believer" by the Monkees -- a track recorded in New York, by New York musicians. And whenever anyone points out the falsehoods, rather than saying "I may have made a mistake" she hurls abuse at them, and in some cases libels them on her website. So, Carol Kaye did not play on this record, and we know that because we have the AFM session sheets, which show that the bass players on the track were Ray Pohlman and Jimmy Bond. I'll link a PDF of that sheet in the show notes. So in future, when I mention someone other than Carol Kaye playing on a song, and Wikipedia or somewhere says she played on it, bear this in mind. Two people who did play on the record were Bill Pitman and Tommy Tedesco, and this is why the B-side, an instrumental, is named "Tedesco and Pitman". Spector was enough of a control freak that he didn't want DJs ever to play the wrong side of his singles, so he stuck instrumental jam sessions by the studio musicians -- with the songwriting credited to him rather than to them -- on the B-sides. I don't know about you, but I actually quite like "Tedesco and Pitman", but then I've always had a soft spot for the vibraphone: [Excerpt: "The Ronettes" (The Wrecking Crew), Tedesco and Pitman"] "Be My Baby" was a massive hit -- it went to number one on the Cashbox chart, though only number two on the Billboard chart, and sold millions of copies. The group were invited on to Dick Clark's Caravan of Stars tour, but Spector wanted Ronnie to be in California to record the follow-up, so the girls' cousin Elaine filled in for her for the first couple of weeks of the tour, while Ronnie recorded another Barry, Greenwich and Spector song, "Baby I Love You": [Excerpt: The Ronettes, "Baby I Love You"] Ronnie didn't realise it at the time, but Spector was trying to isolate her from the other group members, and from her family. But at first this seemed to her like a sensible way of solving the problem, and she rejoined the tour after the record was made. Soon after this, the group travelled to the UK for a brief tour in early 1964, during which they became friendly with the Beatles -- Ronnie had a brief chaste flirtation with John Lennon, and Estelle something a little more with George Harrison. They also got to know their support act on the tour, the Rolling Stones -- at least once Ronnie had had a row with Andrew Loog Oldham, as Spector had sent a telegram forbidding the Rolling Stones from spending time with the Ronettes. Once Ronnie pointed out that they were there and Spector wasn't, the two groups became very friendly -- and more than friendly, if Keith Richards' autobiography is to be believed. On their return to the US, they continued having hits through 1964 -- nothing was as big as "Be My Baby", but they had three more top forty hits that year, with two mediocre records, "The Best Part of Breaking Up" and "Do I Love You?", co-written by the team of Pete Andreoli and Vini Poncia, and then a return to form with the magnificent "Walking in the Rain", written by Barry Mann and Cynthia Weill: [Excerpt: The Ronettes Featuring Veronica, "Walking in the Rain"] But Spector was becoming more and more erratic in his personal life, and more and more controlling. I won't go into too many details here, because we're going to see a lot more of Phil Spector over the next year or so, but he recorded many great records with the Ronettes which he refused to release, claiming they weren't quite right -- Ronnie has later realised that he was probably trying to sabotage their career so he could have her all to himself, though at the time she didn't know that. Neither of the two singles they did release in 1965 made the top fifty, and the one single they released in 1966, a return to songs by Barry and Greenwich, only made number one hundred, for one week: [Excerpt: The Ronettes, "I Can Hear Music"] Also in 1966, the Ronettes were invited by the Beatles to be their support act on their last ever tour, but once again Spector insisted that Ronnie couldn't go, because she needed to be in the studio, so Elaine substituted for her again, much to the Beatles' disappointment. Nothing from the studio sessions during that tour was released. The group broke up in 1967, and the next year Ronnie married Phil Spector, who became ever more controlling and abusive. I won't go into details of the way he treated her, which you can read all about in her autobiography, but suffice to say that I was completely unsurprised when he murdered a woman in 2003. You'll probably get some idea of his behaviours when I talk about him in future episodes, but what Ronnie suffered in the years they were together was something no-one should have to go through. By the time she managed to leave him, in June 1972, she had only released one track in years, a song that George Harrison had written for her called "Try Some, Buy Some", which Spector had recorded with her at Harrison's insistence, during a period when Spector was working with several of the ex-Beatles and trying to rebuild his own career on the back of them: [Excerpt: Ronnie Spector, "Try Some, Buy Some"] Neither Ronnie nor Spector were particularly keen on the track, and it was a commercial flop -- although John Lennon later said that the track had inspired his "Happy Xmas (War is Over)". Ronnie eventually escaped from Spector's abuse -- leaving the house barefoot, as Spector had stolen her shoes so she couldn't leave -- and started to build a new life for herself, though she would struggle with alcoholism for many years. She got nothing in their divorce settlement, as Spector threatened to hire a hit man to kill her if she tried to get anything from him, and she made a living by touring the nostalgia circuit with various new lineups of Ronettes -- the others having given up on their music careers -- and while she never had another hit, she did have a recording career. Her solo career got its proper start because of a chance meeting in New York. Her old friend John Lennon saw her on the street and called her over for a chat, and introduced her to the friend he was with, Jimmy Iovine, who was producing an album for Southside Johnny and the Asbury Dukes. Bruce Springsteen had written a song for that band, and Iovine thought it might work well as a duet with Ronnie, and he invited her to the studio that day, and she cut the song with them: [Excerpt: Southside Johnny and the Asbury Dukes, "You Mean So Much To Me"] That song became one of the most popular songs on the album, and so when the Asbury Dukes toured supporting Bruce Springsteen and the E-Street Band, they brought Ronnie along with them to sing on that song and do a couple of her own hits. That led to the E-Street Band themselves backing Ronnie on a single -- a version of Billy Joel's "Say Goodbye to Hollywood", a song that Joel had written with her in mind: [Excerpt: Ronnie Spector and the E-Street Band, "Say Goodbye to Hollywood"] However, that was a flop, and so were all her later attempts to have comebacks, though she worked with some great musicians over the years. But she was able to continue having a career as a performer, even if she never returned to stardom, and she never made much money from her hits. She did, though, sing on one more top-ten hit, singing backing vocals on Eddie Money's "Take Me Home Tonight": [Excerpt: Eddie Money, "Take Me Home Tonight"] Phil Spector continued to earn money from his ex-wife for a long time after their divorce. By 1998, when the Ronettes finally sued Spector for unpaid royalties, they had earned, between them, a total of $14,482.30 in royalties from all their hit records -- the amount that came from a single 1964 royalty payment. In court, Spector argued that he didn't owe them any more, and indeed that *they* still owed *him* money, because the cost of recording their singles meant that they had never actually earned more money than they cost. Eventually, after a series of appeals, the group members each got about half a million dollars in 2002 -- obviously a great deal of money, but a small fraction of what they actually earned. Spector, who was on the board of the Rock and Roll Hall of Fame, prevented the Ronettes from being inducted out of spite towards his ex until he was imprisoned, at which point they were finally recognised, in 2007.  Ronnie continues to perform, and seems to have a happy life. Estelle, sadly, did not -- she suffered from anorexia and schizophrenia, spent a period of time homeless, and died in 2009. Nedra became a born-again Christian shortly after the group split up, and recorded a couple of unsuccessful albums of Christian music in the seventies, before going off to work in real estate. In September last year, it was announced that a film is going to be made of Ronnie Spector's life story.  It's nice to know that there'll be something out there telling her story with her as the protagonist, rather than as a background character in the story of her abusive husband.

Kiss work again with producer Vini Poncia and opt for a more power pop influenced approach. Working exclusively with session drummer Anton Fig, Poncia elicits slick and polished vocal performances and sophisticated arrangements featuring keyboardist Holly Knight. Rhythm Paul Stanley contributes more lead guitar than usual, including on "Shandi," a soft rock hit in Australia. --- Support this podcast: https://anchor.fm/david-blake-lucarelli/support

KISS return to the studio with Vini Poncia, producer of the Peter Criss solo album, only to have Anton Fig, fresh from playing on the Ace Frehley solo album play drums on eight of the nine tracks.  Poncia elicits strong vocal performances from the band, heavily filters and treats the lead guitar, and lends a pop sheen to the material. The album yields the  disco influenced hit song "I Was Made For Lovin' You" which exposes the band to a new audience while alienating some die hard fans.  BONUS: Find out what Desmond Child had to say when Dave played him the Alive 3 version of the song! --- Support this podcast: https://anchor.fm/david-blake-lucarelli/support

Gestur þáttarins að þessu sinni er Sólveig Anna Jónsdóttir formaður Eflingar. Hún mætir með uppáhalds ROKKplötuna sína klukkan 21.00. Vinur þáttarins sendir lag og óskalagasíminn opnar kl. 20.00 - 5687123. Plata þáttarins sem við heyrum amk. þrjú lög af er Unmasked, áttunda breiðskífa hljómsveitarinnar Kiss. Hún kom út 20. maí árið 1980, fyrir 40 árum og tveimur dögum. Unmasked er síðasta platan þar sem Peter Criss trommari er í bandinu, en hann trommar reyndar ekkert á plötunni heldur náungi sem heitir Anton Fig, en hans var hvergi getið upphaflega á plötunni. Vini nokkur Poncia kemur nokkuð við sögu á plötunni sem lagasmiður, en hann hafði samið talsvert t.d. með Ringo Starr eftir endalok Bítlanna. Og Unmasked er fyrsta plata Kiss þar sem utanaðkomandi lagasmiðir leggja svona mikið til plötu, en Vini Poncia er skráður meðhöfundur í flestum laga plötunnar. Einu lögin sem utanaðkomandi lagasmiður kemur ekki við sögu í eru 2 lög sem Ace Frehley gítarleikari sveitarinnar, samdi, Talk to me og Two sides of the coin. Platan náði hæst 35. Sæti bandaríska vinsældalistans, en allar plöturnar sem þeir höfðu gefið út síðan Hotter than Hell kom út 1974 höfðu gert betur á listanum. Sveitin hélt þó vinsældum í Evrópu áfram og platan fór t.d. á toppinn á vinsældalistunum í Noregi og á Nýja sjálandi auk þess sem hún náði inn á topp 5 í Ástralíu, Austurríki,

Gestur þáttarins að þessu sinni er Sólveig Anna Jónsdóttir formaður Eflingar. Hún mætir með uppáhalds ROKKplötuna sína klukkan 21.00. Vinur þáttarins sendir lag og óskalagasíminn opnar kl. 20.00 - 5687123. Plata þáttarins sem við heyrum amk. þrjú lög af er Unmasked, áttunda breiðskífa hljómsveitarinnar Kiss. Hún kom út 20. maí árið 1980, fyrir 40 árum og tveimur dögum. Unmasked er síðasta platan þar sem Peter Criss trommari er í bandinu, en hann trommar reyndar ekkert á plötunni heldur náungi sem heitir Anton Fig, en hans var hvergi getið upphaflega á plötunni. Vini nokkur Poncia kemur nokkuð við sögu á plötunni sem lagasmiður, en hann hafði samið talsvert t.d. með Ringo Starr eftir endalok Bítlanna. Og Unmasked er fyrsta plata Kiss þar sem utanaðkomandi lagasmiðir leggja svona mikið til plötu, en Vini Poncia er skráður meðhöfundur í flestum laga plötunnar. Einu lögin sem utanaðkomandi lagasmiður kemur ekki við sögu í eru 2 lög sem Ace Frehley gítarleikari sveitarinnar, samdi, Talk to me og Two sides of the coin. Platan náði hæst 35. Sæti bandaríska vinsældalistans, en allar plöturnar sem þeir höfðu gefið út síðan Hotter than Hell kom út 1974 höfðu gert betur á listanum. Sveitin hélt þó vinsældum í Evrópu áfram og platan fór t.d. á toppinn á vinsældalistunum í Noregi og á Nýja sjálandi auk þess sem hún náði inn á topp 5 í Ástralíu, Austurríki,

Gestur þáttarins að þessu sinni er Sólveig Anna Jónsdóttir formaður Eflingar. Hún mætir með uppáhalds ROKKplötuna sína klukkan 21.00. Vinur þáttarins sendir lag og óskalagasíminn opnar kl. 20.00 - 5687123. Plata þáttarins sem við heyrum amk. þrjú lög af er Unmasked, áttunda breiðskífa hljómsveitarinnar Kiss. Hún kom út 20. maí árið 1980, fyrir 40 árum og tveimur dögum. Unmasked er síðasta platan þar sem Peter Criss trommari er í bandinu, en hann trommar reyndar ekkert á plötunni heldur náungi sem heitir Anton Fig, en hans var hvergi getið upphaflega á plötunni. Vini nokkur Poncia kemur nokkuð við sögu á plötunni sem lagasmiður, en hann hafði samið talsvert t.d. með Ringo Starr eftir endalok Bítlanna. Og Unmasked er fyrsta plata Kiss þar sem utanaðkomandi lagasmiðir leggja svona mikið til plötu, en Vini Poncia er skráður meðhöfundur í flestum laga plötunnar. Einu lögin sem utanaðkomandi lagasmiður kemur ekki við sögu í eru 2 lög sem Ace Frehley gítarleikari sveitarinnar, samdi, Talk to me og Two sides of the coin. Platan náði hæst 35. Sæti bandaríska vinsældalistans, en allar plöturnar sem þeir höfðu gefið út síðan Hotter than Hell kom út 1974 höfðu gert betur á listanum. Sveitin hélt þó vinsældum í Evrópu áfram og platan fór t.d. á toppinn á vinsældalistunum í Noregi og á Nýja sjálandi auk þess sem hún náði inn á topp 5 í Ástralíu, Austurríki,

Hoy cerramos esta miniserie de tres capítulos en los que hemos revisado ese pequeño periodo comprendido entre los años 70 y 73 del siglo pasado que tan buenos músicos dio a la industria del disco. Uno de los más importantes, y con el que abrimos el programa de hoy es Isaac Hayes. Isaac Hayes fue un compositor, cantante, actor y productor estadounidense. Fue uno de los creadores del sello sureño de música soul Stax Records, donde trabajó como compositor, músico de sesión y productor de discos, haciendo equipo con su compañero David Porter durante la mitad de los años 1960. Su canción "Soul Man" escrita por Hayes y Porter y primero interpretada por Sam & Dave, ha sido reconocida como una de las canciones más influyentes en los pasados 50 años por el Salon de la Fama de los Grammy. Esta es la famosa versión que de su canción hicieron Sam and Dave, para mi gusto, mejor que el original. Linda Ronstadt, nacida en Tucson, Arizona, ha ganado once premios Grammy, tres American Music Award, un Emmy y ha sido candidata al Tony y al Globo de Oro, y sus álbumes han recibido múltiples certificaciones de oro, platino y multiplatino en el mundo. Ronstadt ha colaborado con artistas de diversos géneros y tendencias musicales como: Bette Midler, Frank Zappa, Rosemary Clooney, Flaco Jiménez, Philip Glass, Dolly Parton, Neil Young o Johnny Cash, entre otros. Su trabajo con el productor Peter Asher desde 1974 hasta la década de 1980 resultó ser de lo más fructífera. Uno de esos éxitos fue este precioso Blue Bayou, de Roy Orbison. Su año de despegue fue 1974 pero, a lo largo de su larga carrera de cantante, Linda Ronstadt ha convivido con infinidad de géneros y estilos, incluyendo las Big Band, rancheras mexicanas, un álbum de música latina, un álbum de Música country de los viejos tiempos y un álbum de clásicos de rock. La canción que hemos escuchado, Blue Bayou, pertenece a uno de los álbumes de más éxito de la carrera de Ronstadt, Simple Dreams. Pasó cinco semanas consecutivas en la lista de álbumes de Billboard a finales de 1977, desplazando a Elvis Presley del número 1 El álbum tuvo tanto éxito que Ronstadt se convirtió en la primera artista femenina, y el primer artista en general, desde The Beatles, en tener dos sencillos entre los cinco primeros al mismo tiempo: el ya citado " Blue Bayou " y este otro " It's So Easy”. El 18 de julio de 2004 en una actuación en el "Aladdin Casino", Las Vegas, a nuestra amiga Linda no se le ocurrió otra cosa que alabar al director de cine Michael Moore y a su película documental "Fahrenheit 9/11", ya sabéis, la que trata sobre las causas y consecuencias de los atentados del 11 de septiembre de 2001 en Estados Unidos, y en la que se hace referencia a la posterior invasión de Irak liderada por ese país y Gran Bretaña y con la inestimable aquiescencia de nuestro inefable ex presidente Aznar. Además, intenta determinar el alcance real de los supuestos vínculos entre las familias del presidente de los Estados Unidos en el momento de los atentados, George W. Bush, y los Bin Laden, acaudalada familia de Osama bin Laden. Bien, pues la lio parda Algunos miembros de la audiencia se marcharon, arrancaron carteles, lanzaron bebidas y pidieron que Linda fuese retirada del escenario. Posteriormente se informó de que el gerente de Aladdin, Bill Timmins, la escoltó afuera de las instalaciones, sin darle ni siquiera la oportunidad de recoger sus pertenencias, y aseguró que mientras él dirigiese el casino nunca, jamás, volvería a ser bienvenida. Y aunque aquí siempre será bienvenida, debemos ya despedirnos de Linda Ronstadt con una estupenda versión de un clásico, Am I Blue, acompañada por la Big Band de Nelson Riddle. John Denver, era hijo de un oficial de las fuerzas aéreas e instructor de vuelo. Este fue el motivo por el que Denver fue toda su vida un apasionado del vuelo, algo que como veremos, le costó la vida. Nacido el 31 de diciembre de 1943 en RosweIl (Nuevo México), el cantautor fue en su momento uno de los más populares del mundo. Su casa de discos, Sony, dice que se encuentra entre los cinco más vendedores de la historia de la música. Durante su carrera obtuvo 12 discos de oro y cuatro de platino. Tras estudiar guitarra y ser un apasionado seguidor de Elvis Presley, en 1964 abandonó sus estudios de Arquitectura, en contra de los criterios familiares, y se trasladó a Los Ángeles. En lo que constituye toda una triste ironía, su capacidad como letrista se hizo notoria al componer el éxito de Peter, Paul and Mary titulado Me voy en un avión, que consiguió situarse en los primeros lugares de las listas de ventas. En 1971 Denver lanzó su superéxito Take me home, country roads, un tema versionado hasta la infinidad y que quedó profundamente arraigado en el cancionero popular de Estados Unidos. Asociado con la música foIk y country más que con el pop, Denver cantó junto a infinidad de famosos, incluido Frank Sinatra y durante los años setenta fue un gigante de la música, pero en cierta medida rehuyó la fama yéndose a vivir a las Montañas Rocosas y componiendo canciones como Thank God I'm a country man (Gracias a Dios que soy un chico de campo). Sin dejar de grabar discos pero con mucho menos éxito, Denver se subió a los trenes del pacifismo y la protesta antinuclear en los años ochenta, y al del ecologismo en los noventa. Su preocupación por el medio ambiente le llevó a colaborar con asociaciones como los Amigos de la Tierra y la Sociedad Jacques Cousteau. Fue amigo del famoso oceanógrafo e incluso escribió como homenaje a su compromiso ecológico el tema Calypso. También, se afirma que en 1988 solicitó a las autoridades soviéticas que le dejaran viajar a bordo de la estación espacial Mir. Recientemente, el cantante había tenido problemas con el alcohol y, al menos en dos ocasiones, fue detenido por conducir borracho. Lo de la estación Mir no sabemos si lo preguntó antes o después de la detención. Denver tuvo dos pasiones en su vida: la música y volar. Como piloto experimentado, Denver tenía su propio planeador y voló en aviones acrobáticos y, en alguna ocasión, en un F-15. Esta pasión por el aire le costó a Denver la vida cuando cayó al mar en su recientemente adquirido Rutan Long-EZ el 12 de octubre de 1997. El percance sucedió durante un vuelo solitario, cuando se estrelló en las inmediaciones de una playa del Océano Pacífico, cerca de Pacific Grove, California. Su vuelo lo había iniciado a las 17:12, y la tragedia se estima que ocurrió a las 17:28, alrededor de 15 a 16 minutos después de su despegue. Y cambiando radicalmente de registro, nos vamos a conocer a otro personaje de la época: hablamos de Johnny Winter. John Dawson «Johnny» Winter nació albino, y al igual que su hermano menor Edgar, Johnny mostró desde siempre una fuerte atracción por la música. Comenzó a tocar la guitarra a la edad de 11 años y ya en esa época estaba enganchado a un programa de radio que se dedicaba en exclusiva al mundo del blues, y que presentaba un DJ aficionado local. A los 14 años, ya empapado de blues de su emisora favorita y con una larga colección de discos que había ido reuniendo, forma Johnny and the Jammers, su primera banda, junto a su hermano Edgar. Pasó un tiempo grabando temas para discográficas regionales y tocando en bares y clubs, buscando su oportunidad. Incluso en una ocasión, llegó a tocar, en 1962, ante B.B. King, con la guitarra de este, en una visita a un famoso local de Beaumont. Su descubrimiento a nivel nacional llegó a través de un artículo en la revista Rolling Stone, en 1968, lo que le valió un contrato con el propietario de un club neoyorquino y una grabación con Columbia. Su disco de debut oficial, Johnny Winter, fue publicado en 1969, año en el que también tocó en distintas presentaciones y festivales, incluyendo el de Woodstock. Entre los años 1969 y 1970, Winter sufrió una fuerte adicción a la heroína, de la que se recuperó no sin esfuerzo Winter era un monstruo del escenario, hizo más giras que ninguno de sus coetáneos a pesar de que en los últimos años se había visto afectado por problemas de salud y se vio obligado a realizar sus actuaciones sentado, producto de un problema de Síndrome Túnel Carpiano y de problemas en la cadera. Bueno pues, aun en estas condiciones, siguió adelante con su carrera. En mayo de 2009 lanzó un nuevo recopilatorio denominado The Johnny Winter Anthology distribuido por Sony Music Entertainment. Durante su gira estival en Europa, el 16 de julio de 2014, murió de madrugada en un hotel de Zúrich. Rock and Roll El guitarrista Tom Johnston y el batería John Hartman formaran el núcleo de lo que sería otro de los grandes grupos del momento: The Doobie Brothers. Comenzaron a actuar en el norte de California y, después de algunos conciertos, consiguieron un contrato con la Warner Brothers. El álbum de su estreno salió en 1971 y era una mezcla de folk y country. El primer single fue "Nobody". El segundo álbum, Toulouse Street, en 1972, trajo su primer gran éxito "Listen To The Music". Este disco tenía un poco de R&B, bluegrass y hard rock. En la gira de 1975, Johnston dejó la banda por problemas de salud. El nuevo teclista, Michael McDonald, cambió la cara de los Doobie Brothers dándole un nuevo estilo que era una mezcla de soul, jazz y rock. En el primer álbum con Michael, de 1976, la canción The Doctor, compuesta por él, alcanzó un gran éxito. Johnston salió de la banda después de la grabación del disco. Después de casi una década en la carretera, y con siete álbumes lanzados, los Doobie Brothers alcanzaron su mayor éxito con el disco Minute by Minute, de 1978, que estuvo cinco semanas en el top de la Billboard. La canción "What A Fool Believes", compuesta por Michael Mcdonald y Kenny Loggins, ganó el Grammy de mejor música y grabación del año. En 1982, Doobie Brothers se disuelve, aunque antes lanzaron el disco en directo Farewell Tour, con la participación especial de Johnston. Y otro grupo más: Steely Dan. Banda estadounidense de rock formado en Nueva York en 1972 y cuya música incorpora elementos de jazz, rock, funk, rhythm and blues (R&B) y pop. Sus fundadores fueron Donald Fagen y Walter Becker, ambos geniales instrumentistas y compositores. La cima de su popularidad tuvo lugar en los años 70/75. Su música evolucionó para incorporar complejas estructuras de jazz avaladas por una extraordinaria habilidad instrumental. La banda fue famosa por utilizar músicos de sesión en sus grabaciones, como, por ejemplo, Mark Knopfler, y otros. La historia del grupo tiene tres etapas: en la primera, desde 1972 hasta 1974, el grupo era una banda convencional de rock que salía de gira y grababa; en la segunda, (1975-años 80) el grupo se convirtió en un grupo puramente de estudio que continuó usando el nombre de Steely Dan, aunque se centraba básicamente en el equipo formado por Becker y Fagen, empleando a músicos de sesión en sus grabaciones. La tercera etapa del grupo es la vuelta por sorpresa de Becker y Fagen a la grabación y actuación en directo durante los años 90, con la banda reconstituida considerada como uno de los grandes grupos de jazz-rock que actúa todavía en directo de forma regular. Aunque, lamentablemente, ya sin Becker, que murió en septiembre de 2017. Steely Dan y su Babylon Sisters. Los Beatles habían dicho adiós el 10 de mayo de 1970, cuando Paul McCartney anunció en final de la banda. Buen pues, de forma inmediata, el más beneficiado de esta deseada Independencia fue George Harrison. George había almacenado una buena cantidad de canciones porque el resto de Beatles no le dejaban incluir más que una canción en cada uno de sus discos. Así que, con todo hecho, editó inmediatamente un triple LP que llegó al número 1, al igual que el single My Sweet Lord, que tantos quebraderos de cabeza había de darle. El concierto de Bangla Desh, un año después, consolidó aún más su nuevo status de estrella. Aprovechando ese momento, creo una productora de cine, Hand Made Films. Gracias a ella, los Monty PLython puedieron llevar a cabo La Vida de Brian. Hemos oído, de este disco triple, la canción What Is Life; oiremos ahora, del mismo disco, Wah-Wah Ringo también tuvo sus años de gloria, bueno, más o menos. Con la ayuda de George primero pero también de John y Paul después. En 1974 publicó Goodnight Vienna, un álbum en el que contó con la colaboración de músicos como Lennon, Elton John, Jim Keltner, Harry Nilsson, Vini Poncia y Billy Preston. A pesar de seguir la fórmula trillada de incluir composiciones de músicos famosos, no obtuvo el éxito comercial esperado. El álbum incluye una versión del tema de The Platters «Only You (And You Alone)», que alcanzó el puesto seis en los Estados Unidos. Cuan Paul rompió los Beatles, casi inmediatamente, creó un nuevo grupo, Wings, con Linda McCartney y Denny Laine a la guitarra. Su mejor disco fue Band on the run. Paul McCartney se ha convertido en el artista más laureado de la historia, contando sus éxitos con los Beatles, en solitario y con Wings. También promovió un concierto benéfico a finales de los setenta, en pro de los damnificados del genocidio de Kampuchea. Pese a todo, jamás podrá luchar ya contra la leyenda de John, porque, amigos, los muertos siempre se convierten en héroes antes que los vivos. John Lennon ya había grabado en solitario antes de la separación del grupo. Formó Plastic Ono Band, con Yoko Ono, y a raíz de Imagine en 1971, consagrada como himno en las décadas siguientes, mantuvo una carrera con altibajos, metido de lleno en cuestiones políticas que casi le costaron ser expulsado de los Estados Unidos. De 1975 a 1980 se apartó de la música y cuando regresó, un demente le pegó un tiro a las puertas de su casa. Bueno amigos, hemos terminado el programa de hoy y, casi, casi, la temporada. Para celebrar tan glorioso momento, el próximo día, con muy pocas palabras y con mucha música, daremos un repaso a todo lo emitido en estos meses, una selecta selección, guiada exclusivamente por el buen gusto del equipo de Nada más que música que, como sabéis, nos caracteriza. En serio, hemos querido rescatar o descubrir canciones que, pudiendo estar presentes en nuestra memoria, o escondidas en alguno de los muchos recodos de nuestro cerebro, nos hicieron felices en su momento y que esperamos os hagan felices a vosotros ahora. No os lo perdáis. Hasta entonces… Buenas Vibraciones.

Hoy cerramos esta miniserie de tres capítulos en los que hemos revisado ese pequeño periodo comprendido entre los años 70 y 73 del siglo pasado que tan buenos músicos dio a la industria del disco. Uno de los más importantes, y con el que abrimos el programa de hoy es Isaac Hayes. Isaac Hayes fue un compositor, cantante, actor y productor estadounidense. Fue uno de los creadores del sello sureño de música soul Stax Records, donde trabajó como compositor, músico de sesión y productor de discos, haciendo equipo con su compañero David Porter durante la mitad de los años 1960. Su canción "Soul Man" escrita por Hayes y Porter y primero interpretada por Sam & Dave, ha sido reconocida como una de las canciones más influyentes en los pasados 50 años por el Salon de la Fama de los Grammy. Esta es la famosa versión que de su canción hicieron Sam and Dave, para mi gusto, mejor que el original. Linda Ronstadt, nacida en Tucson, Arizona, ha ganado once premios Grammy, tres American Music Award, un Emmy y ha sido candidata al Tony y al Globo de Oro, y sus álbumes han recibido múltiples certificaciones de oro, platino y multiplatino en el mundo. Ronstadt ha colaborado con artistas de diversos géneros y tendencias musicales como: Bette Midler, Frank Zappa, Rosemary Clooney, Flaco Jiménez, Philip Glass, Dolly Parton, Neil Young o Johnny Cash, entre otros. Su trabajo con el productor Peter Asher desde 1974 hasta la década de 1980 resultó ser de lo más fructífera. Uno de esos éxitos fue este precioso Blue Bayou, de Roy Orbison. Su año de despegue fue 1974 pero, a lo largo de su larga carrera de cantante, Linda Ronstadt ha convivido con infinidad de géneros y estilos, incluyendo las Big Band, rancheras mexicanas, un álbum de música latina, un álbum de Música country de los viejos tiempos y un álbum de clásicos de rock. La canción que hemos escuchado, Blue Bayou, pertenece a uno de los álbumes de más éxito de la carrera de Ronstadt, Simple Dreams. Pasó cinco semanas consecutivas en la lista de álbumes de Billboard a finales de 1977, desplazando a Elvis Presley del número 1 El álbum tuvo tanto éxito que Ronstadt se convirtió en la primera artista femenina, y el primer artista en general, desde The Beatles, en tener dos sencillos entre los cinco primeros al mismo tiempo: el ya citado " Blue Bayou " y este otro " It's So Easy”. El 18 de julio de 2004 en una actuación en el "Aladdin Casino", Las Vegas, a nuestra amiga Linda no se le ocurrió otra cosa que alabar al director de cine Michael Moore y a su película documental "Fahrenheit 9/11", ya sabéis, la que trata sobre las causas y consecuencias de los atentados del 11 de septiembre de 2001 en Estados Unidos, y en la que se hace referencia a la posterior invasión de Irak liderada por ese país y Gran Bretaña y con la inestimable aquiescencia de nuestro inefable ex presidente Aznar. Además, intenta determinar el alcance real de los supuestos vínculos entre las familias del presidente de los Estados Unidos en el momento de los atentados, George W. Bush, y los Bin Laden, acaudalada familia de Osama bin Laden. Bien, pues la lio parda Algunos miembros de la audiencia se marcharon, arrancaron carteles, lanzaron bebidas y pidieron que Linda fuese retirada del escenario. Posteriormente se informó de que el gerente de Aladdin, Bill Timmins, la escoltó afuera de las instalaciones, sin darle ni siquiera la oportunidad de recoger sus pertenencias, y aseguró que mientras él dirigiese el casino nunca, jamás, volvería a ser bienvenida. Y aunque aquí siempre será bienvenida, debemos ya despedirnos de Linda Ronstadt con una estupenda versión de un clásico, Am I Blue, acompañada por la Big Band de Nelson Riddle. John Denver, era hijo de un oficial de las fuerzas aéreas e instructor de vuelo. Este fue el motivo por el que Denver fue toda su vida un apasionado del vuelo, algo que como veremos, le costó la vida. Nacido el 31 de diciembre de 1943 en RosweIl (Nuevo México), el cantautor fue en su momento uno de los más populares del mundo. Su casa de discos, Sony, dice que se encuentra entre los cinco más vendedores de la historia de la música. Durante su carrera obtuvo 12 discos de oro y cuatro de platino. Tras estudiar guitarra y ser un apasionado seguidor de Elvis Presley, en 1964 abandonó sus estudios de Arquitectura, en contra de los criterios familiares, y se trasladó a Los Ángeles. En lo que constituye toda una triste ironía, su capacidad como letrista se hizo notoria al componer el éxito de Peter, Paul and Mary titulado Me voy en un avión, que consiguió situarse en los primeros lugares de las listas de ventas. En 1971 Denver lanzó su superéxito Take me home, country roads, un tema versionado hasta la infinidad y que quedó profundamente arraigado en el cancionero popular de Estados Unidos. Asociado con la música foIk y country más que con el pop, Denver cantó junto a infinidad de famosos, incluido Frank Sinatra y durante los años setenta fue un gigante de la música, pero en cierta medida rehuyó la fama yéndose a vivir a las Montañas Rocosas y componiendo canciones como Thank God I'm a country man (Gracias a Dios que soy un chico de campo). Sin dejar de grabar discos pero con mucho menos éxito, Denver se subió a los trenes del pacifismo y la protesta antinuclear en los años ochenta, y al del ecologismo en los noventa. Su preocupación por el medio ambiente le llevó a colaborar con asociaciones como los Amigos de la Tierra y la Sociedad Jacques Cousteau. Fue amigo del famoso oceanógrafo e incluso escribió como homenaje a su compromiso ecológico el tema Calypso. También, se afirma que en 1988 solicitó a las autoridades soviéticas que le dejaran viajar a bordo de la estación espacial Mir. Recientemente, el cantante había tenido problemas con el alcohol y, al menos en dos ocasiones, fue detenido por conducir borracho. Lo de la estación Mir no sabemos si lo preguntó antes o después de la detención. Denver tuvo dos pasiones en su vida: la música y volar. Como piloto experimentado, Denver tenía su propio planeador y voló en aviones acrobáticos y, en alguna ocasión, en un F-15. Esta pasión por el aire le costó a Denver la vida cuando cayó al mar en su recientemente adquirido Rutan Long-EZ el 12 de octubre de 1997. El percance sucedió durante un vuelo solitario, cuando se estrelló en las inmediaciones de una playa del Océano Pacífico, cerca de Pacific Grove, California. Su vuelo lo había iniciado a las 17:12, y la tragedia se estima que ocurrió a las 17:28, alrededor de 15 a 16 minutos después de su despegue. Y cambiando radicalmente de registro, nos vamos a conocer a otro personaje de la época: hablamos de Johnny Winter. John Dawson «Johnny» Winter nació albino, y al igual que su hermano menor Edgar, Johnny mostró desde siempre una fuerte atracción por la música. Comenzó a tocar la guitarra a la edad de 11 años y ya en esa época estaba enganchado a un programa de radio que se dedicaba en exclusiva al mundo del blues, y que presentaba un DJ aficionado local. A los 14 años, ya empapado de blues de su emisora favorita y con una larga colección de discos que había ido reuniendo, forma Johnny and the Jammers, su primera banda, junto a su hermano Edgar. Pasó un tiempo grabando temas para discográficas regionales y tocando en bares y clubs, buscando su oportunidad. Incluso en una ocasión, llegó a tocar, en 1962, ante B.B. King, con la guitarra de este, en una visita a un famoso local de Beaumont. Su descubrimiento a nivel nacional llegó a través de un artículo en la revista Rolling Stone, en 1968, lo que le valió un contrato con el propietario de un club neoyorquino y una grabación con Columbia. Su disco de debut oficial, Johnny Winter, fue publicado en 1969, año en el que también tocó en distintas presentaciones y festivales, incluyendo el de Woodstock. Entre los años 1969 y 1970, Winter sufrió una fuerte adicción a la heroína, de la que se recuperó no sin esfuerzo Winter era un monstruo del escenario, hizo más giras que ninguno de sus coetáneos a pesar de que en los últimos años se había visto afectado por problemas de salud y se vio obligado a realizar sus actuaciones sentado, producto de un problema de Síndrome Túnel Carpiano y de problemas en la cadera. Bueno pues, aun en estas condiciones, siguió adelante con su carrera. En mayo de 2009 lanzó un nuevo recopilatorio denominado The Johnny Winter Anthology distribuido por Sony Music Entertainment. Durante su gira estival en Europa, el 16 de julio de 2014, murió de madrugada en un hotel de Zúrich. Rock and Roll El guitarrista Tom Johnston y el batería John Hartman formaran el núcleo de lo que sería otro de los grandes grupos del momento: The Doobie Brothers. Comenzaron a actuar en el norte de California y, después de algunos conciertos, consiguieron un contrato con la Warner Brothers. El álbum de su estreno salió en 1971 y era una mezcla de folk y country. El primer single fue "Nobody". El segundo álbum, Toulouse Street, en 1972, trajo su primer gran éxito "Listen To The Music". Este disco tenía un poco de R&B, bluegrass y hard rock. En la gira de 1975, Johnston dejó la banda por problemas de salud. El nuevo teclista, Michael McDonald, cambió la cara de los Doobie Brothers dándole un nuevo estilo que era una mezcla de soul, jazz y rock. En el primer álbum con Michael, de 1976, la canción The Doctor, compuesta por él, alcanzó un gran éxito. Johnston salió de la banda después de la grabación del disco. Después de casi una década en la carretera, y con siete álbumes lanzados, los Doobie Brothers alcanzaron su mayor éxito con el disco Minute by Minute, de 1978, que estuvo cinco semanas en el top de la Billboard. La canción "What A Fool Believes", compuesta por Michael Mcdonald y Kenny Loggins, ganó el Grammy de mejor música y grabación del año. En 1982, Doobie Brothers se disuelve, aunque antes lanzaron el disco en directo Farewell Tour, con la participación especial de Johnston. Y otro grupo más: Steely Dan. Banda estadounidense de rock formado en Nueva York en 1972 y cuya música incorpora elementos de jazz, rock, funk, rhythm and blues (R&B) y pop. Sus fundadores fueron Donald Fagen y Walter Becker, ambos geniales instrumentistas y compositores. La cima de su popularidad tuvo lugar en los años 70/75. Su música evolucionó para incorporar complejas estructuras de jazz avaladas por una extraordinaria habilidad instrumental. La banda fue famosa por utilizar músicos de sesión en sus grabaciones, como, por ejemplo, Mark Knopfler, y otros. La historia del grupo tiene tres etapas: en la primera, desde 1972 hasta 1974, el grupo era una banda convencional de rock que salía de gira y grababa; en la segunda, (1975-años 80) el grupo se convirtió en un grupo puramente de estudio que continuó usando el nombre de Steely Dan, aunque se centraba básicamente en el equipo formado por Becker y Fagen, empleando a músicos de sesión en sus grabaciones. La tercera etapa del grupo es la vuelta por sorpresa de Becker y Fagen a la grabación y actuación en directo durante los años 90, con la banda reconstituida considerada como uno de los grandes grupos de jazz-rock que actúa todavía en directo de forma regular. Aunque, lamentablemente, ya sin Becker, que murió en septiembre de 2017. Steely Dan y su Babylon Sisters. Los Beatles habían dicho adiós el 10 de mayo de 1970, cuando Paul McCartney anunció en final de la banda. Buen pues, de forma inmediata, el más beneficiado de esta deseada Independencia fue George Harrison. George había almacenado una buena cantidad de canciones porque el resto de Beatles no le dejaban incluir más que una canción en cada uno de sus discos. Así que, con todo hecho, editó inmediatamente un triple LP que llegó al número 1, al igual que el single My Sweet Lord, que tantos quebraderos de cabeza había de darle. El concierto de Bangla Desh, un año después, consolidó aún más su nuevo status de estrella. Aprovechando ese momento, creo una productora de cine, Hand Made Films. Gracias a ella, los Monty PLython puedieron llevar a cabo La Vida de Brian. Hemos oído, de este disco triple, la canción What Is Life; oiremos ahora, del mismo disco, Wah-Wah Ringo también tuvo sus años de gloria, bueno, más o menos. Con la ayuda de George primero pero también de John y Paul después. En 1974 publicó Goodnight Vienna, un álbum en el que contó con la colaboración de músicos como Lennon, Elton John, Jim Keltner, Harry Nilsson, Vini Poncia y Billy Preston. A pesar de seguir la fórmula trillada de incluir composiciones de músicos famosos, no obtuvo el éxito comercial esperado. El álbum incluye una versión del tema de The Platters «Only You (And You Alone)», que alcanzó el puesto seis en los Estados Unidos. Cuan Paul rompió los Beatles, casi inmediatamente, creó un nuevo grupo, Wings, con Linda McCartney y Denny Laine a la guitarra. Su mejor disco fue Band on the run. Paul McCartney se ha convertido en el artista más laureado de la historia, contando sus éxitos con los Beatles, en solitario y con Wings. También promovió un concierto benéfico a finales de los setenta, en pro de los damnificados del genocidio de Kampuchea. Pese a todo, jamás podrá luchar ya contra la leyenda de John, porque, amigos, los muertos siempre se convierten en héroes antes que los vivos. John Lennon ya había grabado en solitario antes de la separación del grupo. Formó Plastic Ono Band, con Yoko Ono, y a raíz de Imagine en 1971, consagrada como himno en las décadas siguientes, mantuvo una carrera con altibajos, metido de lleno en cuestiones políticas que casi le costaron ser expulsado de los Estados Unidos. De 1975 a 1980 se apartó de la música y cuando regresó, un demente le pegó un tiro a las puertas de su casa. Bueno amigos, hemos terminado el programa de hoy y, casi, casi, la temporada. Para celebrar tan glorioso momento, el próximo día, con muy pocas palabras y con mucha música, daremos un repaso a todo lo emitido en estos meses, una selecta selección, guiada exclusivamente por el buen gusto del equipo de Nada más que música que, como sabéis, nos caracteriza. En serio, hemos querido rescatar o descubrir canciones que, pudiendo estar presentes en nuestra memoria, o escondidas en alguno de los muchos recodos de nuestro cerebro, nos hicieron felices en su momento y que esperamos os hagan felices a vosotros ahora. No os lo perdáis. Hasta entonces… Buenas Vibraciones.

Gestur þáttarins að þessu sinni er Tónlistarmaðurinn og munnhörpu-séníið Þorleifur Gaukur Davíðsson. Gaukur er nýútskrifaður úr Berklee College of Music auk þess sem hann hefur verið að túra heilmikið með Kaleo undanfarin ár. Hann mætir með uppáhalds ROKKplötuna sína klukkan 21.00 Plata þáttarins er Dynasty með Kiss sem var 40 ára í gær, kom út 23. Maí 1979 en á henni er eitt al-þekktasta lag Kiss, diskó-rokkarinn I was made for lovin´ you sem gítarleikarinn og söngvarinn Paul Stanley samdi. Stanley vildi að sveitin dýfði sér örlítið í diskóið sem var í algleymingi á þessum tíma og upphaflega átti diskó kóngurinn Giorgio Moroder að stjórna upptökum á plötunni en af því varð ekki. Dynasty er sjöunda breiðskífa Kiss, tekin upp í Electric Lady Studions og Record Plant Studios í New York. Upptökustjóri v ar Vini nokkur Poncia sem hafði gert það nokkuð gott sem lagasmiður og samið lög fyrir fólk eins og Jackie DeShannon, Mörthu Reeves og Tommy James auk þess sem hann var hægri hönd Ringo Starr músíklega á þessum tíma. Dynasty þykir ekki fullkomin plata og er langt í frá ein af bestu plötum Kiss, en hún er hugsanlega sú plata sem fjölgaði ungum aðdáendum mest. Hún er t.d. fyrsta platan sem umsjónarmaður Füzz keypti sjálfur fyrir sína eigin peninga (fékk þá reyndar lánaða hjá föðurbróður sínum) þegar hann var 11 ára gamall. Dynasty er fyrsta plata Kiss þar sem liðsmenn hljómsveitarinnar spila ekki allir saman í öllum lögunum. Trommarinn Pete Criss spilar t.d. bara í einu lagi á plötunni, laginu Dirty livin sem hann syngur líka. Criss lenti í bílslysi árið áður g það hafði áhrif á getu hans til að spila á trommurnar. Liðsmenn Kiss hafa sagt í viðtölum á síðari árum að þarna hafi þeir hlustað of mikið á utanaðkomandi aðila í stað þess að snúa bökum saman og vera Kiss. Gene Simmons hefur oft sagt að hann þoli t.d. ekki I was made for lovin´ you, en það er samt eitt af lögunum sem er spilað á öllum tónleikum Kiss enn þann dag í dag. Dynasty var fyrsta plata Kiss í tvö ár, en Love Gun var næsta plata á undan (1977). Í millitíðinni kom reyndar út tónleikaplatan Alive II auk þess sem allir liðsmenn Kiss sendu frá sér uppstrílaðar sólóplötur 18. September 1978. Vini Poncia stjórnaði upptökum á plötu Peter´s Criss og tromarinn Anton Fig sem trommar í raun á Dynasty trommaði á plötu gítarleikarans Ace Frehley. Óskalagasíminn verður opnaður (5687-123) um kl. 20 og A+B er svo að þessu sinni með Joyous Wolf frá Kaliforníu. Þetta var spilað í kvöld: 200.000 Naglbítar - Sól gleypir sær Rolling Stones - She´s so cold U2 - Elevati

Gestur þáttarins að þessu sinni er Tónlistarmaðurinn og munnhörpu-séníið Þorleifur Gaukur Davíðsson. Gaukur er nýútskrifaður úr Berklee College of Music auk þess sem hann hefur verið að túra heilmikið með Kaleo undanfarin ár. Hann mætir með uppáhalds ROKKplötuna sína klukkan 21.00 Plata þáttarins er Dynasty með Kiss sem var 40 ára í gær, kom út 23. Maí 1979 en á henni er eitt al-þekktasta lag Kiss, diskó-rokkarinn I was made for lovin´ you sem gítarleikarinn og söngvarinn Paul Stanley samdi. Stanley vildi að sveitin dýfði sér örlítið í diskóið sem var í algleymingi á þessum tíma og upphaflega átti diskó kóngurinn Giorgio Moroder að stjórna upptökum á plötunni en af því varð ekki. Dynasty er sjöunda breiðskífa Kiss, tekin upp í Electric Lady Studions og Record Plant Studios í New York. Upptökustjóri v ar Vini nokkur Poncia sem hafði gert það nokkuð gott sem lagasmiður og samið lög fyrir fólk eins og Jackie DeShannon, Mörthu Reeves og Tommy James auk þess sem hann var hægri hönd Ringo Starr músíklega á þessum tíma. Dynasty þykir ekki fullkomin plata og er langt í frá ein af bestu plötum Kiss, en hún er hugsanlega sú plata sem fjölgaði ungum aðdáendum mest. Hún er t.d. fyrsta platan sem umsjónarmaður Füzz keypti sjálfur fyrir sína eigin peninga (fékk þá reyndar lánaða hjá föðurbróður sínum) þegar hann var 11 ára gamall. Dynasty er fyrsta plata Kiss þar sem liðsmenn hljómsveitarinnar spila ekki allir saman í öllum lögunum. Trommarinn Pete Criss spilar t.d. bara í einu lagi á plötunni, laginu Dirty livin sem hann syngur líka. Criss lenti í bílslysi árið áður g það hafði áhrif á getu hans til að spila á trommurnar. Liðsmenn Kiss hafa sagt í viðtölum á síðari árum að þarna hafi þeir hlustað of mikið á utanaðkomandi aðila í stað þess að snúa bökum saman og vera Kiss. Gene Simmons hefur oft sagt að hann þoli t.d. ekki I was made for lovin´ you, en það er samt eitt af lögunum sem er spilað á öllum tónleikum Kiss enn þann dag í dag. Dynasty var fyrsta plata Kiss í tvö ár, en Love Gun var næsta plata á undan (1977). Í millitíðinni kom reyndar út tónleikaplatan Alive II auk þess sem allir liðsmenn Kiss sendu frá sér uppstrílaðar sólóplötur 18. September 1978. Vini Poncia stjórnaði upptökum á plötu Peter´s Criss og tromarinn Anton Fig sem trommar í raun á Dynasty trommaði á plötu gítarleikarans Ace Frehley. Óskalagasíminn verður opnaður (5687-123) um kl. 20 og A+B er svo að þessu sinni með Joyous Wolf frá Kaliforníu. Þetta var spilað í kvöld: 200.000 Naglbítar - Sól gleypir sær Rolling Stones - She´s so cold U2 - Elevati

Gestur þáttarins að þessu sinni er Tónlistarmaðurinn og munnhörpu-séníið Þorleifur Gaukur Davíðsson. Gaukur er nýútskrifaður úr Berklee College of Music auk þess sem hann hefur verið að túra heilmikið með Kaleo undanfarin ár. Hann mætir með uppáhalds ROKKplötuna sína klukkan 21.00 Plata þáttarins er Dynasty með Kiss sem var 40 ára í gær, kom út 23. Maí 1979 en á henni er eitt al-þekktasta lag Kiss, diskó-rokkarinn I was made for lovin´ you sem gítarleikarinn og söngvarinn Paul Stanley samdi. Stanley vildi að sveitin dýfði sér örlítið í diskóið sem var í algleymingi á þessum tíma og upphaflega átti diskó kóngurinn Giorgio Moroder að stjórna upptökum á plötunni en af því varð ekki. Dynasty er sjöunda breiðskífa Kiss, tekin upp í Electric Lady Studions og Record Plant Studios í New York. Upptökustjóri v ar Vini nokkur Poncia sem hafði gert það nokkuð gott sem lagasmiður og samið lög fyrir fólk eins og Jackie DeShannon, Mörthu Reeves og Tommy James auk þess sem hann var hægri hönd Ringo Starr músíklega á þessum tíma. Dynasty þykir ekki fullkomin plata og er langt í frá ein af bestu plötum Kiss, en hún er hugsanlega sú plata sem fjölgaði ungum aðdáendum mest. Hún er t.d. fyrsta platan sem umsjónarmaður Füzz keypti sjálfur fyrir sína eigin peninga (fékk þá reyndar lánaða hjá föðurbróður sínum) þegar hann var 11 ára gamall. Dynasty er fyrsta plata Kiss þar sem liðsmenn hljómsveitarinnar spila ekki allir saman í öllum lögunum. Trommarinn Pete Criss spilar t.d. bara í einu lagi á plötunni, laginu Dirty livin sem hann syngur líka. Criss lenti í bílslysi árið áður g það hafði áhrif á getu hans til að spila á trommurnar. Liðsmenn Kiss hafa sagt í viðtölum á síðari árum að þarna hafi þeir hlustað of mikið á utanaðkomandi aðila í stað þess að snúa bökum saman og vera Kiss. Gene Simmons hefur oft sagt að hann þoli t.d. ekki I was made for lovin´ you, en það er samt eitt af lögunum sem er spilað á öllum tónleikum Kiss enn þann dag í dag. Dynasty var fyrsta plata Kiss í tvö ár, en Love Gun var næsta plata á undan (1977). Í millitíðinni kom reyndar út tónleikaplatan Alive II auk þess sem allir liðsmenn Kiss sendu frá sér uppstrílaðar sólóplötur 18. September 1978. Vini Poncia stjórnaði upptökum á plötu Peter´s Criss og tromarinn Anton Fig sem trommar í raun á Dynasty trommaði á plötu gítarleikarans Ace Frehley. Óskalagasíminn verður opnaður (5687-123) um kl. 20 og A+B er svo að þessu sinni með Joyous Wolf frá Kaliforníu. Þetta var spilað í kvöld: 200.000 Naglbítar - Sól gleypir sær Rolling Stones - She´s so cold U2 - Elevati

Dynasty is the 7th studio album by KISS, produced by Vini Poncia and released on May 23, 1979. Coming off of the Solo albums, It threw many KISS fans for a loop, KISS going DISCO?! As we come up on another Anniversary of this KISS KLASSIC, let’s flip this Album over and look and listen […]

Pat Francis and Kyle Dodson welcome comedian Courtney Cronin to the Guest Co-Host chair to discuss all 4 KISS Solo albums from 1978. The album listening order was chosen randomly and the trio goes meticulously track by track through each LP. This is a must listen for KISS fans. Fans of F-U-N are invited too.

Ellen Foley burst onto the music scene in a gigantic way when she sang "Paradise by the Dashboard Light" with Meat Loaf on his mega-smash Bat Out of Hell album. That incredible performance got her a record deal and she put out three albums with some of the biggest legends in the biz behind the boards (Ian Hunter, Mick Ronson, The Clash, Vini Poncia, etc). In the early 80s she decided to focus on her acting career and was rewarded with a starring role on the first season of Night Court, as well as appearances in decade-defining films like Tootsie, Fatal Attraction and Cocktail. When she got married and became a mom she stepped away from the spotlight to raise her kids and now works when she wants. We discuss her thoughts on her career, what it was like collaborating with so many legends, and how she looks back on her career. Imagine the memories that must be floating around her head! http://www.ellenfoley.com/

No stories are more entertaining and thought provoking than war stories. The rock and roll equivalent to this is road stories. Our guest this week is a treasure trove of experience in the annals of rock history; especially KISSTORY as former KISS guitar tech Tom Harper joins us for a discussion that is a great look behind the scenes that most music lovers never get to see. Tom is most commonly known among KISS fans as a guitar tech (Paul Stanley’s on the Dynasty tour) that was tasked with playing the bass track on the track Shandi from 1980’s Unmasked album. Before we get into what took place to lead Tom into replacing Gene Simmons on this poppy number, we go back to his roots. Our discussion starts in Connecticut in the early 1960’s and Tom’s indoctrination into the world of rock and roll as he witnesses the Beatles first appearance on the Ed Sullivan show. The tv appearance that launched a million wannabe rock stars nabbed Tom hook line and sinker as he quickly joined a band that already had 40 original songs and was playing talent shows and local bars at an age where he should have not been allowed admission. Tom shares stories of playing seedy clubs on the wrong side of New Haven, CT and witnessing bar brawls and stabbings while performing sets. In this discussion, Harper also remembers seeing legendary performers such as Cream and Jimi Hendrix as they made their way through Connecticut on their ascent to the top of the charts as well as the image of seeing Hendrix light his guitar on fire first-hand. In 1969 Tom’s musical interests shifted as he became seduced by the technical prog-rock sounds of YES and their dynamic bassist Chris Squire. The early 70’s saw Harper join a hard-rock act named BUX and he shares his experiences of recording an album for Capitol Records with promise and seeing that promise dashed when their manager meets an untimely demise. This situation leaves Harper without a band or a job in the middle of New York City. Through connections and a timely ad in the Village Voice, Harper winds up as an employee of SIR Rehearsal Studios in NYC. It would be through this job that his path would cross with the Hottest Band in the Land. Soon after beginning work for SIR, Tom finds out that producer Eddie Kramer is enlisting the company to provide various Marshall studio heads for the Ace Frehley 1978 KISS solo album. Harper shares his recollection of how he ingratiated himself into KISS circles by providing top-notch maintenance for Kramer and Frehley during the recording process. In this discussion, you’ll hear how Harper became friendly with KISS’ road crew and landed the job of being Paul Stanley’s guitar technician. You’ll hear about an awkward first meeting with the Starchild at the KISS Dynasty album cover shoot that made it clear that Harper would have to be on his toes while working for Stanley. Tom also shares his memories of then-KISS road manager Fritz Postlethwaite and his chainsaw named Arthur that he would use to bring order in hotels on the road. The KISS Dynasty tour of 1979 was a virtual city-on-wheels and in this discussion Harper shares how the pre-tour preparations and rehearsals had the crew on the brink of exhaustion. He also shares some interesting stories about some ill-fated laser effects that sounded great on paper but turned out to be a nightmare to execute. The tour rolled through America with 8 trucks and a flying rig for Gene Simmons that was state-of-the-art. Harper shares memories of the massive size of the show as well as some problems that happened along the way as ticket sales did not live up to expectations for the tour. Before we get to the Shandi discussion, we take a couple of interesting detours as Tom shares with us his memories of being the musical director for the Peter Criss Out of Control tour that wound up being cancelled due to poor album sales. A planned appearance on a famous late-night show was cancelled and the revelation takes us completely by surprise. Interesting stories about the Catman. We also discuss Tom’s time working with Judas Priest; of whom he became friendly with as the opening band for KISS’ Dynasty tour. Great road stories of working with Priest over the years ensue and we ponder the question of just how Rob Halford could pull off 5 shows in a row with no rest for his voice on 1982’s Screaming for Vengeance tour. We also briefly discuss Eric Carr’s KISS audition and Tom’s memories of the Carr as a drummer and as a person. We finish things off with the Shandi discussion in which Tom tells us how he wound up playing on the track, his thoughts on KISS’ creative process, the poppy sound of the Unmasked album, and the professionalism of Vini Poncia. It’s a great story and one we’re thrilled to share with you. As a special treat to our listeners, we outro the show with the basic track of Shandi as Tom recorded it that day in 1980. This version of the track features a guide vocal from Paul and a basic production and comes from Tom’s personal collection. We hope you enjoy this different sounding version of Shandi. Tom Harper recently released an EP entitled Vintage UK. This 4 song EP features tracks that heavily inspired Tom in his musical journey from British Invasion artists of 1967-68 and is available at the links below. Clips from these songs were played throughout the episode. If you enjoyed it and want to hear more, pick it up! Purchase on iTunes http://itunes.apple.com/artist/tf-harper/id395771038 Purchase on CDBaby http://www.cdbaby.com/cd/tfharper Website for Vintage UK http://vintage-uk.com/Vintage_UK/Vintage_UK.html

Here's another episode, featuring Ringo! Tracks: 1. Attention*** (Paul McCartney) [from "Stop And Smell The Roses"] 2. I'll Still Love You (When Every Song Is Sung)* (George Harrison) [from "Ringo's Rotogravure"] 3. Out On The Streets* (Richard Starkey & Vini Poncia) [from "Ringo The 4th"] 4. Heart On My Sleeve** (Benny Gallagher & Graham Lyle) [from "Bad Boy"] 5. You've Got A Nice Way# (Stephen Stills & Michael Stergis) [from "Stop And Smell The Roses"] 6. In My Car## (Richard Starkey & Joe Walsh) [from "Old Wave"] 7. Picture Show Life## (John Slate & John Reid) [from "Old Wave"] 8. A Man Like Me** (Ruan Olachainn) [from "Bad Boy"] Produced by *Arif Mardin, **Vini Poncia, ***Paul McCartney, #Stephen Stills and ##Joe Walsh www.dsl89.blogspot.com