Podcasts about walk don

Unplug those guitars, grab your synthesizers and head into the avante garde world of dark electro pop. There's a manequin head involved in this week's episode that's really upset Corey and his family. We talk about virtuosos we've covered on this show to this point and if there are any coming up this season. We also discover the new game format that Kev has dreamed up. Unfortunately, he REALLY hasn't thought it through so thank gods Corey is around to sort it all out! Will Corey be on board with Dave Stewart's electro-noodling? Will Kev quit touching himself, despite numerous requests for cessation from Corey? And what will the boys make of the most different album side they've covered to date?The only way to find out is to turn on, tune in, and stumble in the debris.Songs covered in this episode: "Love Is a Stranger", "I've Got an Angel". "Wrap It Up", "I Could Give You (A Mirror)", "The Walk"Don't forget to follow us on social media and leave us a rating/review if you're enjoying the show!Facebook: https://www.facebook.com/UltimateCatalogueClashBluesky: https://bsky.app/profile/ucatalogueclash.bsky.socialDiscord: https://discord.gg/76F8G8FEX8Ko-Fi: https://ko-fi.com/ultimatecatalogueclash Hosted on Acast. See acast.com/privacy for more information.

The brilliant Stephen Hawking once said “The increase of disorder or entropy is what distinguishes the past from the future, giving a direction to time.” So essentially, what he is saying is that the long an artist's career goes on, the more it degrades until finally, you find yourself recording country albums and doing duets with someone called Jellyroll. Good point that Steve. Great observation! But, will it be true for the Foo Fighters? Will Dave ever learn to walk again? Will Kev ever get a single guess right in The Best of You and what will Corey think of violins and mellotrons and accordions (oh my!) on a Foo's song? The only way to find out is to turn on, tune in, and turn it on again.Songs covered in this episode: "Back & Forth", "A Matter of Time", "Miss the Misery", "I Should Have Known", "Walk"Don't forget to follow us on social media and leave us a rating/review if you're enjoying the show!Facebook: https://www.facebook.com/UltimateCatalogueClashTwitter: https://twitter.com/UCatalogueClashBluesky: https://bsky.app/profile/ucatalogueclash.bsky.social Hosted on Acast. See acast.com/privacy for more information.

DON WILSON THE VENTURES February 10TH 1933 - January 22ND 2022 ‘THE LOST INTERVIEWS' with RAY SHASHO EPISODE 14 -Interviewed June 10th, 2014   Don Wilson and The Ventures have inspired thousands of promising musicians and enthusiasts across the globe for over five decades, and many of their pupils became legendary in the music world. Ventures alumni include… Jeff Beck, Eric Clapton, George Harrison, Jimmy Page, Stephen Stills, Joe Walsh, Joe Perry of Aerosmith, Billy Joel, Elton John, John Bonham, Mick Fleetwood, Jeff “Skunk” Baxter, Gene Simmons, and many-many more. At 81, Don Wilson, guitarist & co-founder of the legendary rock and roll/surf band says he has no plans for slowing down any time soon. The Ventures recently concluded a lengthy tour in Japan where they are still idolized. Don and his son Tim Wilson have also initiated a new record label with promising young musicians to mentor and promote.  THE VENTURES are the best-selling instrumental rock band in music history. In 1958, the group was formed by Tacoma, Washington residents Don Wilson (rhythm and lead guitar) and Bob Bogle (lead and bass guitar). The duo's plan was to earn a permanent living playing guitar instead of working at their hard labor construction jobs as bricklayers. They originally performed as the Impacts and the Versatones before finally settling on The Ventures. Nokie Edwards (lead guitar) joined in 1960 and they recorded their first big hit, a Chet Atkins cover entitled “Walk, Don't Run.” The Ventures lineup in the studio also included Skip Mooreon drums. In 1960, the song peaked at #2 on the Billboard's single chart amid stiff competition from Chubby Checker, Roy Orbison, Elvis Presley, and Bryan Hyland. Drummer Howie Johnson replaced Moore in 1960. Mel Taylor became The Ventures permanent drummer in 1962 until his passing in 1996. From 1960 through 1972, The Ventures consistently toured worldwide and charted 37 albums. The group was hailed as America's instrumental Beatles. Some of The Ventures  hit singles include … “Telstar,” “The Lonely Bull,” “Rebel-Rouser,” “Honky Tonk,” “Let's Go,” “Pipeline,” “Walk, Don't Run,” “Tequila,” “Apache,” “Wipe-Out, ”Memphis,” “Out of Limits,” and their mega-hit … “Hawaii Five-O” (#4 on Billboard's Singles Chart -1969), (The album reached #11 on Billboard's album chart). The Ventures were inducted into the Rock and Roll Hall of Fame in 2008. That same year also marked The Ventures 50th Anniversary. Here's a list of incredible accomplishments by The Ventures … Rock and Roll Hall of Fame - Class of 2008 Ranked #4 among all-time instrumental artists on Billboard's Single Charts Ranked #6 among all 1960s artists on Billboard's Album Charts Ranked #26 among all-time artists on Billboard's Album Charts Ranked #20 in most albums on Billboard's Album Charts with 37 “Walk, Don't Run” is one of Rock and Roll Hall of Fame's Top 500 Hits of all time  1960 to 1969 - Placed 14 singles on Billboard's Single Charts   Gold singles: “Walk, Don't Run (1960), “Walk Don't Run '64” (1964), “Hawaii Five-0” (1969),  1960 to 1972 - Placed 37 albums on Billboard's Album Charts with 5 on the charts simultaneously during 1963. Gold albums: Telstar and the Lonely Bull (1963), Golden Greats (1967), Hawaii Five-0 (1969) To date, more than 450 LP and CD albums released worldwide (and still counting) 1960 to 1973 - Sold nearly 1,000,000 albums per year in the U.S.  Japan sales approaching 40,000,000 units (and still counting) Collective worldwide sales approaching 100,000,000 units (and still counting) 1964 - Popularized Mosrite Guitars with introduction of The Ventures Model. Today these are among the most sought-after guitars, known for their tone and playability. Successfully adapted their unique guitar style to countless changes in musical trends Released an acclaimed set of instructional records with the Play Guitar with The Ventures series Cited affectionately as "the group that launched a thousand bands" Credited with popularizing rock and roll and the electric guitar in Japan 1971 - First non-Japanese artists elected to the Japanese Conservatory of Music Jan 1987, Guitar Player magazine 20 Anniversary Issue cited Walk Don't Run as one of "20 Essential Rock Albums" 1990 - Inducted into the Washington State Music Hall of Fame Feb 1996, Guitar magazine identified “Walk Don't Run” as one of ten 1960's albums included in “The Fifty Greatest Rock Guitar Records" (albums) Inducted into the Hollywood Rock Walk  Invited to participate in the Smithsonian Institution's celebration of the development of the electric guitar Honored by Fender Guitars with a limited-edition line of Ventures Model Jazzmaster, Telecaster and Jazz Bass signature guitars 2001 - Honored by Aria Guitars with limited-edition Ventures Model guitars 2004 - Award by Japanese Ministry of Foreign Affairs for contributing to friendly relations between Japan and US. No other artists in modern music share this honor 2005 – Washington State Senate Resolution 8645 to honor The Ventures, to "recognize the contributions of those who have had a significant impact over the evolution, development and perpetuation of rock and roll" 2006 – “Walk, Don't Run” is inducted into The Grammy Hall of Fame Numerous contributions to movie and commercial soundtracks, including ‘Pulp Fiction' and ‘Madagascar' The Ventures have reached over 100- Million in record sales, 14-songs that hit the singles chart, and 37 albums that charted. The band continues to record and tour with their current lineup of …Don Wilson (rhythm guitar- co-founder 1958), Nokie Edwards (lead guitar -joined 1960), Gerry McGee (lead guitar –joined 1968), Bob Spalding (lead and bass guitar –joined 1981), Leon Taylor (drums – joined 1996 after the passing of his father Mel Taylor). Co-founder, lead and bass guitarist Bob Bogle passed away in 2009. Drummer Mel Taylor passed away in 1996. I had the rare privilege of chatting with Don Wilson back in June about … The “Walk, Don't Run" legacy … The early days of The Ventures … Their devoted Japanese fans … My infamous ‘Field of Dreams' question …The inception of “Hawaii Five-O”… And much-much more! Here's my interview with The Ventures legendary guitarist, co-founder, pioneer …DON WILSON.   Support us on PayPal!

This week on RadioWilderLive.com, we're throwing it back to our 3rd anniversary show, where we celebrated with a wild audio party! From a simple tribute to my daughter to 7 years of amazing memories, we've come a long way! We kick it off with some bluesy grit from Albert King's "The Hunter," then Lucinda Williams got things steamy with "Walk On!" Excited to debut new music from New Jersey's Kanake with their killer track (trust us, you'll dig it!). Keith Richards rocks in with "Get Off of Me," followed by a late 60s flashback with Love's "Seven and Seven." The Ventures, arguably the greatest instrumental band ever, prove their chops with "Walk Don't Run" (38 albums charted in the 60s, that's #6 all-time!). Dion croons the beautiful "Why Must I Be a Teenager in Love?" while The Sonics, the original garage band, growl out "Have Love, Will Travel," later covered by Paul Revere & The Raiders in The Dueces. And a shout-out to my other Syracuse grad besides my Dad: Lou Reed with the epic "Sweet Jane." And The Verbs round it out with the smoking hot "Burnt Out Star." Join us for our third-anniversary show four years later. What a wild ride it has been! Thanks for rocking with RadioWilderLive.com for all these years!

Welcome to Walk Don't Run to the Doctor, where we challenge the status quo of our healthcare approach. In today's society, it's become almost second nature to rush to the doctor at the slightest hint of discomfort. But what if, instead of relying solely on medications and medical interventions, we paused to examine our lifestyles and made meaningful changes first?   In today's episode Miles Hassell, MD helps listeners shift their perspective and recognize the profound impact our daily habits have on our health. Rather than treating symptoms reactively, let's proactively address the root causes of illness through lifestyle interventions.   In this episode Miles Hassell, MD explores: The prevalence of excess diagnoses and diseases in today's society and the role lifestyle factors play in contributing to these health issues. Examples of lifestyle interventions such as diet, exercise, stress management, and sleep hygiene. Practical guidance, resources, and support for making informed decisions about your health and taking control of your well-being.   Together, let's walk—not run—towards a healthier, happier future.   Join the cause! Support the podcast and be a champion of a future episode by donating here: https://greatmed.org/donate/ For more information and references head to www.greatmed.org           "Practicing internal medicine physician, Miles Hassell MD, discusses evidence based lifestyle tools for disease prevention, reversal, and remission." About: In 2024, Miles Hassell MD launched Walk, Don't Run to the Doctor podcast, the first crowd-funded podcast dedicated to sharing the current evidence on lifestyle -profit 501(c)(3) foundation that provides evidence-based lifestyle disease prevention and treatment tools within the medical community and for the general public.  GreatMed.org is an educational foundation made of doctors, nurses, and other practicing clinicians who aim to provide the tools and resources clinicians need to more effectively help patients take control of their health, minimize medications, and reduce their risk factors. We offer educational material on lifestyle choices and a whole food Mediterranean diet model based on the best evidence from current medical literature."   More about Dr. Hassell: Miles Hassell, MD is the founder and Chief Medical Officer of the Comprehensive Risk Reduction Foundation and co-author of Good Food Great Medicine, now in its 4th edition.  He graduated from the University of Western Australia. He completed his residency in Internal Medicine at Providence St. Vincent Medical Center and is board certified in Internal Medicine. In addition to nearly 30 years in private practice, he is a clinical instructor with Providence St. Vincent Medical Center Internal Medicine Residents and is an instructor at Pacific University.  Dr. Hassell also established the Integrative Medicine Program at Providence Cancer Center and specializes in evidence-based conventional and lifestyle medicine for treatment or reversal of heart disease and stroke, type 2 diabetes, and cancer prevention and survivorship.  He lives in Portland with his wife and son.  

Uncle Jim and his Treksperts discuss Star Trek Lower Decks fourth season episode "Parth Ferengi's Heart Place", and Very Short Treks final episode, "Walk Don't Run". Grand Nagus Rom and First Clerk Letta petition to join the United Federation of Planets, what could possibly happen? Very Short Treks finale brings us Tendi, Riker, Sulu and other beloved characters from across Star Trek. We compare our scores to our FB fans, Fan Shout-outs, and Star Trek birthday's. Patrick says what, on Star Trek News. Call (646)668-2433 to join the fun. Let's See What's Out There...ENGAGE!  

This week we have a very special guest – Lindsay Weaver, star of our feature comedy “Almost Sorta Maybe”, which is available now on streaming! On this episode we show her a lesser-known but severely underrated comedy, Walk Don't Run! We talk about it's making, and discuss comedy and acting in general! Both Cary Grant and director Charles Walters' last cinematic film, we think you'll love this 1966 gem. Join us as we deep dive into this fun comedy that was a favorite of Lolo's in her childhood, and then go watch “Almost Sorta Maybe” to see Lindsay in action, available right now on Xfinity and Spectrum on demand, and coming soon to Amazon, Youtube rentals, google play and more. New episodes of First Timers Movie Club come out every other Friday so click SUBSCRIBE and rate us five stars to make sure you don't miss our next episode! Become a Patron for access to exclusive episodes and videos: https://www.patreon.com/ixfilmproductionsHave a favorite (or least favorite) famous movie that you think we should've seen? Reach out to IX Film Productions on Twitter, Instagram or email and we'll add it to our list!Not sold on watching “Almost Sorta Maybe” yet? Check out the trailer!https://youtu.be/Y7j122FYyxQOur upcoming Events and Screenings mentioned in this episode:Best of Bird Watching 2022, February 22nd 7:30pm. Details: https://www.facebook.com/events/898158711312205 Vegan Apocalypse at the Sweet Short Film Fest in Cleveland, Ohio March 1st-5th:https://www.shortsweetfilmfest.com/The 80th Annual Golden Birds Oscar Parody Show, March 11th at 9:30 pm.Details: https://www.facebook.com/events/716857486576251Vegan Apocalypse at the Austin Micro Film Festival, March 11th: https://tickets.filmfestivalcircuit.com/event/austin-micro-film-festival-1668727717949x628134804345061400Vegan Apocalypse at the Sunny Side Up Film Festival in Miami, OK March 24th-26th:https://www.brenrockproductions.com/SSUFF.htmlVegan Apocalypse at the First City Film Festival, March 23rd-26th:https://www.firstcityfilmfest.com/ Follow IX Film Productions for podcast updates, stand up comedy, original web shorts and comedy feature films at:Facebook: www.facebook.com/ixfilmproductionsTwitter: www.twitter.com/ixproductionsInstagram: @IXProductionsYouTube: www.youtube.com/ixfpSubscribe to our newsletter for monthly updates on our website: www.ixfilmproductions.com"First Timers Movie Club" is brought to you by IX Film Productions."Making the World a Funnier Place one Film at a Time"MusicThe Curtain Rises by Kevin MacLeodLink: https://incompetech.filmmusic.io/song/5007-the-curtain-risesLicense: http://creativecommons.org/licenses/by/4.0/

We start season four of A History of Rock Music in Five Hundred Songs with an extra-long look at "San Francisco" by Scott McKenzie, and at the Monterey Pop Festival, and the careers of the Mamas and the Papas and P.F. Sloan. 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 "Up, Up, and Away" by the 5th Dimension. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, all the songs excerpted in the podcast can be heard in full at Mixcloud. Scott McKenzie's first album is available here. There are many compilations of the Mamas and the Papas' music, but sadly none that are in print in the UK have the original mono mixes. This set is about as good as you're going to find, though, for the stereo versions. Information on the Mamas and the Papas came from Go Where You Wanna Go: The Oral History of The Mamas and the Papas by Matthew Greenwald, California Dreamin': The True Story Of The Mamas and Papas by Michelle Phillips, and Papa John by John Phillips and Jim Jerome. Information on P.F. Sloan came from PF - TRAVELLING BAREFOOT ON A ROCKY ROAD by Stephen McParland and What's Exactly the Matter With Me? by P.F. Sloan and S.E. Feinberg. The film of the Monterey Pop Festival is available on this Criterion Blu-Ray set. Sadly the CD of the performances seems to be deleted. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Welcome to season four of A History of Rock Music in Five Hundred Songs. It's good to be back. Before we start this episode, I just want to say one thing. I get a lot of credit at times for the way I don't shy away from dealing with the more unsavoury elements of the people being covered in my podcast -- particularly the more awful men. But as I said very early on, I only cover those aspects of their life when they're relevant to the music, because this is a music podcast and not a true crime podcast. But also I worry that in some cases this might mean I'm giving a false impression of some people. In the case of this episode, one of the central figures is John Phillips of the Mamas and the Papas. Now, Phillips has posthumously been accused of some truly monstrous acts, the kind of thing that is truly unforgivable, and I believe those accusations. But those acts didn't take place during the time period covered by most of this episode, so I won't be covering them here -- but they're easily googlable if you want to know. I thought it best to get that out of the way at the start, so no-one's either anxiously waiting for the penny to drop or upset that I didn't acknowledge the elephant in the room. Separately, this episode will have some discussion of fatphobia and diet culture, and of a death that is at least in part attributable to those things. Those of you affected by that may want to skip this one or read the transcript. There are also some mentions of drug addiction and alcoholism. Anyway, on with the show. One of the things that causes problems with rock history is the tendency of people to have selective memories, and that's never more true than when it comes to the Summer of Love, summer of 1967. In the mythology that's built up around it, that was a golden time, the greatest time ever, a period of peace and love where everything was possible, and the world looked like it was going to just keep on getting better. But what that means, of course, is that the people remembering it that way do so because it was the best time of their lives. And what happens when the best time of your life is over in one summer? When you have one hit and never have a second, or when your band splits up after only eighteen months, and you have to cope with the reality that your best years are not only behind you, but they weren't even best years, but just best months? What stories would you tell about that time? Would you remember it as the eve of destruction, the last great moment before everything went to hell, or would you remember it as a golden summer, full of people with flowers in their hair? And would either really be true? [Excerpt: Scott McKenzie, "San Francisco"] Other than the city in which they worked, there are a few things that seem to characterise almost all the important figures on the LA music scene in the middle part of the 1960s. They almost all seem to be incredibly ambitious, as one might imagine. There seem to be a huge number of fantasists among them -- people who will not only choose the legend over reality when it suits them, but who will choose the legend over reality even when it doesn't suit them. And they almost all seem to have a story about being turned down in a rude and arrogant manner by Lou Adler, usually more or less the same story. To give an example, I'm going to read out a bit of Ray Manzarek's autobiography here. Now, Manzarek uses a few words that I can't use on this podcast and keep a clean rating, so I'm just going to do slight pauses when I get to them, but I'll leave the words in the transcript for those who aren't offended by them: "Sometimes Jim and Dorothy and I went alone. The three of us tried Dunhill Records. Lou Adler was the head man. He was shrewd and he was hip. He had the Mamas and the Papas and a big single with Barry McGuire's 'Eve of Destruction.' He was flush. We were ushered into his office. He looked cool. He was California casually disheveled and had the look of a stoner, but his eyes were as cold as a shark's. He took the twelve-inch acetate demo from me and we all sat down. He put the disc on his turntable and played each cut…for ten seconds. Ten seconds! You can't tell jack [shit] from ten seconds. At least listen to one of the songs all the way through. I wanted to rage at him. 'How dare you! We're the Doors! This is [fucking] Jim Morrison! He's going to be a [fucking] star! Can't you see that? Can't you see how [fucking] handsome he is? Can't you hear how groovy the music is? Don't you [fucking] get it? Listen to the words, man!' My brain was a boiling, lava-filled Jell-O mold of rage. I wanted to eviscerate that shark. The songs he so casually dismissed were 'Moonlight Drive,' 'Hello, I Love You,' 'Summer's Almost Gone,' 'End of the Night,' 'I Looked at You,' 'Go Insane.' He rejected the whole demo. Ten seconds on each song—maybe twenty seconds on 'Hello, I Love You' (I took that as an omen of potential airplay)—and we were dismissed out of hand. Just like that. He took the demo off the turntable and handed it back to me with an obsequious smile and said, 'Nothing here I can use.' We were shocked. We stood up, the three of us, and Jim, with a wry and knowing smile on his lips, cuttingly and coolly shot back at him, 'That's okay, man. We don't want to be *used*, anyway.'" Now, as you may have gathered from the episode on the Doors, Ray Manzarek was one of those print-the-legend types, and that's true of everyone who tells similar stories about Lou Alder. But... there are a *lot* of people who tell similar stories about Lou Adler. One of those was Phil Sloan. You can get an idea of Sloan's attitude to storytelling from a story he always used to tell. Shortly after he and his family moved to LA from New York, he got a job selling newspapers on a street corner on Hollywood Boulevard, just across from Schwab's Drug Store. One day James Dean drove up in his Porsche and made an unusual request. He wanted to buy every copy of the newspaper that Sloan had -- around a hundred and fifty copies in total. But he only wanted one article, something in the entertainment section. Sloan didn't remember what the article was, but he did remember that one of the headlines was on the final illness of Oliver Hardy, who died shortly afterwards, and thought it might have been something to do with that. Dean was going to just clip that article from every copy he bought, and then he was going to give all the newspapers back to Sloan to sell again, so Sloan ended up making a lot of extra money that day. There is one rather big problem with that story. Oliver Hardy died in August 1957, just after the Sloan family moved to LA. But James Dean died in September 1955, two years earlier. Sloan admitted that, and said he couldn't explain it, but he was insistent. He sold a hundred and fifty newspapers to James Dean two years after Dean's death. When not selling newspapers to dead celebrities, Sloan went to Fairfax High School, and developed an interest in music which was mostly oriented around the kind of white pop vocal groups that were popular at the time, groups like the Kingston Trio, the Four Lads, and the Four Aces. But the record that made Sloan decide he wanted to make music himself was "Just Goofed" by the Teen Queens: [Excerpt: The Teen Queens, "Just Goofed"] In 1959, when he was fourteen, he saw an advert for an open audition with Aladdin Records, a label he liked because of Thurston Harris. He went along to the audition, and was successful. His first single, released as by Flip Sloan -- Flip was a nickname, a corruption of "Philip" -- was produced by Bumps Blackwell and featured several of the musicians who played with Sam Cooke, plus Larry Knechtel on piano and Mike Deasey on guitar, but Aladdin shut down shortly after releasing it, and it may not even have had a general release, just promo copies. I've not been able to find a copy online anywhere. After that, he tried Arwin Records, the label that Jan and Arnie recorded for, which was owned by Marty Melcher (Doris Day's husband and Terry Melcher's stepfather). Melcher signed him, and put out a single, "She's My Girl", on Mart Records, a subsidiary of Arwin, on which Sloan was backed by a group of session players including Sandy Nelson and Bruce Johnston: [Excerpt: Philip Sloan, "She's My Girl"] That record didn't have any success, and Sloan was soon dropped by Mart Records. He went on to sign with Blue Bird Records, which was as far as can be ascertained essentially a scam organisation that would record demos for songwriters, but tell the performers that they were making a real record, so that they would record it for the royalties they would never get, rather than for a decent fee as a professional demo singer would get. But Steve Venet -- the brother of Nik Venet, and occasional songwriting collaborator with Tommy Boyce -- happened to come to Blue Bird one day, and hear one of Sloan's original songs. He thought Sloan would make a good songwriter, and took him to see Lou Adler at Columbia-Screen Gems music publishing. This was shortly after the merger between Columbia-Screen Gems and Aldon Music, and Adler was at this point the West Coast head of operations, subservient to Don Kirshner and Al Nevins, but largely left to do what he wanted. The way Sloan always told the story, Venet tried to get Adler to sign Sloan, but Adler said his songs stunk and had no commercial potential. But Sloan persisted in trying to get a contract there, and eventually Al Nevins happened to be in the office and overruled Adler, much to Adler's disgust. Sloan was signed to Columbia-Screen Gems as a songwriter, though he wasn't put on a salary like the Brill Building songwriters, just told that he could bring in songs and they would publish them. Shortly after this, Adler suggested to Sloan that he might want to form a writing team with another songwriter, Steve Barri, who had had a similar non-career non-trajectory, but was very slightly further ahead in his career, having done some work with Carol Connors, the former lead singer of the Teddy Bears. Barri had co-written a couple of flop singles for Connors, before the two of them had formed a vocal group, the Storytellers, with Connors' sister. The Storytellers had released a single, "When Two People (Are in Love)" , which was put out on a local independent label and which Adler had licensed to be released on Dimension Records, the label associated with Aldon Music: [Excerpt: The Storytellers "When Two People (Are in Love)"] That record didn't sell, but it was enough to get Barri into the Columbia-Screen Gems circle, and Adler set him and Sloan up as a songwriting team -- although the way Sloan told it, it wasn't so much a songwriting team as Sloan writing songs while Barri was also there. Sloan would later claim "it was mostly a collaboration of spirit, and it seemed that I was writing most of the music and the lyric, but it couldn't possibly have ever happened unless both of us were present at the same time". One suspects that Barri might have a different recollection of how it went... Sloan and Barri's first collaboration was a song that Sloan had half-written before they met, called "Kick That Little Foot Sally Ann", which was recorded by a West Coast Chubby Checker knockoff who went under the name Round Robin, and who had his own dance craze, the Slauson, which was much less successful than the Twist: [Excerpt: Round Robin, "Kick that Little Foot Sally Ann"] That track was produced and arranged by Jack Nitzsche, and Nitzsche asked Sloan to be one of the rhythm guitarists on the track, apparently liking Sloan's feel. Sloan would end up playing rhythm guitar or singing backing vocals on many of the records made of songs he and Barri wrote together. "Kick That Little Foot Sally Ann" only made number sixty-one nationally, but it was a regional hit, and it meant that Sloan and Barri soon became what Sloan later described as "the Goffin and King of the West Coast follow-ups." According to Sloan "We'd be given a list on Monday morning by Lou Adler with thirty names on it of the groups who needed follow-ups to their hit." They'd then write the songs to order, and they started to specialise in dance craze songs. For example, when the Swim looked like it might be the next big dance, they wrote "Swim Swim Swim", "She Only Wants to Swim", "Let's Swim Baby", "Big Boss Swimmer", "Swim Party" and "My Swimmin' Girl" (the last a collaboration with Jan Berry and Roger Christian). These songs were exactly as good as they needed to be, in order to provide album filler for mid-tier artists, and while Sloan and Barri weren't writing any massive hits, they were doing very well as mid-tier writers. According to Sloan's biographer Stephen McParland, there was a three-year period in the mid-sixties where at least one song written or co-written by Sloan was on the national charts at any given time. Most of these songs weren't for Columbia-Screen Gems though. In early 1964 Lou Adler had a falling out with Don Kirshner, and decided to start up his own company, Dunhill, which was equal parts production company, music publishers, and management -- doing for West Coast pop singers what Motown was doing for Detroit soul singers, and putting everything into one basket. Dunhill's early clients included Jan and Dean and the rockabilly singer Johnny Rivers, and Dunhill also signed Sloan and Barri as songwriters. Because of this connection, Sloan and Barri soon became an important part of Jan and Dean's hit-making process. The Matadors, the vocal group that had provided most of the backing vocals on the duo's hits, had started asking for more money than Jan Berry was willing to pay, and Jan and Dean couldn't do the vocals themselves -- as Bones Howe put it "As a singer, Dean is a wonderful graphic artist" -- and so Sloan and Barri stepped in, doing session vocals without payment in the hope that Jan and Dean would record a few of their songs. For example, on the big hit "The Little Old Lady From Pasadena", Dean Torrence is not present at all on the record -- Jan Berry sings the lead vocal, with Sloan doubling him for much of it, Sloan sings "Dean"'s falsetto, with the engineer Bones Howe helping out, and the rest of the backing vocals are sung by Sloan, Barri, and Howe: [Excerpt: Jan and Dean, "The Little Old Lady From Pasadena"] For these recordings, Sloan and Barri were known as The Fantastic Baggys, a name which came from the Rolling Stones' manager Andrew Oldham and Mick Jagger, when the two were visiting California. Oldham had been commenting on baggys, the kind of shorts worn by surfers, and had asked Jagger what he thought of The Baggys as a group name. Jagger had replied "Fantastic!" and so the Fantastic Baggys had been born. As part of this, Sloan and Barri moved hard into surf and hot-rod music from the dance songs they had been writing previously. The Fantastic Baggys recorded their own album, Tell 'Em I'm Surfin', as a quickie album suggested by Adler: [Excerpt: The Fantastic Baggys, "Tell 'Em I'm Surfin'"] And under the name The Rally Packs they recorded a version of Jan and Dean's "Move Out Little Mustang" which featured Berry's girlfriend Jill Gibson doing a spoken section: [Excerpt: The Rally Packs, "Move Out Little Mustang"] They also wrote several album tracks for Jan and Dean, and wrote "Summer Means Fun" for Bruce and Terry -- Bruce Johnston, later of the Beach Boys, and Terry Melcher: [Excerpt: Bruce and Terry, "Summer Means Fun"] And they wrote the very surf-flavoured "Secret Agent Man" for fellow Dunhill artist Johnny Rivers: [Excerpt: Johnny Rivers, "Secret Agent Man"] But of course, when you're chasing trends, you're chasing trends, and soon the craze for twangy guitars and falsetto harmonies had ended, replaced by a craze for jangly twelve-string guitars and closer harmonies. According to Sloan, he was in at the very beginning of the folk-rock trend -- the way he told the story, he was involved in the mastering of the Byrds' version of "Mr. Tambourine Man". He later talked about Terry Melcher getting him to help out, saying "He had produced a record called 'Mr. Tambourine Man', and had sent it into the head office, and it had been rejected. He called me up and said 'I've got three more hours in the studio before I'm being kicked out of Columbia. Can you come over and help me with this new record?' I did. I went over there. It was under lock and key. There were two guards outside the door. Terry asked me something about 'Summer Means Fun'. "He said 'Do you remember the guitar that we worked on with that? How we put in that double reverb?' "And I said 'yes' "And he said 'What do you think if we did something like that with the Byrds?' "And I said 'That sounds good. Let's see what it sounds like.' So we patched into all the reverb centres in Columbia Music, and mastered the record in three hours." Whether Sloan really was there at the birth of folk rock, he and Barri jumped on the folk-rock craze just as they had the surf and hot-rod craze, and wrote a string of jangly hits including "You Baby" for the Turtles: [Excerpt: The Turtles, "You Baby"] and "I Found a Girl" for Jan and Dean: [Excerpt: Jan and Dean, "I Found a Girl"] That song was later included on Jan and Dean's Folk 'n' Roll album, which also included... a song I'm not even going to name, but long-time listeners will know the one I mean. It was also notable in that "I Found a Girl" was the first song on which Sloan was credited not as Phil Sloan, but as P.F. Sloan -- he didn't have a middle name beginning with F, but rather the F stood for his nickname "Flip". Sloan would later talk of Phil Sloan and P.F. Sloan as almost being two different people, with P.F. being a far more serious, intense, songwriter. Folk 'n' Roll also contained another Sloan song, this one credited solely to Sloan. And that song is the one for which he became best known. There are two very different stories about how "Eve of Destruction" came to be written. To tell Sloan's version, I'm going to read a few paragraphs from his autobiography: "By late 1964, I had already written ‘Eve Of Destruction,' ‘The Sins Of A Family,' ‘This Mornin',' ‘Ain't No Way I'm Gonna Change My Mind,' and ‘What's Exactly The Matter With Me?' They all arrived on one cataclysmic evening, and nearly at the same time, as I worked on the lyrics almost simultaneously. ‘Eve Of Destruction' came about from hearing a voice, perhaps an angel's. The voice instructed me to place five pieces of paper and spread them out on my bed. I obeyed the voice. The voice told me that the first song would be called ‘Eve Of Destruction,' so I wrote the title at the top of the page. For the next few hours, the voice came and went as I was writing the lyric, as if this spirit—or whatever it was—stood over me like a teacher: ‘No, no … not think of all the hate there is in Red Russia … Red China!' I didn't understand. I thought the Soviet Union was the mortal threat to America, but the voice went on to reveal to me the future of the world until 2024. I was told the Soviet Union would fall, and that Red China would continue to be communist far into the future, but that communism was not going to be allowed to take over this Divine Planet—therefore, think of all the hate there is in Red China. I argued and wrestled with the voice for hours, until I was exhausted but satisfied inside with my plea to God to either take me out of the world, as I could not live in such a hypocritical society, or to show me a way to make things better. When I was writing ‘Eve,' I was on my hands and knees, pleading for an answer." Lou Adler's story is that he gave Phil Sloan a copy of Bob Dylan's Bringing it All Back Home album and told him to write a bunch of songs that sounded like that, and Sloan came back a week later as instructed with ten Dylan knock-offs. Adler said "It was a natural feel for him. He's a great mimic." As one other data point, both Steve Barri and Bones Howe, the engineer who worked on most of the sessions we're looking at today, have often talked in interviews about "Eve of Destruction" as being a Sloan/Barri collaboration, as if to them it's common knowledge that it wasn't written alone, although Sloan's is the only name on the credits. The song was given to a new signing to Dunhill Records, Barry McGuire. McGuire was someone who had been part of the folk scene for years, He'd been playing folk clubs in LA while also acting in a TV show from 1961. When the TV show had finished, he'd formed a duo, Barry and Barry, with Barry Kane, and they performed much the same repertoire as all the other early-sixties folkies: [Excerpt: Barry and Barry, "If I Had a Hammer"] After recording their one album, both Barrys joined the New Christy Minstrels. We've talked about the Christys before, but they were -- and are to this day -- an ultra-commercial folk group, led by Randy Sparks, with a revolving membership of usually eight or nine singers which included several other people who've come up in this podcast, like Gene Clark and Jerry Yester. McGuire became one of the principal lead singers of the Christys, singing lead on their version of the novelty cowboy song "Three Wheels on My Wagon", which was later released as a single in the UK and became a perennial children's favourite (though it has a problematic attitude towards Native Americans): [Excerpt: The New Christy Minstrels, "Three Wheels on My Wagon"] And he also sang lead on their big hit "Green Green", which he co-wrote with Randy Sparks: [Excerpt: The New Christy Minstrels, "Green Green"] But by 1965 McGuire had left the New Christy Minstrels. As he said later "I'd sung 'Green Green' a thousand times and I didn't want to sing it again. This is January of 1965. I went back to LA to meet some producers, and I was broke. Nobody had the time of day for me. I was walking down street one time to see Dr. Strangelove and I walked by the music store, and I heard "Green Green" comin' out of the store, ya know, on Hollywood Boulevard. And I heard my voice, and I thought, 'I got four dollars in my pocket!' I couldn't believe it, my voice is comin' out on Hollywood Boulevard, and I'm broke. And right at that moment, a car pulls up, and the radio is playing 'Chim Chim Cherie" also by the Minstrels. So I got my voice comin' at me in stereo, standin' on the sidewalk there, and I'm broke, and I can't get anyone to sign me!" But McGuire had a lot of friends who he'd met on the folk scene, some of whom were now in the new folk-rock scene that was just starting to spring up. One of them was Roger McGuinn, who told him that his band, the Byrds, were just about to put out a new single, "Mr. Tambourine Man", and that they were about to start a residency at Ciro's on Sunset Strip. McGuinn invited McGuire to the opening night of that residency, where a lot of other people from the scene were there to see the new group. Bob Dylan was there, as was Phil Sloan, and the actor Jack Nicholson, who was still at the time a minor bit-part player in low-budget films made by people like American International Pictures (the cinematographer on many of Nicholson's early films was Floyd Crosby, David Crosby's father, which may be why he was there). Someone else who was there was Lou Adler, who according to McGuire recognised him instantly. According to Adler, he actually asked Terry Melcher who the long-haired dancer wearing furs was, because "he looked like the leader of a movement", and Melcher told him that he was the former lead singer of the New Christy Minstrels. Either way, Adler approached McGuire and asked if he was currently signed -- Dunhill Records was just starting up, and getting someone like McGuire, who had a proven ability to sing lead on hit records, would be a good start for the label. As McGuire didn't have a contract, he was signed to Dunhill, and he was given some of Sloan's new songs to pick from, and chose "What's Exactly the Matter With Me?" as his single: [Excerpt: Barry McGuire, "What's Exactly the Matter With Me?"] McGuire described what happened next: "It was like, a three-hour session. We did two songs, and then the third one wasn't turning out. We only had about a half hour left in the session, so I said 'Let's do this tune', and I pulled 'Eve of Destruction' out of my pocket, and it just had Phil's words scrawled on a piece of paper, all wrinkled up. Phil worked the chords out with the musicians, who were Hal Blaine on drums and Larry Knechtel on bass." There were actually more musicians than that at the session -- apparently both Knechtel and Joe Osborn were there, so I'm not entirely sure who's playing bass -- Knechtel was a keyboard player as well as a bass player, but I don't hear any keyboards on the track. And Tommy Tedesco was playing lead guitar, and Steve Barri added percussion, along with Sloan on rhythm guitar and harmonica. The chords were apparently scribbled down for the musicians on bits of greasy paper that had been used to wrap some takeaway chicken, and they got through the track in a single take. According to McGuire "I'm reading the words off this piece of wrinkled paper, and I'm singing 'My blood's so mad, feels like coagulatin'", that part that goes 'Ahhh you can't twist the truth', and the reason I'm going 'Ahhh' is because I lost my place on the page. People said 'Man, you really sounded frustrated when you were singing.' I was. I couldn't see the words!" [Excerpt: Barry McGuire, "Eve of Destruction"] With a few overdubs -- the female backing singers in the chorus, and possibly the kettledrums, which I've seen differing claims about, with some saying that Hal Blaine played them during the basic track and others saying that Lou Adler suggested them as an overdub, the track was complete. McGuire wasn't happy with his vocal, and a session was scheduled for him to redo it, but then a record promoter working with Adler was DJing a birthday party for the head of programming at KFWB, the big top forty radio station in LA at the time, and he played a few acetates he'd picked up from Adler. Most went down OK with the crowd, but when he played "Eve of Destruction", the crowd went wild and insisted he play it three times in a row. The head of programming called Adler up and told him that "Eve of Destruction" was going to be put into rotation on the station from Monday, so he'd better get the record out. As McGuire was away for the weekend, Adler just released the track as it was, and what had been intended to be a B-side became Barry McGuire's first and only number one record: [Excerpt: Barry McGuire, "Eve of Destruction"] Sloan would later claim that that song was a major reason why the twenty-sixth amendment to the US Constitution was passed six years later, because the line "you're old enough to kill but not for votin'" shamed Congress into changing the constitution to allow eighteen-year-olds to vote. If so, that would make "Eve of Destruction" arguably the single most impactful rock record in history, though Sloan is the only person I've ever seen saying that As well as going to number one in McGuire's version, the song was also covered by the other artists who regularly performed Sloan and Barri songs, like the Turtles: [Excerpt: The Turtles, "Eve of Destruction"] And Jan and Dean, whose version on Folk & Roll used the same backing track as McGuire, but had a few lyrical changes to make it fit with Jan Berry's right-wing politics, most notably changing "Selma, Alabama" to "Watts, California", thus changing a reference to peaceful civil rights protestors being brutally attacked and murdered by white supremacist state troopers to a reference to what was seen, in the popular imaginary, as Black people rioting for no reason: [Excerpt: Jan and Dean, "Eve of Destruction"] According to Sloan, he worked on the Folk & Roll album as a favour to Berry, even though he thought Berry was being cynical and exploitative in making the record, but those changes caused a rift in their friendship. Sloan said in his autobiography "Where I was completely wrong was in helping him capitalize on something in which he didn't believe. Jan wanted the public to perceive him as a person who was deeply concerned and who embraced the values of the progressive politics of the day. But he wasn't that person. That's how I was being pulled. It was when he recorded my actual song ‘Eve Of Destruction' and changed a number of lines to reflect his own ideals that my principles demanded that I leave Folk City and never return." It's true that Sloan gave no more songs to Jan and Dean after that point -- but it's also true that the duo would record only one more album, the comedy concept album Jan and Dean Meet Batman, before Jan's accident. Incidentally, the reference to Selma, Alabama in the lyric might help people decide on which story about the writing of "Eve of Destruction" they think is more plausible. Remember that Lou Adler said that it was written after Adler gave Sloan a copy of Bringing it All Back Home and told him to write a bunch of knock-offs, while Sloan said it was written after a supernatural force gave him access to all the events that would happen in the world for the next sixty years. Sloan claimed the song was written in late 1964. Selma, Alabama, became national news in late February and early March 1965. Bringing it All Back Home was released in late March 1965. So either Adler was telling the truth, or Sloan really *was* given a supernatural insight into the events of the future. Now, as it turned out, while "Eve of Destruction" went to number one, that would be McGuire's only hit as a solo artist. His next couple of singles would reach the very low end of the Hot One Hundred, and that would be it -- he'd release several more albums, before appearing in the Broadway musical Hair, most famous for its nude scenes, and getting a small part in the cinematic masterpiece Werewolves on Wheels: [Excerpt: Werewolves on Wheels trailer] P.F. Sloan would later tell various stories about why McGuire never had another hit. Sometimes he would say that Dunhill Records had received death threats because of "Eve of Destruction" and so deliberately tried to bury McGuire's career, other times he would say that Lou Adler had told him that Billboard had said they were never going to put McGuire's records on the charts no matter how well they sold, because "Eve of Destruction" had just been too powerful and upset the advertisers. But of course at this time Dunhill were still trying for a follow-up to "Eve of Destruction", and they thought they might have one when Barry McGuire brought in a few friends of his to sing backing vocals on his second album. Now, we've covered some of the history of the Mamas and the Papas already, because they were intimately tied up with other groups like the Byrds and the Lovin' Spoonful, and with the folk scene that led to songs like "Hey Joe", so some of this will be more like a recap than a totally new story, but I'm going to recap those parts of the story anyway, so it's fresh in everyone's heads. John Phillips, Scott McKenzie, and Cass Elliot all grew up in Alexandria, Virginia, just a few miles south of Washington DC. Elliot was a few years younger than Phillips and McKenzie, and so as is the way with young men they never really noticed her, and as McKenzie later said "She lived like a quarter of a mile from me and I never met her until New York". While they didn't know who Elliot was, though, she was aware who they were, as Phillips and McKenzie sang together in a vocal group called The Smoothies. The Smoothies were a modern jazz harmony group, influenced by groups like the Modernaires, the Hi-Los, and the Four Freshmen. John Phillips later said "We were drawn to jazz, because we were sort of beatniks, really, rather than hippies, or whatever, flower children. So we used to sing modern harmonies, like Lambert, Hendricks, and Ross. Dave Lambert did a lot of our arrangements for us as a matter of fact." Now, I've not seen any evidence other than Phillips' claim that Dave Lambert ever arranged for the Smoothies, but that does tell you a lot about the kind of music that they were doing. Lambert, Hendricks, and Ross were a vocalese trio whose main star was Annie Ross, who had a career worthy of an episode in itself -- she sang with Paul Whiteman, appeared in a Little Rascals film when she was seven, had an affair with Lenny Bruce, dubbed Britt Ekland's voice in The Wicker Man, played the villain's sister in Superman III, and much more. Vocalese, you'll remember, was a style of jazz vocal where a singer would take a jazz instrumental, often an improvised one, and add lyrics which they would sing, like Lambert, Hendricks, and Ross' version of "Cloudburst": [Excerpt: Lambert, Hendricks, and Ross, "Cloudburst"] Whether Dave Lambert ever really did arrange for the Smoothies or not, it's very clear that the trio had a huge influence on John Phillips' ideas about vocal arrangement, as you can hear on Mamas and Papas records like "Once Was a Time I Thought": [Excerpt: The Mamas and the Papas, "Once Was a Time I Thought"] While the Smoothies thought of themselves as a jazz group, when they signed to Decca they started out making the standard teen pop of the era, with songs like "Softly": [Excerpt, The Smoothies, "Softly"] When the folk boom started, Phillips realised that this was music that he could do easily, because the level of musicianship among the pop-folk musicians was so much lower than in the jazz world. The Smoothies made some recordings in the style of the Kingston Trio, like "Ride Ride Ride": [Excerpt: The Smoothies, "Ride Ride Ride"] Then when the Smoothies split, Phillips and McKenzie formed a trio with a banjo player, Dick Weissman, who they met through Izzy Young's Folklore Centre in Greenwich Village after Phillips asked Young to name some musicians who could make a folk record with him. Weissman was often considered the best banjo player on the scene, and was a friend of Pete Seeger's, to whom Seeger sometimes turned for banjo tips. The trio, who called themselves the Journeymen, quickly established themselves on the folk scene. Weissman later said "we had this interesting balance. John had all of this charisma -- they didn't know about the writing thing yet -- John had the personality, Scott had the voice, and I could play. If you think about it, all of those bands like the Kingston Trio, the Brothers Four, nobody could really *sing* and nobody could really *play*, relatively speaking." This is the take that most people seemed to have about John Phillips, in any band he was ever in. Nobody thought he was a particularly good singer or instrumentalist -- he could sing on key and play adequate rhythm guitar, but nobody would actually pay money to listen to him do those things. Mark Volman of the Turtles, for example, said of him "John wasn't the kind of guy who was going to be able to go up on stage and sing his songs as a singer-songwriter. He had to put himself in the context of a group." But he was charismatic, he had presence, and he also had a great musical mind. He would surround himself with the best players and best singers he could, and then he would organise and arrange them in ways that made the most of their talents. He would work out the arrangements, in a manner that was far more professional than the quick head arrangements that other folk groups used, and he instigated a level of professionalism in his groups that was not at all common on the scene. Phillips' friend Jim Mason talked about the first time he saw the Journeymen -- "They were warming up backstage, and John had all of them doing vocal exercises; one thing in particular that's pretty famous called 'Seiber Syllables' -- it's a series of vocal exercises where you enunciate different vowel and consonant sounds. It had the effect of clearing your head, and it's something that really good operetta singers do." The group were soon signed by Frank Werber, the manager of the Kingston Trio, who signed them as an insurance policy. Dave Guard, the Kingston Trio's banjo player, was increasingly having trouble with the other members, and Werber knew it was only a matter of time before he left the group. Werber wanted the Journeymen as a sort of farm team -- he had the idea that when Guard left, Phillips would join the Kingston Trio in his place as the third singer. Weissman would become the Trio's accompanist on banjo, and Scott McKenzie, who everyone agreed had a remarkable voice, would be spun off as a solo artist. But until that happened, they might as well make records by themselves. The Journeymen signed to MGM records, but were dropped before they recorded anything. They instead signed to Capitol, for whom they recorded their first album: [Excerpt: The Journeymen, "500 Miles"] After recording that album, the Journeymen moved out to California, with Phillips' wife and children. But soon Phillips' marriage was to collapse, as he met and fell in love with Michelle Gilliam. Gilliam was nine years younger than him -- he was twenty-six and she was seventeen -- and she had the kind of appearance which meant that in every interview with an older heterosexual man who knew her, that man will spend half the interview talking about how attractive he found her. Phillips soon left his wife and children, but before he did, the group had a turntable hit with "River Come Down", the B-side to "500 Miles": [Excerpt: The Journeymen, "River Come Down"] Around the same time, Dave Guard *did* leave the Kingston Trio, but the plan to split the Journeymen never happened. Instead Phillips' friend John Stewart replaced Guard -- and this soon became a new source of income for Phillips. Both Phillips and Stewart were aspiring songwriters, and they collaborated together on several songs for the Trio, including "Chilly Winds": [Excerpt: The Kingston Trio, "Chilly Winds"] Phillips became particularly good at writing songs that sounded like they could be old traditional folk songs, sometimes taking odd lines from older songs to jump-start new ones, as in "Oh Miss Mary", which he and Stewart wrote after hearing someone sing the first line of a song she couldn't remember the rest of: [Excerpt: The Kingston Trio, "Oh Miss Mary"] Phillips and Stewart became so close that Phillips actually suggested to Stewart that he quit the Kingston Trio and replace Dick Weissman in the Journeymen. Stewart did quit the Trio -- but then the next day Phillips suggested that maybe it was a bad idea and he should stay where he was. Stewart went back to the Trio, claimed he had only pretended to quit because he wanted a pay-rise, and got his raise, so everyone ended up happy. The Journeymen moved back to New York with Michelle in place of Phillips' first wife (and Michelle's sister Russell also coming along, as she was dating Scott McKenzie) and on New Year's Eve 1962 John and Michelle married -- so from this point on I will refer to them by their first names, because they both had the surname Phillips. The group continued having success through 1963, including making appearances on "Hootenanny": [Excerpt: The Journeymen, "Stack O'Lee (live on Hootenanny)"] By the time of the Journeymen's third album, though, John and Scott McKenzie were on bad terms. Weissman said "They had been the closest of friends and now they were the worst of enemies. They talked through me like I was a medium. It got to the point where we'd be standing in the dressing room and John would say to me 'Tell Scott that his right sock doesn't match his left sock...' Things like that, when they were standing five feet away from each other." Eventually, the group split up. Weissman was always going to be able to find employment given his banjo ability, and he was about to get married and didn't need the hassle of dealing with the other two. McKenzie was planning on a solo career -- everyone was agreed that he had the vocal ability. But John was another matter. He needed to be in a group. And not only that, the Journeymen had bookings they needed to complete. He quickly pulled together a group he called the New Journeymen. The core of the lineup was himself, Michelle on vocals, and banjo player Marshall Brickman. Brickman had previously been a member of a folk group called the Tarriers, who had had a revolving lineup, and had played on most of their early-sixties recordings: [Excerpt: The Tarriers, "Quinto (My Little Pony)"] We've met the Tarriers before in the podcast -- they had been formed by Erik Darling, who later replaced Pete Seeger in the Weavers after Seeger's socialist principles wouldn't let him do advertising, and Alan Arkin, later to go on to be a film star, and had had hits with "Cindy, O Cindy", with lead vocals from Vince Martin, who would later go on to be a major performer in the Greenwich Village scene, and with "The Banana Boat Song". By the time Brickman had joined, though, Darling, Arkin, and Martin had all left the group to go on to bigger things, and while he played with them for several years, it was after their commercial peak. Brickman would, though, also go on to a surprising amount of success, but as a writer rather than a musician -- he had a successful collaboration with Woody Allen in the 1970s, co-writing four of Allen's most highly regarded films -- Sleeper, Annie Hall, Manhattan, and Manhattan Murder Mystery -- and with another collaborator he later co-wrote the books for the stage musicals Jersey Boys and The Addams Family. Both John and Michelle were decent singers, and both have their admirers as vocalists -- P.F. Sloan always said that Michelle was the best singer in the group they eventually formed, and that it was her voice that gave the group its sound -- but for the most part they were not considered as particularly astonishing lead vocalists. Certainly, neither had a voice that stood out the way that Scott McKenzie's had. They needed a strong lead singer, and they found one in Denny Doherty. Now, we covered Denny Doherty's early career in the episode on the Lovin' Spoonful, because he was intimately involved in the formation of that group, so I won't go into too much detail here, but I'll give a very abbreviated version of what I said there. Doherty was a Canadian performer who had been a member of the Halifax Three with Zal Yanovsky: [Excerpt: The Halifax Three, "When I First Came to This Land"] After the Halifax Three had split up, Doherty and Yanovsky had performed as a duo for a while, before joining up with Cass Elliot and her husband Jim Hendricks, who both had previously been in the Big Three with Tim Rose: [Excerpt: Cass Elliot and the Big 3, "The Banjo Song"] Elliot, Hendricks, Yanovsky, and Doherty had formed The Mugwumps, sometimes joined by John Sebastian, and had tried to go in more of a rock direction after seeing the Beatles on Ed Sullivan. They recorded one album together before splitting up: [Excerpt: The Mugwumps, "Searchin'"] Part of the reason they split up was that interpersonal relationships within the group were put under some strain -- Elliot and Hendricks split up, though they would remain friends and remain married for several years even though they were living apart, and Elliot had an unrequited crush on Doherty. But since they'd split up, and Yanovsky and Sebastian had gone off to form the Lovin' Spoonful, that meant that Doherty was free, and he was regarded as possibly the best male lead vocalist on the circuit, so the group snapped him up. The only problem was that the Journeymen still had gigs booked that needed to be played, one of them was in just three days, and Doherty didn't know the repertoire. This was a problem with an easy solution for people in their twenties though -- they took a huge amount of amphetamines, and stayed awake for three days straight rehearsing. They made the gig, and Doherty was now the lead singer of the New Journeymen: [Excerpt: The New Journeymen, "The Last Thing on My Mind"] But the New Journeymen didn't last in that form for very long, because even before joining the group, Denny Doherty had been going in a more folk-rock direction with the Mugwumps. At the time, John Phillips thought rock and roll was kids' music, and he was far more interested in folk and jazz, but he was also very interested in making money, and he soon decided it was an idea to start listening to the Beatles. There's some dispute as to who first played the Beatles for John in early 1965 -- some claim it was Doherty, others claim it was Cass Elliot, but everyone agrees it was after Denny Doherty had introduced Phillips to something else -- he brought round some LSD for John and Michelle, and Michelle's sister Rusty, to try. And then he told them he'd invited round a friend. Michelle Phillips later remembered, "I remember saying to the guys "I don't know about you guys, but this drug does nothing for me." At that point there was a knock on the door, and as I opened the door and saw Cass, the acid hit me *over the head*. I saw her standing there in a pleated skirt, a pink Angora sweater with great big eyelashes on and her hair in a flip. And all of a sudden I thought 'This is really *quite* a drug!' It was an image I will have securely fixed in my brain for the rest of my life. I said 'Hi, I'm Michelle. We just took some LSD-25, do you wanna join us?' And she said 'Sure...'" Rusty Gilliam's description matches this -- "It was mind-boggling. She had on a white pleated skirt, false eyelashes. These were the kind of eyelashes that when you put them on you were supposed to trim them to an appropriate length, which she didn't, and when she blinked she looked like a cow, or those dolls you get when you're little and the eyes open and close. And we're on acid. Oh my God! It was a sight! And everything she was wearing were things that you weren't supposed to be wearing if you were heavy -- white pleated skirt, mohair sweater. You know, until she became famous, she suffered so much, and was poked fun at." This gets to an important point about Elliot, and one which sadly affected everything about her life. Elliot was *very* fat -- I've seen her weight listed at about three hundred pounds, and she was only five foot five tall -- and she also didn't have the kind of face that gets thought of as conventionally attractive. Her appearance would be cruelly mocked by pretty much everyone for the rest of her life, in ways that it's genuinely hurtful to read about, and which I will avoid discussing in detail in order to avoid hurting fat listeners. But the two *other* things that defined Elliot in the minds of those who knew her were her voice -- every single person who knew her talks about what a wonderful singer she was -- and her personality. I've read a lot of things about Cass Elliot, and I have never read a single negative word about her as a person, but have read many people going into raptures about what a charming, loving, friendly, understanding person she was. Michelle later said of her "From the time I left Los Angeles, I hadn't had a friend, a buddy. I was married, and John and I did not hang out with women, we just hung out with men, and especially not with women my age. John was nine years older than I was. And here was a fun-loving, intelligent woman. She captivated me. I was as close to in love with Cass as I could be to any woman in my life at that point. She also represented something to me: freedom. Everything she did was because she wanted to do it. She was completely independent and I admired her and was in awe of her. And later on, Cass would be the one to tell me not to let John run my life. And John hated her for that." Either Elliot had brought round Meet The Beatles, the Beatles' first Capitol album, for everyone to listen to, or Denny Doherty already had it, but either way Elliot and Doherty were by this time already Beatles fans. Michelle, being younger than the rest and not part of the folk scene until she met John, was much more interested in rock and roll than any of them, but because she'd been married to John for a couple of years and been part of his musical world she hadn't really encountered the Beatles music, though she had a vague memory that she might have heard a track or two on the radio. John was hesitant -- he didn't want to listen to any rock and roll, but eventually he was persuaded, and the record was put on while he was on his first acid trip: [Excerpt: The Beatles, "I Want to Hold Your Hand"] Within a month, John Phillips had written thirty songs that he thought of as inspired by the Beatles. The New Journeymen were going to go rock and roll. By this time Marshall Brickman was out of the band, and instead John, Michelle, and Denny recruited a new lead guitarist, Eric Hord. Denny started playing bass, with John on rhythm guitar, and a violinist friend of theirs, Peter Pilafian, knew a bit of drums and took on that role. The new lineup of the group used the Journeymen's credit card, which hadn't been stopped even though the Journeymen were no more, to go down to St. Thomas in the Caribbean, along with Michelle's sister, John's daughter Mackenzie (from whose name Scott McKenzie had taken his stage name, as he was born Philip Blondheim), a pet dog, and sundry band members' girlfriends. They stayed there for several months, living in tents on the beach, taking acid, and rehearsing. While they were there, Michelle and Denny started an affair which would have important ramifications for the group later. They got a gig playing at a club called Duffy's, whose address was on Creeque Alley, and soon after they started playing there Cass Elliot travelled down as well -- she was in love with Denny, and wanted to be around him. She wasn't in the group, but she got a job working at Duffy's as a waitress, and she would often sing harmony with the group while waiting at tables. Depending on who was telling the story, either she didn't want to be in the group because she didn't want her appearance to be compared to Michelle's, or John wouldn't *let* her be in the group because she was so fat. Later a story would be made up to cover for this, saying that she hadn't been in the group at first because she couldn't sing the highest notes that were needed, until she got hit on the head with a metal pipe and discovered that it had increased her range by three notes, but that seems to be a lie. One of the songs the New Journeymen were performing at this time was "Mr. Tambourine Man". They'd heard that their old friend Roger McGuinn had recorded it with his new band, but they hadn't yet heard his version, and they'd come up with their own arrangement: [Excerpt: The New Journeymen, "Mr. Tambourine Man"] Denny later said "We were doing three-part harmony on 'Mr Tambourine Man', but a lot slower... like a polka or something! And I tell John, 'No John, we gotta slow it down and give it a backbeat.' Finally we get the Byrds 45 down here, and we put it on and turn it up to ten, and John says 'Oh, like that?' Well, as you can tell, it had already been done. So John goes 'Oh, ah... that's it...' a light went on. So we started doing Beatles stuff. We dropped 'Mr Tambourine Man' after hearing the Byrds version, because there was no point." Eventually they had to leave the island -- they had completely run out of money, and were down to fifty dollars. The credit card had been cut up, and the governor of the island had a personal vendetta against them because they gave his son acid, and they were likely to get arrested if they didn't leave the island. Elliot and her then-partner had round-trip tickets, so they just left, but the rest of them were in trouble. By this point they were unwashed, they were homeless, and they'd spent their last money on stage costumes. They got to the airport, and John Phillips tried to write a cheque for eight air fares back to the mainland, which the person at the check-in desk just laughed at. So they took their last fifty dollars and went to a casino. There Michelle played craps, and she rolled seventeen straight passes, something which should be statistically impossible. She turned their fifty dollars into six thousand dollars, which they scooped up, took to the airport, and paid for their flights out in cash. The New Journeymen arrived back in New York, but quickly decided that they were going to try their luck in California. They rented a car, using Scott McKenzie's credit card, and drove out to LA. There they met up with Hoyt Axton, who you may remember as the son of Mae Axton, the writer of "Heartbreak Hotel", and as the performer who had inspired Michael Nesmith to go into folk music: [Excerpt: Hoyt Axton, "Greenback Dollar"] Axton knew the group, and fed them and put them up for a night, but they needed somewhere else to stay. They went to stay with one of Michelle's friends, but after one night their rented car was stolen, with all their possessions in it. They needed somewhere else to stay, so they went to ask Jim Hendricks if they could crash at his place -- and they were surprised to find that Cass Elliot was there already. Hendricks had another partner -- though he and Elliot wouldn't have their marriage annulled until 1968 and were still technically married -- but he'd happily invited her to stay with them. And now all her friends had turned up, he invited them to stay as well, taking apart the beds in his one-bedroom apartment so he could put down a load of mattresses in the space for everyone to sleep on. The next part becomes difficult, because pretty much everyone in the LA music scene of the sixties was a liar who liked to embellish their own roles in things, so it's quite difficult to unpick what actually happened. What seems to have happened though is that first this new rock-oriented version of the New Journeymen went to see Frank Werber, on the recommendation of John Stewart. Werber was the manager of the Kingston Trio, and had also managed the Journeymen. He, however, was not interested -- not because he didn't think they had talent, but because he had experience of working with John Phillips previously. When Phillips came into his office Werber picked up a tape that he'd been given of the group, and said "I have not had a chance to listen to this tape. I believe that you are a most talented individual, and that's why we took you on in the first place. But I also believe that you're also a drag to work with. A pain in the ass. So I'll tell you what, before whatever you have on here sways me, I'm gonna give it back to you and say that we're not interested." Meanwhile -- and this part of the story comes from Kim Fowley, who was never one to let the truth get in the way of him taking claim for everything, but parts of it at least are corroborated by other people -- Cass Elliot had called Fowley, and told him that her friends' new group sounded pretty good and he should sign them. Fowley was at that time working as a talent scout for a label, but according to him the label wouldn't give the group the money they wanted. So instead, Fowley got in touch with Nik Venet, who had just produced the Leaves' hit version of "Hey Joe" on Mira Records: [Excerpt: The Leaves, "Hey Joe"] Fowley suggested to Venet that Venet should sign the group to Mira Records, and Fowley would sign them to a publishing contract, and they could both get rich. The trio went to audition for Venet, and Elliot drove them over -- and Venet thought the group had a great look as a quartet. He wanted to sign them to a record contract, but only if Elliot was in the group as well. They agreed, he gave them a one hundred and fifty dollar advance, and told them to come back the next day to see his boss at Mira. But Barry McGuire was also hanging round with Elliot and Hendricks, and decided that he wanted to have Lou Adler hear the four of them. He thought they might be useful both as backing vocalists on his second album and as a source of new songs. He got them to go and see Lou Adler, and according to McGuire Phillips didn't want Elliot to go with them, but as Elliot was the one who was friends with McGuire, Phillips worried that they'd lose the chance with Adler if she didn't. Adler was amazed, and decided to sign the group right then and there -- both Bones Howe and P.F. Sloan claimed to have been there when the group auditioned for him and have said "if you won't sign them, I will", though exactly what Sloan would have signed them to I'm not sure. Adler paid them three thousand dollars in cash and told them not to bother with Nik Venet, so they just didn't turn up for the Mira Records audition the next day. Instead, they went into the studio with McGuire and cut backing vocals on about half of his new album: [Excerpt: Barry McGuire with the Mamas and the Papas, "Hide Your Love Away"] While the group were excellent vocalists, there were two main reasons that Adler wanted to sign them. The first was that he found Michelle Phillips extremely attractive, and the second is a song that John and Michelle had written which he thought might be very suitable for McGuire's album. Most people who knew John Phillips think of "California Dreamin'" as a solo composition, and he would later claim that he gave Michelle fifty percent just for transcribing his lyric, saying he got inspired in the middle of the night, woke her up, and got her to write the song down as he came up with it. But Michelle, who is a credited co-writer on the song, has been very insistent that she wrote the lyrics to the second verse, and that it's about her own real experiences, saying that she would often go into churches and light candles even though she was "at best an agnostic, and possibly an atheist" in her words, and this would annoy John, who had also been raised Catholic, but who had become aggressively opposed to expressions of religion, rather than still having nostalgia for the aesthetics of the church as Michelle did. They were out walking on a particularly cold winter's day in 1963, and Michelle wanted to go into St Patrick's Cathedral and John very much did not want to. A couple of nights later, John woke her up, having written the first verse of the song, starting "All the leaves are brown and the sky is grey/I went for a walk on a winter's day", and insisting she collaborate with him. She liked the song, and came up with the lines "Stopped into a church, I passed along the way/I got down on my knees and I pretend to pray/The preacher likes the cold, he knows I'm going to stay", which John would later apparently dislike, but which stayed in the song. Most sources I've seen for the recording of "California Dreamin'" say that the lineup of musicians was the standard set of players who had played on McGuire's other records, with the addition of John Phillips on twelve-string guitar -- P.F. Sloan on guitar and harmonica, Joe Osborn on bass, Larry Knechtel on keyboards, and Hal Blaine on drums, but for some reason Stephen McParland's book on Sloan has Bones Howe down as playing drums on the track while engineering -- a detail so weird, and from such a respectable researcher, that I have to wonder if it might be true. In his autobiography, Sloan claims to have rewritten the chord sequence to "California Dreamin'". He says "Barry Mann had unintentionally showed me a suspended chord back at Screen Gems. I was so impressed by this beautiful, simple chord that I called Brian Wilson and played it for him over the phone. The next thing I knew, Brian had written ‘Don't Worry Baby,' which had within it a number suspended chords. And then the chord heard 'round the world, two months later, was the opening suspended chord of ‘A Hard Day's Night.' I used these chords throughout ‘California Dreamin',' and more specifically as a bridge to get back and forth from the verse to the chorus." Now, nobody else corroborates this story, and both Brian Wilson and John Phillips had the kind of background in modern harmony that means they would have been very aware of suspended chords before either ever encountered Sloan, but I thought I should mention it. Rather more plausible is Sloan's other claim, that he came up with the intro to the song. According to Sloan, he was inspired by "Walk Don't Run" by the Ventures: [Excerpt: The Ventures, "Walk Don't Run"] And you can easily see how this: [plays "Walk Don't Run"] Can lead to this: [plays "California Dreamin'"] And I'm fairly certain that if that was the inspiration, it was Sloan who was the one who thought it up. John Phillips had been paying no attention to the world of surf music when "Walk Don't Run" had been a hit -- that had been at the point when he was very firmly in the folk world, while Sloan of course had been recording "Tell 'Em I'm Surfin'", and it had been his job to know surf music intimately. So Sloan's intro became the start of what was intended to be Barry McGuire's next single: [Excerpt: Barry McGuire, "California Dreamin'"] Sloan also provided the harmonica solo on the track: [Excerpt: Barry McGuire, "California Dreamin'"] The Mamas and the Papas -- the new name that was now given to the former New Journeymen, now they were a quartet -- were also signed to Dunhill as an act on their own, and recorded their own first single, "Go Where You Wanna Go", a song apparently written by John about Michelle, in late 1963, after she had briefly left him to have an affair with Russ Titelman, the record producer and songwriter, before coming back to him: [Excerpt: The Mamas and the Papas, "Go Where You Wanna Go"] But while that was put out, they quickly decided to scrap it and go with another song. The "Go Where You Wanna Go" single was pulled after only selling a handful of copies, though its commercial potential was later proved when in 1967 a new vocal group, the 5th Dimension, released a soundalike version as their second single. The track was produced by Lou Adler's client Johnny Rivers, and used the exact same musicians as the Mamas and the Papas version, with the exception of Phillips. It became their first hit, reaching number sixteen on the charts: [Excerpt: The 5th Dimension, "Go Where You Wanna Go"] The reason the Mamas and the Papas version of "Go Where You Wanna Go" was pulled was because everyone became convinced that their first single should instead be their own version of "California Dreamin'". This is the exact same track as McGuire's track, with just two changes. The first is that McGuire's lead vocal was replaced with Denny Doherty: [Excerpt: The Mamas and the Papas, "California Dreamin'"] Though if you listen to the stereo mix of the song and isolate the left channel, you can hear McGuire singing the lead on the first line, and occasional leakage from him elsewhere on the backing vocal track: [Excerpt: The Mamas and the Papas, "California Dreamin'"] The other change made was to replace Sloan's harmonica solo with an alto flute solo by Bud Shank, a jazz musician who we heard about in the episode on "Light My Fire", when he collaborated with Ravi Shankar on "Improvisations on the Theme From Pather Panchali": [Excerpt: Ravi Shankar, "Improvisation on the Theme From Pather Panchali"] Shank was working on another session in Western Studios, where they were recording the Mamas and Papas track, and Bones Howe approached him while he was packing his instrument and asked if he'd be interested in doing another session. Shank agreed, though the track caused problems for him. According to Shank "What had happened was that whe

Recorded in 2011 includes Traveling Shoes, Don't Change, If I had My Way, Electric Church, Peekaboo, Walk Don't Walk, Blessed (studio cut), Back to the Wall, Shining Star and Purple Haze.

What are you doing to have optimal health and sustain it? In this segment, Jeff later shares the keys to unlocking your best health. All of which involves Health & Fitness, Nutrition, Self-Improvement, Motivation, Entrepreneurship, and Personal Development. Mindset truly matters and if you put in the work, you will see the results. CORE VALUES 1. No BS 2. Show Up 3. Walk the Walk – Don't be hypocritical 4. We are Family 5. Growth Mindset See video here - https://youtu.be/-833q02er1M WHO IS JEFF? Jeff Later is a husband to his gorgeous wife, father of 3, and one of the nation's top fitness & nutrition experts. He has over 20 years of experience and has worked with thousands of individuals from all walks of life. He and his wife founded L8R Lifestyle in 2010 with the mission of helping others take their health and fitness to the next level. They have been part of over 6,000 success stories and counting. They've worked with professional athletes of nearly every sport, bodybuilders, soccer moms, and everyone in between. Jeff is an accomplished IFBB professional bodybuilder and has won dozens of competitions. He has a true passion for fitness and for helping others find a sustainable long-term solution. JEFF'S CALL TO ACTION For coaching inquiries click this link https://www.jefflater.com/links https://www.instagram.com/jefflater/ https://www.facebook.com/jeffl8r https://twitter.com/jefflater https://l8rlife.com GENESIS'S INFO https://genesisamariskemp.net/ CALL TO ACTION Subscribe to GEMS with Genesis Amaris Kemp Channel, Hit the notifications bell so you don't miss any content, and share with family/friends. **REMEMBER - You do not have to let limitations or barriers keep you from achieving your success. Mind over Matter...It's time to shift and unleash your greatest potential. If you would like to be a SPONSOR or have any of your merchandise mentioned, please reach out via email at GEMSwithGenesisAmarisKemp@gmail.com --- Send in a voice message: https://anchor.fm/genesis-amaris-kemp/message Support this podcast: https://anchor.fm/genesis-amaris-kemp/support

The news is still going on about Boris Johnson's Xmas party.....all this is doing now is giving no mark M.P.s the opportunity to get their faces on TV all saying the same thing with none of them coming up with any alternative solutions.....definitely time to MOVE ON. The easiest job in the world is be a critic or a football pundit....we have professional film critics who grace us with their opinions....and pundits who sit round a table and discuss a match we have just watched....and get highly paid for doing so....talk about easy money.....and this comes out of our TV licence....which will no doubt soon go up because of the shortage of oil or something equally as stupid. Main roads are being altered to include wide cycle lanes.....how long before the accidents start?....not to mention idiots on electric bikes. The local council's latest brilliant idea is to increase the charge of emptying your garden waste bin from 35 pounds to 50 pounds a year which hasn't gone down too well with our ratepayers.....as the said bins are only emptied every two weeks and don't require emptying during the winter.... are they having a laugh.......what will obviously happen is folk will fly tip their grass all over the place.....the council complain that they are short of money...try checking out the salaries of some of the bosses who are surplus to requirements. We have a terrible war going on but 17 minutes of space is required on the BBC News to watch Johnny Depp mumbling away in court with his marital problems...WHO CARES?............... put him on my list.I watched another episode of the Jimmy Saville scandal......which left me totally baffled......he walks around with this huge cigar in his mouth....takes it out and mutters a load of nonsense...and shoves it back in his mouth....they could find no evidence of his alleged sexual misconduct until he died....then we get 400 accusers coming out of the woodwork.....to me the bloke was a total nut case. A film called "The Magnet" has recently been on the telly....it was made in 1951 and stars James `Fox as a young lad and was filmed in and around Wallasey on Merseyside where I was born......it was fascinating to see how the area has changed since I was a six year old.....great film. This week...for a change...instead of choosing some of the worst records ever made I would like to treat you to the best instrumental ever made....it dates back to the fifties and I still never tire of hearing it....a masterpiece....it is by The Ventures and is called "Walk Don't Run"......

The news is still going on about Boris Johnson's Xmas party.....all this is doing now is giving no mark M.P.s the opportunity to get their faces on TV all saying the same thing with none of them coming up with any alternative solutions.....definitely time to MOVE ON. The easiest job in the world is be a critic or a football pundit....we have professional film critics who grace us with their opinions....and pundits who sit round a table and discuss a match we have just watched....and get highly paid for doing so....talk about easy money.....and this comes out of our TV licence....which will no doubt soon go up because of the shortage of oil or something equally as stupid. Main roads are being altered to include wide cycle lanes.....how long before the accidents start?....not to mention idiots on electric bikes. The local council's latest brilliant idea is to increase the charge of emptying your garden waste bin from 35 pounds to 50 pounds a year which hasn't gone down too well with our ratepayers.....as the said bins are only emptied every two weeks and don't require emptying during the winter.... are they having a laugh.......what will obviously happen is folk will fly tip their grass all over the place.....the council complain that they are short of money...try checking out the salaries of some of the bosses who are surplus to requirements. We have a terrible war going on but 17 minutes of space is required on the BBC News to watch Johnny Depp mumbling away in court with his marital problems...WHO CARES?............... put him on my list.I watched another episode of the Jimmy Saville scandal......which left me totally baffled......he walks around with this huge cigar in his mouth....takes it out and mutters a load of nonsense...and shoves it back in his mouth....they could find no evidence of his alleged sexual misconduct until he died....then we get 400 accusers coming out of the woodwork.....to me the bloke was a total nut case. A film called "The Magnet" has recently been on the telly....it was made in 1951 and stars James `Fox as a young lad and was filmed in and around Wallasey on Merseyside where I was born......it was fascinating to see how the area has changed since I was a six year old.....great film. This week...for a change...instead of choosing some of the worst records ever made I would like to treat you to the best instrumental ever made....it dates back to the fifties and I still never tire of hearing it....a masterpiece....it is by The Ventures and is called "Walk Don't Run"......

Second Set celebrating the artists of Popboomerang Records!   Focusing in on “Marching Out Of Time”!   The Music Authority LIVE STREAM Show & Podcast... listen, like, comment, download, share, repeat…heard daily on Podchaser, Deezer, Amazon Music, Audible, Listen Notes, Google Podcast Manager, Mixcloud, Player FM, Stitcher, Tune In, Podcast Addict, Cast Box, Radio Public, and Pocket Cast, and APPLE iTunes!  Follow the show on TWITTER JimPrell@TMusicAuthority!  Please, are you sharing the show? Please, are you listening? How does and can one listen in? Let me list the ways...*Listen LIVE here - https://fastcast4u.com/player/jamprell/ *Podcast - https://themusicauthority.transistor.fm/   The Music Authority LIVE STREAM Show & Podcast!  Special Recorded Network Shows, too!  Different than my daily show! *Radio Candy Radio Monday Wednesday, & Friday 7PM ET, 4PM PT*Rockin' The KOR Tuesday, Wednesday, and Thursday at 7PM UK time, 2PM ET, 11AM PT  www.koradio.rocks*Pop Radio UK Friday, Saturday, & Sunday 6PM UK, 1PM ET, 10AM PT!  April 15, 2022, Friday…row two…Gigantic - 33 - Out Of Nowhere Singing For Humans - 22 - Walk Don't Run the Killjoys - 40 - Marching Out Of TimeGo-go Sapien - 24 - Metaphysical ResistanceBrilliant Fanzine - 21 - One In 10,000 (@Cam Farrar remix)Rick Hromadka - 01 Searchlight (Big Stir Records)Nick Batterham - 26 - Everything FlowsThe Richies - 18 - Fanclubesque [(PB007) Planet Of The Popboomerang Volume 1] (Popboomerang Records)The Stillsouls - Victory [Half Drunk Preacher]The Steinbecks - Fans Page. - 17 - Draining The Pool For YouGeorgia Fields - 03 - Snakes & Ladders@Florapop - 10 - Come To Me [(PB007) Planet Of The Popboomerang Volume 1] (Popboomerang Records)@D. Rogers - 09 - Knocked Down The House [Sparks On The Tarmac] (Popboomerang Records)Librarians With Hickeys - 10 Action Now [Action Now- 20-20 Re-Envisioned] (Futureman Records)Penny Hewson Music - 27 - Mercy StreetLivingstone Daisies - 04 - A World That's Made For YouSkipping Girl Vinegar - 02 - One Chance [It's Always Summer At Popboomerang] (Popboomerang Records)The Sunbeams - 22 - Game [(PB007) Planet Of The Popboomerang Volume 1] (Popboomerang Records)

SHOUT OUTS  Thanks to all our patrons and everyone in the Runcation Nation for your support and encouragement.  Because of you, we have been able to keep the show going over the last two years, and now that the races are returning, we look forward to meeting up with you, too! Congratulations to Dan Rams and everyone in the Cape Coral Running Group on their Kia Port Charlotte Half Marathon!   For anyone who would like a shoutout on the show, please don't forget to send them to us.  We do our best to collect shoutouts throughout the week, but please send them our way!  Please send them to info@runeatdrink.net or call 941-677-2733! Thank you to Joanne Blatchley, Associate Producer of our show.   Thank you to Josh Ozbirn, Executive Producer of the podcast, too!  We couldn't do it without you. If you'd like more of the Run Eat Drink Podcast, including bonus content and early access to episodes, become a patron!  Go to www.patreon.com/runeatdrinkpodcast to find out more. RUN 2022 Gate River Run in Jacksonville, Florida, was one we had not planned on getting to, but Barbara DiGirolamo  (@babz019 on Instagram), who we were lucky to meet and get to know at the Donna Marathon Weekend 2022, convinced us we needed to get there.  The experience did not disappoint.  Jacksonville residents came out to support and cheer on the runners in this National Championship at the 15K distance.  We experienced a great expo, a well-supported course, and the “green monster.” Would we do it again?  We discuss all that and more in this episode. EAT Prati Italia was our restaurant of choice when carb-loading for this 15K race.  The Prati Italia food menu has so many tasty options!  We can't wait to go back and try everything, including the deep-fried lasagna that we saw come to a table.  It made our mouths water!  They had a beautiful restaurant with an open kitchen, a beautiful setting inside or by the water, and a full vegan menu for us to sample, too!  We talk about it in this episode.  Special thanks to the hostess (whose name we did not catch) who found seating for us, even though we accidentally made our reservation the next night when we meant to make it for the night before the race).  Big thanks and praise to our server Cassidy, who was knowledgeable about everything on the menu and gave us a first-class experience.  Get here if you can to try their menu, whether regular, vegan, or vegetarian.  And ask for Cassidy! DRINK Prati Italia's specialty non-alcoholic drinks were a welcome surprise when perusing the drink menu.  We can't wait to get back and try their extensive cocktail list that includes cleverly named beverages like the “Frankly Speaking” and “Walk Don't Run.” The night before the race, though, we were so happy with the handmade sodas we got to try. THAT'S A WRAP! On the food and beverage front, Prati Italia is a winner!  Make a reservation, get there, and enjoy!  Let us know what you have if you do! Thank you for listening!  We are looking forward to YEAR NUMBER 5 of the podcast because of your support!  Don't forget to follow us and tell us where to find you next on our website, Facebook, Instagram, and Twitter.  Also, check out our store on the website and get some swag, thanks to Pure Creative Apparel.  Thanks to PodcastMusic.com for providing the music for this episode, too!

Here's a #ThrowbackThursday post: an episode we recorded earlier this week! ;) It ended up going up to almost an hour, but we really wanted to talk about the news items we had left. Here are the topics: -Steve Howe's post about Don Wilson, including a link to his cover of "Walk Don't Run" -Tom Brislin's Meat Loaf tour throwbacks -Trevor Horn shares throwback pic to Drama Tour -The Music Locker post about Yes Fragile Tour cabinets -Awaken's cover of "Sound Chaser" -Rick Wakeman posted "Sweet Georgia Brown" on YouTube and appeared on quiz show The Chase. -Oliver Wakeman's new Instagram account and announcement of Collaborations box set -Adam Wakeman and Dylan Howe in Jazz Sabbath Vol. 2 YouTube video: https://www.youtube.com/watch?v=EvipqO7mR5k -Roger Dean's Facebook Live painting sessions on January 11 and 18 (NOTE: Steven turned out to be wrong about his guess regarding the large green painting. Celestial Songs is actually the DBA album.) -Deborah Anderson and Jon Anderson conversation on Women of the White Buffalo Facebook page -Jon Anderson video updates on Patreon, YouTube (including Michael Byrne's channel), and Facebook -Simon Barrow's comments on reissue of his book Solid Mental Grace and work on Yes in the 1990s book. -Yes: gli anni d'oro - 1969/1980 Italian book -Yes: A Visual Biography Vol 1 and 2 -John Wetton: An Extraordinary Life book announced 5 years after his passing -Asia's 40th anniversary tour You can follow our podcast series at https://anchor.fm/yesshift, which includes an audio version of this episode if you prefer not to look at us. We welcome comments, questions, and suggestions, so feel free to email us at yesshiftpodcast @ gmail.com On our Facebook page, we will not only share our podcast episodes, but also Yes photos and videos with stories from throughout their career. --- Support this podcast: https://anchor.fm/yesshift/support

Your Weekly Dose Show #248 opens with Walk Don't Run by The Ventures. We start off with Kaitlyn talking about her web series, Sean talks about a message he got from Tito and Steve talks about a friend of his. Next it's Paul Preston from the movie guys reviewing Nightmare Ally, Coda, Summer of Soul and Don't Look Up. The Sean & Steve remember Don Wilson of the Ventures. Then we talk to Os Davis again for NFL Playoffs. Next we call the Pope asking about his venture to the record store & Finally Kaitlyn gives us Things McDonalds Employees Hate. LINKS: The Ventures Music        

Episode 398 is brought to you by... Big Ear Pedals: https://www.bigearpedals.com/ Chase Bliss Audio: https://www.chaseblissaudio.com/ Support this channel: https://www.patreon.com/60CycleHumcast Who actually looks at these? 00:00 How to buy your first amp 40:00 Belgian Guitars 52:20 Birthday whiskey, Pedaltrains and Sweetwater 1:16:20 CGB Fiddle 1:26:40 Mutated Starfish This week's song was sent by Clark Starace of Wiped Out and is a cover of "Walk Don't Run" **************************** 60CH on Patreon: https://www.patreon.com/60CycleHumcast Buy Something with our affiliate links: Buy a Shirt - https://teespring.com/stores/60-cycle-hum Sweetwater: https://imp.i114863.net/rMb1D Thomann: https://www.thomannmusic.com?offid=1&affid=405 Amazon: https://amzn.to/2PaUKKO Ebay: https://ebay.to/2UlIN6z Reverb: https://reverb.grsm.io/60cyclehum Cool Patch Cables: https://www.tourgeardesigns.com/discount/60cyclehum +++++++++++++++++++++ Social Media Stuff: Facebook: https://www.facebook.com/groups/60cyclehum/ Discord: https://discord.gg/nNue5mPvZX Instagram and Twitter @60cyclehum TikTok: https://www.tiktok.com/@60cyclehum? Hire us for Demos and other marketing opportunities   https://60cyclehumcast.com/marketing-packages/ #60cyclehum #guitar #guitars #shameflute

M

The tempo in our return to office plans should be much slower than it was when the pandemic started and everyone went home to work. When the pandemic started, the pace of getting employees to work from home was like running. It was a crisis. Now, a year and a half later, the crisis is still showing uncertainty. As employees begin to move back to the office, great leaders know that the way back isn't to run. Leaders need to set a tempo that's more like walking.In this episode, Rob LoCascio, CEO of live person, shares with us that the greatest leaders today must be the type that set a walking pace, provide certainty and clarity, and remain authentic - even in the most challenging times. This is the time for leaders to acknowledge that no one knows what the future holds. The best way forward is for leaders to share the truth about what they do know, rather than pretending they have everything figured out. Instead, leaders must listen to their employees to find out what their employees need in order to Team Anywhere.Leaders Should Give Themselves a BreakLeaders can be very hard on themselves. They have had to navigate immense amounts of uncertainty without having much control over it. As humans, we tend to get angry when we feel we are losing control. The pandemic has caused leaders to feel frustrated, angry, and helpless as they try to navigate the return to office plans moving forward. The lack of ability to control the situation can be aggravating and defeating. We all get it, and we all feel it.But at the end of the day, leaders have to give themselves a break and realize that they are doing their best. Every company is dealing with the same issues and no one has the right answer right now. Give yourself a break and focus on accepting that there are things occurring right now that you can't control. Walk - Don't RunOur natural tendency is to run, when right now, we need to walk. It is extremely important that leaders slow down and listen to what their employees are thinking, saying, or not saying. This advice is similar to the concept from the book, The First 90 Days. Inside this book, the author, Michael Watkins, recommends that new leaders spend the first 90 days at a new company just listening and not making any changes. By taking the time now to slow down and really listen to your employees--without rushing to make changes or decisions--you can get a lot of valuable information that is going to be needed when it is time to solidify a plan. To learn more crisis leadership strategies like the tips below, see the full summary.Be Authentically EmpatheticMake a Safe Environment For EmployeesSchedule DiligentlyBe Extremely ClearApologizing Gives You The Power to Move Forward

Sunday, July 18, 2021 Sharing communion unites us in Jesus’ saving work. The post The Walk: Don’t Mess it Up! appeared first on CrossRoads Church of Fort Worth.

Don Wilson and Bob Bogle first met in 1958, when Bogle was looking to buy a car from a used car dealership in Seattle owned by Wilson's father. Finding a common interest in guitars, the two decided to play together, while Wilson joined Bogle performing masonry work. They bought two used guitars in a pawn shop for about $10 each. Their goal was to make extra money by playing at weddings, but instead they became the foundation of The Ventures and would go on to sell over 100 million records and become the best-selling instrumental band of all time. Don Wilson's son, Tim, joins John & Heyang to talk about their incredible rise to international success and the new documentary on the band called "Stars on Guitars." I get the chance to drop the needle on some of the biggest hits of The Ventures, including "Walk Don't Run" and "Hawaii 5-0." Their recording of "Walk, Don't Run" was inducted into the Grammy Hall of Fame for its lasting impact, and in 2008 the group was inducted into the Rock and Roll Hall of Fame.

This episode is a recent conversation the guys had with Tim Wilson, son of legendary co-founder, Don Wilson, of The Ventures. Tim co-directed the movie The Ventures Stars on Guitars that came out earlier in the year. He talks on how the band got started, how the idea of the movie came to be, and great inside stories on what it's like to have a dad in a world-famous band. The Ventures, a quartet that plays instrumental rock, was started in 1958 in Tacoma by Don Wilson and Bob Bogle. Their first wide-release single, “Walk, Don't Run” brought international fame in the 1960's. Since then they have had 14 singles in the Billboard Hot 100 and with over 100 million records sold, they are the best-selling instrumental band of all time. 02:30 – Brogan talks about reflecting on old episodes, they chat about GCP's upcoming 3-year marker, and Justin kicks off the interview with Tim. Tim talks about how his dad and friend started the band, the quick success of the band, and chats about the non-stop 60 years of playing the band had under their belt prior to Covid. He discusses coming up with the documentary idea, getting his sister involved with the filming piece, and dives deeper in the evolution of the band. 24:41 – Tim talks about starting a guitar company in 2003, the various bands that were influenced by The Ventures over the years, and how the band learned to create their various sounds. He shares the story of the uptick of Fender Jazzmaster guitar sales after fans had reached out to Fender after they heard their music to find out the type of guitar they used, Jeff talks about the magic behind The Ventures music, and Tim shares how the band got started playing in Japan. 49:15 – Tim explains how they ended up meeting Billy Bob Thornton, other famous people The Ventures played with, and gives props to the producers of the Walk Don't Run documentary. He talks about how The Ventures started getting air play, the legwork his grandmother put in as the producer and manager of the band, and the great work Pat O'day did for bringing musicians to the PNW. He talks about the upcoming event happening at the Emerald Queen Casino Ballroom August 22nd 2021, the work behind getting the band into the Rock and Roll Hall of Fame, and his conversation with Quentin Tarantino. 60:13 – The guys reflect on the conversation with Tim, their plans to have him on the show again soon, and each chat on how their Christmas was. Jeff talks about the new gaming chairs he got for Christmas, Justinn shares what he and his wife had for Christmas Dinner, and Jeff talks about what he ordered from The Black Bear Diner for his. Justin gives a shout out to the Four Horsemen Brewery, Urban Business Support, and they close out the show discussing New Year's Resolutions. Special Guest: Tim Wilson.

Bonus July Birthday Cover Show1.intro-Sunshine of You're Love-Mike Melvoin2.Wild One-Polysics3.Let's Have a War-Mike Watt & The Secondmen4.As Time Goes by-Lorne Green5.Baby's on Fire-The 3D's6.Kissing Cousins-The Saints7.I Heard it through The Grapevine-The Slits8.Lucifer Sam-Love & Rockets9.Walk Don't Run-Penguine Cafe Orchestra10.Psycho Killer-City Wildlife11.Inna Gadda Divita-The Seclusions12.Respect-Wolfgang Press13.Rock and Roll all night-Moog Cookbook14.Wooly Bully-Rainbow Red Oxidizer15.Have Love Will Travel-Thee Headcoats16.Green Onions-Zinthetyzer17.I Only Want to be with You-The Flirts18.Jeepster-Altered Images19.Heartbeat It's a Lovebeat-The Replacements20.Pablo Piccasso-Burning Sensations

Episode eighty-three of A History of Rock Music in Five Hundred Songs looks at “Only the Lonely” by Roy Orbison, and how Orbison finally found success by ignoring conventional pop song structure. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have two bonus podcasts — part one of a two-part Q&A and a ten-minute bonus on “Walk Don’t Run” by the Ventures. 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…)

Episode eighty-three of A History of Rock Music in Five Hundred Songs looks at “Only the Lonely” by Roy Orbison, and how Orbison finally found success by ignoring conventional pop song structure. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have two bonus podcasts — part one of a two-part Q&A and a ten-minute bonus on “Walk Don’t Run” by the Ventures. 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—-  Resources Apologies for the delay this week — I’m still trying to catch up after last week.    As usual, I have put together a Mixcloud mix with every song excerpted in this podcast. I have relied for biographical information mostly on two books — The Authorised Roy Orbison written by Jeff Slate and three of Orbison’s children, and Rhapsody in Black by John Kruth.  For the musicological analysis, I referred a lot to the essay “Only the Lonely: Roy Orbison’s Sweet West Texas Style,” by Albin Zak, in Sounding Out Pop: Analytical Essays in Popular Music.   There are many Orbison collections available, but many have rerecordings rather than the original versions of his hits. The Monument Singles Collection is the originals.  Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript It’s been nearly a year since we last looked at Roy Orbison, so it’s probably a good idea to quickly catch up with where we were up to. Roy Orbison had started out as a rockabilly singer, with a group called the Wink Westerners who changed their name to the Teen Kings and were signed to Sun Records. Orbison had thought that he would like to be a ballad singer, but everyone at Sun was convinced that he would never make it as anything other than a rocker. He had one minor hit on Sun, “Ooby Dooby”, but eventually got dissatisfied with the label and asked to be allowed to go to another label — Sam Phillips agreed to free him from his contract, in return for all the songwriting royalties and credits for everything he’d recorded for Sun. Newly free, Orbison signed to a major publisher and a major record label, recording for RCA with the same Nashville A-Team that were recording with Elvis and Brenda Lee. He had some success as a songwriter, writing “Claudette”, which became a hit for the Everly Brothers, but he did no better recording for RCA than he had recording for Sun, and soon he was dropped by his new label, and the money from “Claudette” ran out. By the middle of 1959, Roy Orbison was an absolute failure. But this episode, we’re going to talk about what happened next, and the startling way in which someone who had been a failure when produced by both Sam Phillips and Chet Atkins managed to become one of the most important artists in the world on a tiny label with no track record. Today, we’re going to look at “Only the Lonely”, and the records that turned Roy Orbison into a star: [Excerpt: Roy Orbison, “Only the Lonely”] It seems odd that Roy Orbison could thank Wesley Rose for introducing him to Monument Records. Rose was the co-owner of Acuff-Rose publishing, the biggest country music publishing company in the world, and the company to which Orbison had signed as a songwriter. Fred Foster, the owner of Monument, describes being called to a meeting of various Nashville music industry professionals, at which Rose asked him in front of everyone “Why are you trying to destroy Nashville by making these…” and then used an expletive I can’t use here and a racial slur I *won’t* use here, to describe the slightly R&B-infused music Foster was making. Foster was part of the new wave of Nashville record makers that also included Owen Bradley and Chet Atkins, though at this time he was far less successful than either of them. Foster had started out as a songwriter, writing the words for the McGuire Sisters’ hit “Picking Sweethearts”: [Excerpt: The McGuire Sisters, “Picking Sweethearts”] He had moved from there into record production, despite having little musical or technical ability. He did, though, have a good ear for artists, and he made his career in the business by picking good people and letting them do the music they wanted. He started out at 4 Star Records, a small country label. From there he moved to Mercury Records, but he only spent a brief time there — he was in favour of moving into the rockabilly market, while his superiors in the company weren’t. He quickly found another role at ABC/Paramount, where he produced hits for a number of people, including one track we’ve already covered in this podcast, Lloyd Price’s version of “Stagger Lee”. He then put his entire life savings into starting up his own company, Monument, which he initially co-owned with a DJ named Buddy Deane. As Foster and Deane were based in Washington at this time, they used an image of the Washington Monument as the label’s logo, and that also inspired the name. The first single they put out on the label caused them some problems. Billy Grammer, their first signing, recorded a song that they believed to be in the public domain, “Done Laid Around”, which had recently been recorded by the Weavers under the name “Gotta Travel On”: [Excerpt: The Weavers, “Gotta Travel On”] However, after putting out Grammer’s version, Foster discovered that the song was actually in copyright, with a credit to the folk singer and folklorist Paul Clayton. I don’t know if Clayton actually wrote the song or not — it was common practice at that time for folk songs to be copyrighted in the name of an artist. But whether Clayton wrote the song or not, “Done Laid Around” had to be withdrawn from sale, and reissued under the name “Gotta Travel On”, with Clayton credited as the composer — something which cost the new label a substantial amount of money. But it worked out well for everyone, with Grammer’s record eventually reaching number four on the pop charts: [Excerpt: Billy Grammer, “Gotta Travel On”] After that success, Foster bought out Buddy Deane and moved the label down to Nashville. They put out a few more singles over the next year, mostly by Grammer, but nothing recaptured that initial success. But it did mean that Foster started working with the Nashville A-Team of session musicians — people like Bob Moore, the bass player who played on almost every important record to come out of Nashville at that time, including the Elvis records we looked at last week. Moore had also played on Roy Orbison’s last sessions for RCA, where he’d seen how downcast Orbison was. Orbison had explained to Moore about how this was going to be his last session for RCA — his contract was about to expire, and it was clear that Chet Atkins had no more idea than Sam Phillips how to make a successful Roy Orbison record. Moore told him not to worry — he very obviously had talent, and Moore would speak to Wesley Rose about him. As well as being Orbison’s music publisher, Rose was also Orbison’s manager, something that would nowadays be considered a conflict of interest, but was par for the course at the time — he was also the Everly Brothers’ manager and publisher, which is how Orbison had managed to place “Claudette” with them. There were a lot of such backroom deals in the industry at the time, and few people knew about them — for example, none of Bob Moore’s fellow session players on the A-Team knew that he secretly owned thirty-seven percent of Monument Records. While Fred Foster is credited as the producer on most of Orbison’s sessions from this point on, it’s probably reasonable to think of Bob Moore as at the very least an uncredited co-producer — he was the arranger on all of the records, and he was also the person who booked the other musicians on the sessions. Orbison was by this point so depressed about his own chances in the music industry that he couldn’t believe that anyone wanted to sign him at all — he was convinced even after signing that Fred Foster was confusing his own “Ooby Dooby” with another Sun single, Warren Smith’s similar sounding “Rock and Roll Ruby”: [Excerpt: Warren Smith, “Rock and Roll Ruby”] Wesley Rose had very clear ideas as to what Orbison’s first single for Monument should be — that last session at RCA had included two songs, “Paper Boy”, and “With the Bug”, that RCA had not bothered to release, and so Orbison went into the studio with much the same set of musicians he’d been working with at RCA, and cut the same songs he’d recorded there. The single was released, and made absolutely no impact — unsurprising for a record that was really the end of Orbison’s period as a failure, rather than the beginning of his golden period. That golden period came when he started collaborating with Joe Melson. The two men had known each other for a while, but the legend has it that they started writing songs together after Melson was walking along and saw Orbison sat in his car playing the guitar — Orbison and his wife Claudette had recently had a son, Roy DeWayne Orbison (his middle name was after Orbison’s friend Duane Eddy, though spelled differently), and the flat they were living in was so small that the only way Orbison could write any songs without disturbing the baby was to go and write them in the car. Melson apparently tapped on the car window, and asked what Roy was doing, and when Roy explained, he suggested that the two of them start working together. Both men were more than capable songwriters on their own, but they brought out the best in one another, and soon they were writing material that was unlike anything else in popular music at the time. Their first collaboration to be released was Orbison’s second Monument single, “Uptown”, a bluesy rock and roll track which saw the first big change in Orbison’s style — the introduction of a string section along with the Nashville A-Team. This was something that was only just starting to be done in Nashville, and it made little sense to most people involved that Orbison would want strings on what would otherwise be a rockabilly track, but they went ahead: [Excerpt: Roy Orbison, “Uptown”] The string arrangement was written by Anita Kerr, of the Anita Kerr Singers, the female vocal group that would be called into any Nashville session that required women’s voices (the male equivalent was the Jordanaires). Kerr would write a lot of the string arrangements for Orbison’s records, and her vocal group — with Joe Melson adding a single male voice — would provide the backing vocals on them for the next few years. Wesley Rose was still unsure that Orbison could ever be a star, mostly because he thought he was so odd-looking, but “Uptown” started to prove him wrong. It made number seventy-two on the pop charts — still not a massive hit, but the best he’d done since “Ooby Dooby” three years and two record labels earlier. But it was the next single, another Orbison/Melson collaboration, that would make him into one of the biggest stars in music. “Only the Lonely” had its roots in two other songs. Melson had written a song called “Cry” before ever meeting Orbison, and the two of them had reworked it into one called “Only the Lonely”, but they were also working on another song at the same time. They had still not had a hit, and were trying to write something in the style of a current popular record. At the time, Mark Dinning was having huge success with a ballad called “Teen Angel”, about a girl who gets run over by a train: [Excerpt: Mark Dinning, “Teen Angel”] Orbison and Melson were writing their own knock-off of that, called “Come Back to Me My Love”. But when they played it for Fred Foster, he told them it was awful, and they should scrap the whole thing — apart from the backing vocal hook Joe was singing. That was worth doing something with: [Excerpt: Roy Orbison, “Only the Lonely”, vocal intro] They took that vocal part and put it together with “Only the Lonely” to make a finished song. According to most reports, rather than have Orbison record it, they initially tried to get Elvis to do it — if they did, they must have known that they had no chance of it getting recorded, because Elvis was only recording songs published by Hill and Range, and Orbison and Melson were Acuff-Rose songwriters. They also, though, tried to get it recorded by the Everly Brothers, who were friends of Orbison, were also signed with Acuff-Rose, and were also managed by Wesley Rose, and even they turned it down. This is understandable, because the finished “Only the Lonely” is one of the most bizarrely structured songs ever to be a hit. Now, I’ve known this song for more than thirty years, I have a fair understanding of music, *and* I am explaining this with the help of a musicological essay on the song I’ve read, analysing it bar by bar. I am *still* not sure that my explanation of what’s going on with this song is right. *That’s* how oddly structured this song is. The intro is straightforward enough, the kind of thing that every song has. But then the lead vocal comes in, and rather than continue under the lead, like you would normally expect, the lead and backing vocals alternate, and push each other out of phase as a result. Where in the intro, the first “dum dum dum” starts on the first bar of the phrase, here it starts on the *second* bar of the phrase and extends past the end of Orbison’s line, meaning the first line of the verse is actually five bars (from where the instruments come in after the a capella “Only the”), and not only that, the backing vocals are stressing different beats to the ones the lead vocal is stressing: [Excerpt: Roy Orbison, “Only the Lonely”, first line of verse] This is quite astonishingly jarring. Pop songs, of whatever genre — country, or blues, or rock and roll, or doo-wop, or whatever — almost all work in fours. You have four-bar phrases that build up into eight- or twelve-bar verses, choruses, and bridges. Here, by overlaying two four-bar phrases out of synch with each other, Orbison and Melson have created a five-bar phrase — although please note if you try to count bars along with these excerpts, you may come out with a different number, because phrases cross bar lines and I’m splitting these excerpts up by the vocal phrase rather than by the bar line. The lead vocal then comes back, on a different beat than expected — the stresses in the melody have moved all over the place. Because the lead vocal starts on a different beat for the second phrase, even though it’s the same length as the first phrase, it crosses more bar lines, meaning two five-bar phrases total eleven bars. Not only that, but the bass doesn’t move to a new chord where you expect, but it stays on its original chord for an extra two beats, giving the impression of a six-beat bar, even though the drums are staying in four-four. So the first half of the verse is eleven bars long, if you don’t get thrown by thinking one of the bars is six beats rather than four. Structurally, harmonically, and rhythmically, it feels like someone has tried to compromise between a twelve-bar blues and an eight-bar doo-wop song: [Excerpt: Roy Orbison, “Only the Lonely”, second line] There’s then another section, which in itself is perfectly straightforward — an eight-bar stop-time section, whose lyric is possibly inspired by the Drifters song that had used strings and rhythmic disorientation in a similar way a few months earlier: [Excerpt: Roy Orbison, “Only the Lonely”, “There goes my baby…”] The only incongruity there is a very minor one — a brief move to the fifth-of-fifth chord, which is the kind of extremely minor deviation from the key that’s par for the course in pop music. That section by itself is nothing unusual. But then after that straightforward eight-bar section, which seems like a return to normality, we then get a five-bar section which takes us to the end of the verse: [Excerpt: Roy Orbison, “Only the Lonely”, “But only the lonely know why…”] The song then basically repeats all its musical material from the start, with a few changes – the second time, the verse starts on the third of the scale rather than the first, and the melody goes up more, but it’s structured similarly, and finishes in under two and a half minutes. So the musical material of the song covers twenty-four bars, not counting the intro. Twenty-four bars is actually a perfectly normal number of bars for a song to cover, but it would normally be broken down into three lots of eight or two lots of twelve — instead it’s a five, a six, an eight, and a five. I think. Honestly, I’ve gone back and forth several times about how best to break this up. The song is so familiar to most of us now that this doesn’t sound strange any more, but I distinctly remember my own first time listening to it, when I was about eight, and wondering if the backing vocalists just hadn’t known when to come in, if the people making the record just hadn’t known how to make one properly, because this just sounded *wrong* to me. But it’s that wrongness, that strangeness, of course — along with Orbison’s magnificent voice — that made the record a hit, expressing perfectly the confusion and disorientation felt by the song’s protagonist. It went to number two in the US, and number one in the UK, and instantly made Roy Orbison a star. A couple of slightly more conventional singles followed — “Blue Angel” and “I’m Hurtin'” — and they were both hits, but nowhere near as big as “Only the Lonely”, and this seems to have convinced Orbison and Melson that they needed to follow their instincts and go for different structures than the norm. They started to make their songs, as far as possible, through-composed pieces. While most songs of the time break down into neat little sections — verse, chorus, verse, chorus, middle eight, instrumental solo, chorus to fade, or a similar structure, Orbison and Melson’s songs rarely have sections that repeat without any changes. Instead a single melody develops and takes twists and turns over the course of a couple of minutes, with Orbison usually singing throughout. This also had another advantage, as far as Orbison was concerned — their songs hardly ever had space for an instrumental break, and so he never had to do the rock and roll star thing of moving around the stage and dancing while the instrumentalists soloed, which was something he felt uncomfortable doing. Instead he could just stand perfectly still at the microphone and sing. The first single they released that fit this new style was inspired by a piece of music Fred Foster introduced Orbison to — Ravel’s “Bolero”: [Excerpt: Ravel, “Bolero” (West-Eastern Divan Orchestra)] Orbison and Melson took that basic feel and changed it into what would become Orbison’s first number one in the US, “Running Scared”: [Excerpt: Roy Orbison, “Running Scared”] That song was apparently one that met some resistance from the Nashville A-Team. A chunk of the song is in rubato, or “free time”, where the musicians speed up or slow down slightly to make the music more expressive. This was not something that Bob Moore, in particular, was comfortable with — they were making pop music, weren’t they? Pop music was for kids to dance to, and if kids were going to dance to it, it had to have a steady beat. Orbison wasn’t very good at all at dealing with conflict, and wherever possible he would try to take the most positive attitude possible, and in this case he just went into the control room and waited, while the musicians tried to figure out a way of playing the song in strict tempo, and found it just didn’t work. After a while, Orbison walked back into the studio and said “I think we should play it the way it was written”, and the musicians finally went along with him. It may also have been on “Running Scared” that they pioneered a new recording technique, or at least new for Nashville, which was surprisingly conservative about recording technology for a town so rooted in the music industry. I’ve seen this story written about three different early Orbison songs, and it could have been any of them, but the descriptions of the “Running Scared” session are the most detailed. While Orbison had a great voice, at this point it wasn’t especially powerful, and with the addition of strings, the band were overpowering his voice. At this time, it was customary for singers to record with the band, all performing together in one room, but the sound of the instruments was getting into Orbison’s mic louder than his voice, making it impossible to get a good mix. Eventually, they brought a coatrack covered with coats into the studio, and used it to partition the space — Orbison would stand on one side of it with his mic, and the band and their mics would be on the other side. The coats would deaden the sound of the musicians enough that Orbison’s voice would be the main sound on his vocal mic. In this case, the reason his voice was being overpowered was that right at the end of the song he had to hit a high A in full voice — something that’s very difficult for a baritone like Orbison to do without going into falsetto. It may also be that he was nervous about trying this when the musicians could see him, and the coats in the way helped him feel more secure. Either way, he does a magnificent job on that note: [Excerpt: Roy Orbison, “Running Scared”, tag] Apparently when Chet Atkins popped into the studio for a visit, he was utterly bemused by what he saw — but then he was impressed enough by the idea that he got RCA to build a proper vocal isolation booth at their studios to get the same effect. “Running Scared” also came along just after Orbison made one big change to his image. He’d been on tour with Patsy Cline, promoting “Blue Angel”, and had left his glasses on the plane. As he couldn’t see well without them, he had to resort to using his prescription sunglasses on stage, and was astonished to find that instead of looking gawky and rather odd-looking, the audience now seemed to think he looked cool and brooding. From that point on, he wore them constantly. For the next three years, Orbison and Melson continued working together and producing hits — although Orbison also wrote several hits solo during this time, including “In Dreams”, which many consider his greatest record. But Melson was becoming increasingly convinced that he was the real talent in the partnership. Melson was also putting out singles on his own at this time, and you can judge for yourself whether his most successful solo track, “Hey Mr. Cupid” is better or worse than the tracks Orbison did without him. [Excerpt: Joe Melson, “Hey Mr. Cupid”] Eventually Melson stopped working with Orbison altogether, after their last major collaboration, “Blue Bayou”. This turned out to be the beginning of the collapse of Orbison’s entire life, though it didn’t seem like it at the time. It was the first crack in the team that produced his biggest hits, but for now he was on a roll. He started collaborating with another writer, Bill Dees, and even though Beatlemania was raging in the UK, and later in the US, he was one of a tiny number of American artists who continued to have hits. Indeed, two of the early collaborations by Orbison and Dees were the *only* two records by an American artist to go to number one in the UK between August 1963 and February 1965. The second of those, “Oh, Pretty Woman”, also went to number one in the US, and became one of his most well-known songs: [Excerpt: Roy Orbison, “Oh, Pretty Woman”] That song again caused problems with his new collaborator, as Bill Dees sang the harmony vocals on it, and felt he wasn’t getting enough credit for that. But that was the high point for Orbison. Wesley Rose and Fred Foster had never got on, and Rose decided that he was going to move Orbison over to MGM Records, who gave him an advance of a million dollars, but immediately the hits dried up. And the events of the next few years were the kind of thing that would would break almost anyone. He had divorced his wife Claudette, who had inspired “Oh, Pretty Woman”, in November 1964, just before signing to MGM, because he’d discovered she was cheating on him. But the two of them had been so in love they’d ended up reconciling and remarrying in December 1965. But then six months later, they were out riding motorbikes together, Claudette crashed hers, and she died. And then a little over two years later, while he was on tour in the UK, his house burned down, killing two of his three children. Orbison continued to work, putting out records that no-one was buying, and playing the chicken-in-a-basket circuit in the UK. He even remarried in 1969, and found happiness and a new family with his second wife. But for about twenty years, from 1965 through to 1985, he was in a wilderness period. Between personal tragedy, changing fashions in music, and the heart condition he developed in the 70s, he was no longer capable of making records that resonated with the public, even though his voice was as strong as ever, and he could still get an audience when singing those old hits. And even the old hits were hard to get hold of — Monument Records went bankrupt in the seventies, and reissues of his old songs were tied up in legal battles over their ownership. But then things started to change for him in the mid-eighties. A few modern artists had had hits with cover versions of his hits, but the big change came in 1985, when he collaborated with his fellow ex-Sun performers Johnny Cash, Carl Perkins, and Jerry Lee Lewis, on an album called Class of 55: [Excerpt: Roy Orbison and the Class of 55, “Coming Home”] That came out in 1986, and made the top twenty on the country charts — the first time he’d had an album make any chart at all since 1966. Also in 1986, David Lynch used Orbison’s “In Dreams” in his film Blue Velvet, which brought the record to a very different audience. He collaborated with k.d. lang, who was then one of the hottest new singers in country music, on a new version of his hit “Crying”: [Excerpt: Roy Orbison and k.d. lang, “Crying”] That later won a Grammy. He recorded a new album of rerecordings of his greatest hits, which made the lower reaches of the charts. He got inducted into the rock and roll hall of fame, and recorded a live TV special, A Black and White Night, where he was joined by Elvis’ seventies backing band, Bruce Springsteen, Elvis Costello, k.d. lang, Bonnie Raitt, Jackson Browne and Tom Waits, among others, all just acting as backing singers and musicians for a man they admired. He also joined with George Harrison, Jeff Lynne, Tom Petty and Bob Dylan in a supergroup called The Travelling Wilburys, whose first album made the top five: [Excerpt: The Travelling Wilburys, “Handle With Care”] And he recorded an album of new material, his best in decades, Mystery Girl, produced by Lynne and with songs written by Orbison, Lynne, and Petty — along with a couple of songs contributed by famous admirers like Bono and the Edge of U2. But by the time that came out, Orbison was dead — after a day flying model aeroplanes with his sons, he had a heart attack and died, aged only fifty-two. When Mystery Girl came out a couple of months later, it rose to the top five or better almost everywhere — and in the UK and US, he had two albums in the top five at the same time, as in the UK a hits compilation was also up there, while in the US the Wilburys album was still near the top of the charts. Orbison’s is one of the saddest stories in rock music, with one of the greatest talents in history getting derailed for decades by heartbreaking tragedies unimaginable to most of us, and then dying right at the point he was finally starting to get the recognition he deserved. But the work he did, both as a songwriter and as a singer, would inspire people long after his death.

Episode eighty-three of A History of Rock Music in Five Hundred Songs looks at "Only the Lonely" by Roy Orbison, and how Orbison finally found success by ignoring conventional pop song structure. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have two bonus podcasts -- part one of a two-part Q&A and a ten-minute bonus on "Walk Don't Run" by the Ventures. 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----  Resources Apologies for the delay this week -- I'm still trying to catch up after last week.    As usual, I have put together a Mixcloud mix with every song excerpted in this podcast. I have relied for biographical information mostly on two books -- The Authorised Roy Orbison written by Jeff Slate and three of Orbison's children, and Rhapsody in Black by John Kruth.  For the musicological analysis, I referred a lot to the essay “Only the Lonely: Roy Orbison’s Sweet West Texas Style,” by Albin Zak, in Sounding Out Pop: Analytical Essays in Popular Music.   There are many Orbison collections available, but many have rerecordings rather than the original versions of his hits. The Monument Singles Collection is the originals.  Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript It's been nearly a year since we last looked at Roy Orbison, so it's probably a good idea to quickly catch up with where we were up to. Roy Orbison had started out as a rockabilly singer, with a group called the Wink Westerners who changed their name to the Teen Kings and were signed to Sun Records. Orbison had thought that he would like to be a ballad singer, but everyone at Sun was convinced that he would never make it as anything other than a rocker. He had one minor hit on Sun, "Ooby Dooby", but eventually got dissatisfied with the label and asked to be allowed to go to another label -- Sam Phillips agreed to free him from his contract, in return for all the songwriting royalties and credits for everything he'd recorded for Sun. Newly free, Orbison signed to a major publisher and a major record label, recording for RCA with the same Nashville A-Team that were recording with Elvis and Brenda Lee. He had some success as a songwriter, writing "Claudette", which became a hit for the Everly Brothers, but he did no better recording for RCA than he had recording for Sun, and soon he was dropped by his new label, and the money from "Claudette" ran out. By the middle of 1959, Roy Orbison was an absolute failure. But this episode, we're going to talk about what happened next, and the startling way in which someone who had been a failure when produced by both Sam Phillips and Chet Atkins managed to become one of the most important artists in the world on a tiny label with no track record. Today, we're going to look at "Only the Lonely", and the records that turned Roy Orbison into a star: [Excerpt: Roy Orbison, "Only the Lonely"] It seems odd that Roy Orbison could thank Wesley Rose for introducing him to Monument Records. Rose was the co-owner of Acuff-Rose publishing, the biggest country music publishing company in the world, and the company to which Orbison had signed as a songwriter. Fred Foster, the owner of Monument, describes being called to a meeting of various Nashville music industry professionals, at which Rose asked him in front of everyone "Why are you trying to destroy Nashville by making these..." and then used an expletive I can't use here and a racial slur I *won't* use here, to describe the slightly R&B-infused music Foster was making. Foster was part of the new wave of Nashville record makers that also included Owen Bradley and Chet Atkins, though at this time he was far less successful than either of them. Foster had started out as a songwriter, writing the words for the McGuire Sisters' hit "Picking Sweethearts": [Excerpt: The McGuire Sisters, "Picking Sweethearts"] He had moved from there into record production, despite having little musical or technical ability. He did, though, have a good ear for artists, and he made his career in the business by picking good people and letting them do the music they wanted. He started out at 4 Star Records, a small country label. From there he moved to Mercury Records, but he only spent a brief time there -- he was in favour of moving into the rockabilly market, while his superiors in the company weren't. He quickly found another role at ABC/Paramount, where he produced hits for a number of people, including one track we've already covered in this podcast, Lloyd Price's version of "Stagger Lee". He then put his entire life savings into starting up his own company, Monument, which he initially co-owned with a DJ named Buddy Deane. As Foster and Deane were based in Washington at this time, they used an image of the Washington Monument as the label's logo, and that also inspired the name. The first single they put out on the label caused them some problems. Billy Grammer, their first signing, recorded a song that they believed to be in the public domain, "Done Laid Around", which had recently been recorded by the Weavers under the name "Gotta Travel On": [Excerpt: The Weavers, "Gotta Travel On"] However, after putting out Grammer's version, Foster discovered that the song was actually in copyright, with a credit to the folk singer and folklorist Paul Clayton. I don't know if Clayton actually wrote the song or not -- it was common practice at that time for folk songs to be copyrighted in the name of an artist. But whether Clayton wrote the song or not, "Done Laid Around" had to be withdrawn from sale, and reissued under the name "Gotta Travel On", with Clayton credited as the composer -- something which cost the new label a substantial amount of money. But it worked out well for everyone, with Grammer's record eventually reaching number four on the pop charts: [Excerpt: Billy Grammer, "Gotta Travel On"] After that success, Foster bought out Buddy Deane and moved the label down to Nashville. They put out a few more singles over the next year, mostly by Grammer, but nothing recaptured that initial success. But it did mean that Foster started working with the Nashville A-Team of session musicians -- people like Bob Moore, the bass player who played on almost every important record to come out of Nashville at that time, including the Elvis records we looked at last week. Moore had also played on Roy Orbison's last sessions for RCA, where he'd seen how downcast Orbison was. Orbison had explained to Moore about how this was going to be his last session for RCA -- his contract was about to expire, and it was clear that Chet Atkins had no more idea than Sam Phillips how to make a successful Roy Orbison record. Moore told him not to worry -- he very obviously had talent, and Moore would speak to Wesley Rose about him. As well as being Orbison's music publisher, Rose was also Orbison's manager, something that would nowadays be considered a conflict of interest, but was par for the course at the time -- he was also the Everly Brothers' manager and publisher, which is how Orbison had managed to place "Claudette" with them. There were a lot of such backroom deals in the industry at the time, and few people knew about them -- for example, none of Bob Moore's fellow session players on the A-Team knew that he secretly owned thirty-seven percent of Monument Records. While Fred Foster is credited as the producer on most of Orbison's sessions from this point on, it's probably reasonable to think of Bob Moore as at the very least an uncredited co-producer -- he was the arranger on all of the records, and he was also the person who booked the other musicians on the sessions. Orbison was by this point so depressed about his own chances in the music industry that he couldn't believe that anyone wanted to sign him at all -- he was convinced even after signing that Fred Foster was confusing his own "Ooby Dooby" with another Sun single, Warren Smith's similar sounding "Rock and Roll Ruby": [Excerpt: Warren Smith, "Rock and Roll Ruby"] Wesley Rose had very clear ideas as to what Orbison's first single for Monument should be -- that last session at RCA had included two songs, "Paper Boy", and "With the Bug", that RCA had not bothered to release, and so Orbison went into the studio with much the same set of musicians he'd been working with at RCA, and cut the same songs he'd recorded there. The single was released, and made absolutely no impact -- unsurprising for a record that was really the end of Orbison's period as a failure, rather than the beginning of his golden period. That golden period came when he started collaborating with Joe Melson. The two men had known each other for a while, but the legend has it that they started writing songs together after Melson was walking along and saw Orbison sat in his car playing the guitar -- Orbison and his wife Claudette had recently had a son, Roy DeWayne Orbison (his middle name was after Orbison's friend Duane Eddy, though spelled differently), and the flat they were living in was so small that the only way Orbison could write any songs without disturbing the baby was to go and write them in the car. Melson apparently tapped on the car window, and asked what Roy was doing, and when Roy explained, he suggested that the two of them start working together. Both men were more than capable songwriters on their own, but they brought out the best in one another, and soon they were writing material that was unlike anything else in popular music at the time. Their first collaboration to be released was Orbison's second Monument single, "Uptown", a bluesy rock and roll track which saw the first big change in Orbison's style -- the introduction of a string section along with the Nashville A-Team. This was something that was only just starting to be done in Nashville, and it made little sense to most people involved that Orbison would want strings on what would otherwise be a rockabilly track, but they went ahead: [Excerpt: Roy Orbison, "Uptown"] The string arrangement was written by Anita Kerr, of the Anita Kerr Singers, the female vocal group that would be called into any Nashville session that required women's voices (the male equivalent was the Jordanaires). Kerr would write a lot of the string arrangements for Orbison's records, and her vocal group -- with Joe Melson adding a single male voice -- would provide the backing vocals on them for the next few years. Wesley Rose was still unsure that Orbison could ever be a star, mostly because he thought he was so odd-looking, but "Uptown" started to prove him wrong. It made number seventy-two on the pop charts -- still not a massive hit, but the best he'd done since "Ooby Dooby" three years and two record labels earlier. But it was the next single, another Orbison/Melson collaboration, that would make him into one of the biggest stars in music. "Only the Lonely" had its roots in two other songs. Melson had written a song called "Cry" before ever meeting Orbison, and the two of them had reworked it into one called "Only the Lonely", but they were also working on another song at the same time. They had still not had a hit, and were trying to write something in the style of a current popular record. At the time, Mark Dinning was having huge success with a ballad called "Teen Angel", about a girl who gets run over by a train: [Excerpt: Mark Dinning, "Teen Angel"] Orbison and Melson were writing their own knock-off of that, called "Come Back to Me My Love". But when they played it for Fred Foster, he told them it was awful, and they should scrap the whole thing -- apart from the backing vocal hook Joe was singing. That was worth doing something with: [Excerpt: Roy Orbison, "Only the Lonely", vocal intro] They took that vocal part and put it together with "Only the Lonely" to make a finished song. According to most reports, rather than have Orbison record it, they initially tried to get Elvis to do it -- if they did, they must have known that they had no chance of it getting recorded, because Elvis was only recording songs published by Hill and Range, and Orbison and Melson were Acuff-Rose songwriters. They also, though, tried to get it recorded by the Everly Brothers, who were friends of Orbison, were also signed with Acuff-Rose, and were also managed by Wesley Rose, and even they turned it down. This is understandable, because the finished "Only the Lonely" is one of the most bizarrely structured songs ever to be a hit. Now, I've known this song for more than thirty years, I have a fair understanding of music, *and* I am explaining this with the help of a musicological essay on the song I've read, analysing it bar by bar. I am *still* not sure that my explanation of what's going on with this song is right. *That's* how oddly structured this song is. The intro is straightforward enough, the kind of thing that every song has. But then the lead vocal comes in, and rather than continue under the lead, like you would normally expect, the lead and backing vocals alternate, and push each other out of phase as a result. Where in the intro, the first "dum dum dum" starts on the first bar of the phrase, here it starts on the *second* bar of the phrase and extends past the end of Orbison's line, meaning the first line of the verse is actually five bars (from where the instruments come in after the a capella "Only the"), and not only that, the backing vocals are stressing different beats to the ones the lead vocal is stressing: [Excerpt: Roy Orbison, "Only the Lonely", first line of verse] This is quite astonishingly jarring. Pop songs, of whatever genre -- country, or blues, or rock and roll, or doo-wop, or whatever -- almost all work in fours. You have four-bar phrases that build up into eight- or twelve-bar verses, choruses, and bridges. Here, by overlaying two four-bar phrases out of synch with each other, Orbison and Melson have created a five-bar phrase -- although please note if you try to count bars along with these excerpts, you may come out with a different number, because phrases cross bar lines and I'm splitting these excerpts up by the vocal phrase rather than by the bar line. The lead vocal then comes back, on a different beat than expected -- the stresses in the melody have moved all over the place. Because the lead vocal starts on a different beat for the second phrase, even though it's the same length as the first phrase, it crosses more bar lines, meaning two five-bar phrases total eleven bars. Not only that, but the bass doesn't move to a new chord where you expect, but it stays on its original chord for an extra two beats, giving the impression of a six-beat bar, even though the drums are staying in four-four. So the first half of the verse is eleven bars long, if you don't get thrown by thinking one of the bars is six beats rather than four. Structurally, harmonically, and rhythmically, it feels like someone has tried to compromise between a twelve-bar blues and an eight-bar doo-wop song: [Excerpt: Roy Orbison, "Only the Lonely", second line] There's then another section, which in itself is perfectly straightforward -- an eight-bar stop-time section, whose lyric is possibly inspired by the Drifters song that had used strings and rhythmic disorientation in a similar way a few months earlier: [Excerpt: Roy Orbison, "Only the Lonely", "There goes my baby..."] The only incongruity there is a very minor one -- a brief move to the fifth-of-fifth chord, which is the kind of extremely minor deviation from the key that's par for the course in pop music. That section by itself is nothing unusual. But then after that straightforward eight-bar section, which seems like a return to normality, we then get a five-bar section which takes us to the end of the verse: [Excerpt: Roy Orbison, "Only the Lonely", "But only the lonely know why..."] The song then basically repeats all its musical material from the start, with a few changes – the second time, the verse starts on the third of the scale rather than the first, and the melody goes up more, but it's structured similarly, and finishes in under two and a half minutes. So the musical material of the song covers twenty-four bars, not counting the intro. Twenty-four bars is actually a perfectly normal number of bars for a song to cover, but it would normally be broken down into three lots of eight or two lots of twelve -- instead it's a five, a six, an eight, and a five. I think. Honestly, I've gone back and forth several times about how best to break this up. The song is so familiar to most of us now that this doesn't sound strange any more, but I distinctly remember my own first time listening to it, when I was about eight, and wondering if the backing vocalists just hadn't known when to come in, if the people making the record just hadn't known how to make one properly, because this just sounded *wrong* to me. But it's that wrongness, that strangeness, of course -- along with Orbison's magnificent voice -- that made the record a hit, expressing perfectly the confusion and disorientation felt by the song's protagonist. It went to number two in the US, and number one in the UK, and instantly made Roy Orbison a star. A couple of slightly more conventional singles followed -- "Blue Angel" and "I'm Hurtin'" -- and they were both hits, but nowhere near as big as "Only the Lonely", and this seems to have convinced Orbison and Melson that they needed to follow their instincts and go for different structures than the norm. They started to make their songs, as far as possible, through-composed pieces. While most songs of the time break down into neat little sections -- verse, chorus, verse, chorus, middle eight, instrumental solo, chorus to fade, or a similar structure, Orbison and Melson's songs rarely have sections that repeat without any changes. Instead a single melody develops and takes twists and turns over the course of a couple of minutes, with Orbison usually singing throughout. This also had another advantage, as far as Orbison was concerned -- their songs hardly ever had space for an instrumental break, and so he never had to do the rock and roll star thing of moving around the stage and dancing while the instrumentalists soloed, which was something he felt uncomfortable doing. Instead he could just stand perfectly still at the microphone and sing. The first single they released that fit this new style was inspired by a piece of music Fred Foster introduced Orbison to -- Ravel's "Bolero": [Excerpt: Ravel, "Bolero" (West-Eastern Divan Orchestra)] Orbison and Melson took that basic feel and changed it into what would become Orbison's first number one in the US, "Running Scared": [Excerpt: Roy Orbison, "Running Scared"] That song was apparently one that met some resistance from the Nashville A-Team. A chunk of the song is in rubato, or "free time", where the musicians speed up or slow down slightly to make the music more expressive. This was not something that Bob Moore, in particular, was comfortable with -- they were making pop music, weren't they? Pop music was for kids to dance to, and if kids were going to dance to it, it had to have a steady beat. Orbison wasn't very good at all at dealing with conflict, and wherever possible he would try to take the most positive attitude possible, and in this case he just went into the control room and waited, while the musicians tried to figure out a way of playing the song in strict tempo, and found it just didn't work. After a while, Orbison walked back into the studio and said "I think we should play it the way it was written", and the musicians finally went along with him. It may also have been on "Running Scared" that they pioneered a new recording technique, or at least new for Nashville, which was surprisingly conservative about recording technology for a town so rooted in the music industry. I've seen this story written about three different early Orbison songs, and it could have been any of them, but the descriptions of the "Running Scared" session are the most detailed. While Orbison had a great voice, at this point it wasn't especially powerful, and with the addition of strings, the band were overpowering his voice. At this time, it was customary for singers to record with the band, all performing together in one room, but the sound of the instruments was getting into Orbison's mic louder than his voice, making it impossible to get a good mix. Eventually, they brought a coatrack covered with coats into the studio, and used it to partition the space -- Orbison would stand on one side of it with his mic, and the band and their mics would be on the other side. The coats would deaden the sound of the musicians enough that Orbison's voice would be the main sound on his vocal mic. In this case, the reason his voice was being overpowered was that right at the end of the song he had to hit a high A in full voice -- something that's very difficult for a baritone like Orbison to do without going into falsetto. It may also be that he was nervous about trying this when the musicians could see him, and the coats in the way helped him feel more secure. Either way, he does a magnificent job on that note: [Excerpt: Roy Orbison, "Running Scared", tag] Apparently when Chet Atkins popped into the studio for a visit, he was utterly bemused by what he saw -- but then he was impressed enough by the idea that he got RCA to build a proper vocal isolation booth at their studios to get the same effect. "Running Scared" also came along just after Orbison made one big change to his image. He'd been on tour with Patsy Cline, promoting "Blue Angel", and had left his glasses on the plane. As he couldn't see well without them, he had to resort to using his prescription sunglasses on stage, and was astonished to find that instead of looking gawky and rather odd-looking, the audience now seemed to think he looked cool and brooding. From that point on, he wore them constantly. For the next three years, Orbison and Melson continued working together and producing hits -- although Orbison also wrote several hits solo during this time, including "In Dreams", which many consider his greatest record. But Melson was becoming increasingly convinced that he was the real talent in the partnership. Melson was also putting out singles on his own at this time, and you can judge for yourself whether his most successful solo track, "Hey Mr. Cupid" is better or worse than the tracks Orbison did without him. [Excerpt: Joe Melson, "Hey Mr. Cupid"] Eventually Melson stopped working with Orbison altogether, after their last major collaboration, "Blue Bayou". This turned out to be the beginning of the collapse of Orbison's entire life, though it didn't seem like it at the time. It was the first crack in the team that produced his biggest hits, but for now he was on a roll. He started collaborating with another writer, Bill Dees, and even though Beatlemania was raging in the UK, and later in the US, he was one of a tiny number of American artists who continued to have hits. Indeed, two of the early collaborations by Orbison and Dees were the *only* two records by an American artist to go to number one in the UK between August 1963 and February 1965. The second of those, "Oh, Pretty Woman", also went to number one in the US, and became one of his most well-known songs: [Excerpt: Roy Orbison, "Oh, Pretty Woman"] That song again caused problems with his new collaborator, as Bill Dees sang the harmony vocals on it, and felt he wasn't getting enough credit for that. But that was the high point for Orbison. Wesley Rose and Fred Foster had never got on, and Rose decided that he was going to move Orbison over to MGM Records, who gave him an advance of a million dollars, but immediately the hits dried up. And the events of the next few years were the kind of thing that would would break almost anyone. He had divorced his wife Claudette, who had inspired "Oh, Pretty Woman", in November 1964, just before signing to MGM, because he'd discovered she was cheating on him. But the two of them had been so in love they'd ended up reconciling and remarrying in December 1965. But then six months later, they were out riding motorbikes together, Claudette crashed hers, and she died. And then a little over two years later, while he was on tour in the UK, his house burned down, killing two of his three children. Orbison continued to work, putting out records that no-one was buying, and playing the chicken-in-a-basket circuit in the UK. He even remarried in 1969, and found happiness and a new family with his second wife. But for about twenty years, from 1965 through to 1985, he was in a wilderness period. Between personal tragedy, changing fashions in music, and the heart condition he developed in the 70s, he was no longer capable of making records that resonated with the public, even though his voice was as strong as ever, and he could still get an audience when singing those old hits. And even the old hits were hard to get hold of -- Monument Records went bankrupt in the seventies, and reissues of his old songs were tied up in legal battles over their ownership. But then things started to change for him in the mid-eighties. A few modern artists had had hits with cover versions of his hits, but the big change came in 1985, when he collaborated with his fellow ex-Sun performers Johnny Cash, Carl Perkins, and Jerry Lee Lewis, on an album called Class of 55: [Excerpt: Roy Orbison and the Class of 55, "Coming Home"] That came out in 1986, and made the top twenty on the country charts -- the first time he'd had an album make any chart at all since 1966. Also in 1986, David Lynch used Orbison's "In Dreams" in his film Blue Velvet, which brought the record to a very different audience. He collaborated with k.d. lang, who was then one of the hottest new singers in country music, on a new version of his hit "Crying": [Excerpt: Roy Orbison and k.d. lang, "Crying"] That later won a Grammy. He recorded a new album of rerecordings of his greatest hits, which made the lower reaches of the charts. He got inducted into the rock and roll hall of fame, and recorded a live TV special, A Black and White Night, where he was joined by Elvis' seventies backing band, Bruce Springsteen, Elvis Costello, k.d. lang, Bonnie Raitt, Jackson Browne and Tom Waits, among others, all just acting as backing singers and musicians for a man they admired. He also joined with George Harrison, Jeff Lynne, Tom Petty and Bob Dylan in a supergroup called The Travelling Wilburys, whose first album made the top five: [Excerpt: The Travelling Wilburys, "Handle With Care"] And he recorded an album of new material, his best in decades, Mystery Girl, produced by Lynne and with songs written by Orbison, Lynne, and Petty -- along with a couple of songs contributed by famous admirers like Bono and the Edge of U2. But by the time that came out, Orbison was dead -- after a day flying model aeroplanes with his sons, he had a heart attack and died, aged only fifty-two. When Mystery Girl came out a couple of months later, it rose to the top five or better almost everywhere -- and in the UK and US, he had two albums in the top five at the same time, as in the UK a hits compilation was also up there, while in the US the Wilburys album was still near the top of the charts. Orbison's is one of the saddest stories in rock music, with one of the greatest talents in history getting derailed for decades by heartbreaking tragedies unimaginable to most of us, and then dying right at the point he was finally starting to get the recognition he deserved. But the work he did, both as a songwriter and as a singer, would inspire people long after his death.

Ep. 3 “Walk Don't Run To The Nearest Exit” - It Hurts To Be Black/Targeted for death from birth. . -Who's The Mack? What's really good in attracting who you want. . -Social Media & Relationships: How much does your partner really know? . -My TuSense “Sick & Tired of Being Sick & Tired” Covid 19 Takes A Toll Weekly LIVE on IG every Tu'sDay at 2p. EST/11a PST. Avail on anchor.fm/comedybyturae --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/comedybyturae/support

... Después de Chuck Berry, Little Richard o Elvis ya nada sería lo mismo. Clave de rock, 26 de abril de 2020Listado de artistas y canciones: The Surfaris, Wipe Out.Johnny & The Hurricanes, Rockin' GooseThe Champs, TequilaThe Shadows, FBIThe Shadows, Riders In The SkyThe Shadows, ApacheThe Ventures, PipelineThe Ventures, Walk Don't RunDion & The Belmonts, A Teenager In LoveDion & The Belmonts, I Wonder WhyChuck Berry, Memphis TenneseeSleepy LaBeef, Baby, Let's Play HouseSleepy LaBeef, Mistery TrainDel Shannon, RunawayChuck Berry, No Particular Place To GoRitchie Valens, Cry, Cry, CryGene Vincent, Bop StreetFats Domino, The Fat ManLittle Richard, Money HoneyLittle Richard, Keep A Knockin'

Bobbin Headcast 76 – By Husky – 26/03/2020 Follow us on the social links below www.facebook.com/bobbinheadmusic www.soundcloud.com/bobbinheadmusic www.twitter.com/bobbinheadmusic www.instagram.com/bobbinheadmusic Track listing 1. Roisin Murphy – Murphy’s Law – Skint Records 2. Mam – Sunset Funk – Fina 3. Husky Feat Kimono – If You Want Me – Bobbin Head Music 4. Crazy P – Like A Fool – Walk Don’t Walk Limited 5. Nebraska – Xiao Long Bao – Heist Recordings 6. Cody Currie and Joel Holmes – Love We Feel – Toy Tonics 7. Modento – Give Me The Sunshine (Vertigini Remix) – Midnight Riot 8. Narda – Captain Richards Groove Shack – Bobbin Head Music 9. Romy Black – WTF Matty’s Revenge – Spacedisco 10. Husky Feat Shyam P – Treat Me Right (Art Of Tones Remix) – Vicious Recordings 11. Risk Assessment Feat Queen Rose – Dance With Me – No Fuss 12. Ashley Benjamin – Never Enough (Extended) - RSR 13. Akabu – Don’t Hold Back (Skylark Main Mix) – NRK 2004 14. Tough Love & Reblok – Alright – Mother Recordings 15. Austins Groove Ft Silver Angelina – Wait For You (Withus Remix) – Bobbin Head Music 16. Offaiah – Private Show (Club re-edit) – Defected Records 17. Chloe Wilson & Ivan Gough – 200 Years (Qubiko Remix) - Neon

We review the three new Loud House episodes and The Casagrande episodes! Kings Of The Con: 1:15 Tails Of The Woe 11:15 Last Loud On Earth 17:02 Going Overboard 25:30 Walk Don't Run 32:32 New Haunts 42:41

This week we talk to Isaac Olsen and Justin Peterson about thier new project: Walk, Don't Run: The Story of The Ventures. A documentary about the surf-rock band and rock and roll hall of famers, The Ventures. Justin started fliming the project almost 10 years ago and recently reconnected with Isaac to pull the film into a cohesive project. Who are The Ventures? Here's the answer right from their Kickstarter page: The Ventures were founded in Tacoma, Washington by Don Wilson and Bob Bogle in 1958 when they met at a used car lot. Nokie Edwards on guitar, Mel Taylor on drums, and later Gerry McGee on guitar rounded out the classic Ventures lineup. They were wildly successful during the 60's and constantly re-invented themselves, surviving the tumultuous, ever-changing rock landscape through the 70's, 80's, and 90's. They maintain an almost parallel-universe type career in Japan, where they are bigger than Elvis. The term, 'big in Japan' may have originated with the mania surrounding them, which really got going in 1965. The Ventures are the biggest instrumental band in the world and this aims to be their first feature length, comprehensive documentary. They are funding through Kickstarter through the end of May. Stop by and check it out at: https://www.kickstarter.com/projects/walkdontrunfilm/walk-dont-run-the-story-of-the-ventures 1:25 – The guys discuss Justin's food recovery, Justin lets listeners how know they can support GCP through Patreon, and the Isaac shares that Semi Iconic will be playing in Venus Beach at The Fine Arts Festival. Justin gives props to Justin P on his love for The Valley, Justin P talks about what it's like to run multiple restaurants in Tacoma, and Isaac explains who the instrumental group ‘The Ventures' are. Justin talks about the kick starter that's out for the Justin P and Isaac's documentary ‘Walk, Don't Run: The Story of The Ventures' and they share how they ended up putting the documentary together. 16:52 – Justin P talks about teaming with the Haggerty Brothers to start interviewing people with the band, how Teddy Haggerty was the stand in for Alec Baldwin in Beetlejuice, and Teddy being the person that did the art design of Jazzbones remodel. He talks about what got him started with the record label, traveling all over the US and Japan with The Ventures, and what it was like visiting Japan. 34:53 – Isaac talks about the art they offer to Kickstarter people that do a $50 backing, the benefits of Kickstarter, and the different levels they offer. Justin P talks about the guitars offered in certain tiers, Justin talks about Alice In Chains new video, and they chat about Hologram Zeplin. Justin P talks about the people that run their social media, their want to keep the project slightly secret, and the licensing issues they've run into during production. He shares the local collaborators he works with, and the different clubs showing up in Tacoma. 53:48 – Isaac shares his love to make movies that inspire people to visit the PNW, how people can help them on Kickstarter, and encourages people to share it on social media. Justin P talks about being star struck when interviewing Billy Bob Thornton, GCP guys talk about their upcoming Boot to Boot happening in Tacoma in June on the Live Scooters, and Justin shares where listeners can find Walk Don't Run online. Thanks Justin P and Isaac for joining the guys for a great conversation and sharing how people can help support Walk Don't Run! Special Guests: Isaac Olsen and Justin Peterson.

Running wild, running for cover, running for office. We're putting one foot in front of the other this week. Enjoying the show? Please support BFF.FM with a donation. Playlist 0′00″ Nowhere To Run by Martha and the Vandellas on Nowhere To Run (Soul) 3′59″ Run, Run, Run by Ann Peebles on I Can't Stand the Rain (Fat Possom) 6′31″ Just My Imagination (Running Away With Me) by The Temptations on Sky's the Limit (1971 Motown Records) 8′51″ Run Rudolph Run by Chuck Berry on Run Rudolph Run (Chess) 10′02″ Two Trains Running by Dave Van Ronk on Here Me Howl Live 1964 (n/a) 14′47″ Walk, Don't Run by The Ventures on Walk Don't Run (Capitol Records) 19′49″ Run Through The Jungle by Creedence Clearwater Revival on Cosmo's Factory (Fantasy Records) 24′57″ Runnin by Ohtis on Runnin (Full Time Hobby) 28′00″ Run Run Run by The Velvet Underground & Nico on The Velvet Underground and Nico (Verve) 32′41″ Don't Come Running To Me by The Greenhornes on Dual Mono (Telstar Records) 36′54″ Never Run Away by Kurt Vile on Wakin On a Pretty Daze (Matador) 39′32″ Ever Find Yourself Running by Emitt Rhodes on The Emitt Rhodes Recordings (Universal) 42′19″ She Comes Running by Lee Hazelwood on Love and Other Crimes (Reprise) 45′22″ Runaway by Yeah Yeah Yeahs on It's Blitz! (DGC Records) 49′18″ Blues Run the Game by Jackson C Frank on Blues Run The Game ( Sanctuary) 52′36″ Run Of The Mill - Demo by George Harrison on Early takes Volume 1 (Apple) 54′22″ Run That Body Down by Paul SImon on Paul Simon (Sony) 57′05″ Still Out There Running by Nathaniel Rateliff & The Night Sweats on Tearing at the Seams (Stax) 60′40″ I'll Come Running Back To You by Sam Cooke on Portrait of a Legend (ABKCO) 63′21″ (I'm A) Road Runner by Jr. Walker on The Definitive Collection (Motown Records) 66′43″ You Left the Water Running by Wilson Pickett on The Exciting Wilson Pickett (Atlantic) 69′54″ Keep On Running by Spencer Davis Group on Keep on Running (Cherry Red) 72′42″ (Till I) Run With You by The Lovin' Spoonful on Revelation (BMG) 76′16″ Runnin' Down A Dream by Tom Petty and The Heartbreakers on Damn the Torpedos (Geffen) 80′15″ Long Distance Runaround by Yes on Fragile (Elektra) 85′25″ Run Like Hell by Pink Floyd on Is There Anybody out There? (Sony) 91′33″ I'm Not Running Away by Feist on Pleasure (Quality Of Life Inc) 95′03″ Walk Away by Slothrust on The Pact (Dangerbird) 100′32″ Walk a Mile by Holly Golightly on Truly She Is None Other (Damaged Goods) 103′45″ Runaway by Shannon and the Clams on Dreams in the Rat House (Hardly Art) 107′45″ Come Running by Van Morrison on Moondance (Warner Brothers) 111′04″ Before The Make Me Run by The Rolling Stones on Some Girls (Virgin) 114′06″ Run Me Down by The Black Keys on The Big Come Up (Alive Records) 116′33″ Take The Money And Run by Steve Miller Band on Fly Like An Eagle (Capitol) 118′14″ Runnin' With The Devil by Van Halen on Van Halen (Warner Bros.) Check out the full archives on the website.

WEDNESDAYSBombshell Radio Jazzamatazz Double Header Today 2pm-4pm EST 8pm -10pm BST 11am-1pm PDT bombshellradio.com Today’s Bombshell (Bombshell Radio)Vol.7 of Surf Sound Tsunami. 25 non-stop energetic surf tracks of classic instrumental dance music dominated by electric guitars & funky drums of a medium to fast tempo. Have fun s:)#Rock'n'Roll #Rock #Garage #classic rock #Instrumental #Oldies1 The Viktor Dick Dale 2 Satan's Theme Challengers 3 Walk-Don¥t Run ¥64 The Ventures 4 Right Turn Link Wray 5 Shoot That Curl Chris & Kathy 6 Bumble Bee Rock Ventures 7 A Night In Tunisia Laika & The Cosmonauts 8 Neb's Tune Ahab & The Wailers 9 The Champions T Shirt 10 Repeating Royal Coachmen 11 Beachbound Cornells 12 Wipe Out The Surfaris 13 Pipeline Dick Dale & Stevie Ray V 14 Volcanic Action Belairs 15 Mr Moto The Belairs 16 Burning Rubber Gene Moles 17 The Truant Truants 18 Wave Walk'n The Surf Raiders 19 Baja The Astronauts 20 Moment Of Truth Dave Myers & The Surftones 21 Pin Heel Stomp The 5.6.7.8's 22 Cemetary Stomp Essex 23 Shockwave Zorba & The Greeks

1. Bluejean Bop - Gene Vincent and His Blue Caps 2. Jockamo AKA Iko-Iko - Larry Williams 3. Pencil Full of Lead - Paolo Nutini 4. Something You Got - Them 5. He Don’t Care About Me- The Miracles SET 2 6. No Particular Place To Go - Chuck Berry 7. You’re So Fine - Wilson Pickett 8. I Wonder Why - Dion & The Belmonts 9. Ruby Baby - The Beach Boys 10. Walk Don’t Run - The Ventures SET 3 10. I Want You Back - David Ruffin 11. Dancin’ Everywhere - Bob & Earl 12. I Surrender - Fontella Bass 13. Wooly Bully - Canned Heat 14. Dancing in the Street - Little Richard SET 4 15. Don’t You Worry ‘Bout A Thing - Stevie Wonder 16. My Own True Love - The Duprees 17. Be Young, Be Foolish, Be Happy - The Tams 50srocknroll 60srocknroll soul doowop girlgroups garagerock rocknroll rock&roll classicsoul northernsoul tamlamotown

Today, I’m sharing some interesting and beautiful poetry on mindfulness. Listen and let them sink in, sit with you, and nourish your spirit. Feel free to replay this episode to hear the poems again. Enjoy! Quotes “Slow down, breathe deeply, and open your eyes because there’s a whole world right here within this one.” - Rob Bell, Walk Don’t Run “Be grateful for whoever comes, because each has been sent as a guide from beyond.” - Rumi, The Guest House Links to the Poems I Walk Down the Street by Portia Nelson Bugs in a Bowl by David Wolf Budbill Walk, Don’t Run by Rob Bell Found by Frederick Buechner The Guest House by Rumi Dear You by Kaveri Patel More from Bridgett Tulloh Let's connect. Book a free 2-hour coaching session. http://www.TheTruthAboutLiving.com/private-coaching Get the course: The Divine Way of Manifesting - 5 Simple Steps http://the-truth-about-living.teachable.com/p/the-divine-way-to-manifesting/ Join the FB group here: https://www.facebook.com/groups/629400203914720/ Watch & Subscribe on YouTube: https://www.youtube.com/channel/UCgW0B8eytH3KK7RUi6o-7uA

Reach Us Here: Doug- @DJDoug Strickland- @NiceGuyonBiz Guest Twitter   Show Notes by Intern Strickland Bonner   You know, I wasn't going to do show notes today, I mean with Dani on vacation I'm plenty busy enough already but when I went to the OneNote page for today's notes…It was empty. And it's now 1:18 AM so Anna has forced my hand by leaving me noteless (we'll talk about this tomorrow Anna). You know, I do have a day job, I need to be up in like 4.5 hours to get my kids off to school but since some of you actually chimed in on the Facebook group today (www.niceshortcut.com) to day that you actually read my notes on Tuesday, I guess I can't disappoint the Funk'Nfans. I mean, it's not enough that Doug and I publish episodes 6 days a week and never take a break even for holidays, nooooooo we need to do this stuff for you guys too? Well, that's what we get for raising the bar, right? We've set expectations and now we have to live up to them, we've buttered our own bread and now we have to sleep in it, (sleepwalk was Johnny and Santo, one of the first instrumental hits to make the pop charts in 1959 and then The Ventures did a remake of it later which is interesting because they later had an instrumental hit with "Walk-Don't run", something you should always do if there's a fire which was a hit for The Crazy World of Arthur Brown AND Jimi Hendrix, although it was 2 different songs even though they had the same title, speaking of Jimi Hendrix he started his career opening for The Monkees (he was booed off the stage and feigned illness to drop out halfway through the tour) but the Monkees are still the only group in Billboard history to have their first 4 albums all make it to #1, not even The Beatles did that (because their first album "Introducing the Beatles" was released in England and didn't top the charts, but "Meet the Beatles" released in the US did) but as big as The Beatles were, Grand Funk Railroad actually sold out Shea Stadium faster than they did in a record 15 minutes, they were huge at the time although few people remember them now except maybe for their hit "The Loco-Motion" which was actually a remake of a song from Martha and the Vandellas who had a hit with it in the early 60's but that wasn't the first time a remake would be a bigger hit than the original, Bruce Springsteen wrote and recorded "Blinded by The Light" and it never even hit the charts but Manfred Mann's Earth Band did it a few years later and it was their biggest hit, in fact many of The Byrd's hits were actually Bob Dylan remakes but their biggest hit "Turn Turn Turn" while credited to Pete Seeger was actually quoted directly from the bible which Prince was also known to quote from, although usually in a more sarcastic way…Oh shit, did I take up all the space for the show notes? Sorry guys, that's just how my brain works and if you want me to write the show notes, you get what you get. I hope you enjoy the girls' takeover part 2 today.   Nice Guys Sponsor: Interview Valet is the  best podcast booking service. They are the leader in Podcast Interview Marketing to help you easily turn listeners into leads.   Nice Guys Links Support the podcast at www.Patreon.com/NiceGuys   Subscribe to the Podcast   Niceguysonbusiness.com   TurnkeyPodcast.com - You're the expert. Let us help prove it. Podcast Production, Concept to Launch   Book Doug and/or Strick as a speaker at your upcoming event.   Amazon #1 Best selling book Nice Guys Finish First. Doug's Business Building Bootcamp (10 Module Course)   Survey: Take our short survey so The Nice Guys know what you like.     Partner Links: Amazon.com: Click before buying anything. Help support the podcast.   Interview Valet:  Get interviewed on top podcasts and share your message.   Acuity Scheduling: Stop wasting time going back and forth scheduling appointments  

Finest Wear is Cenzo Scoglio, a veteran London based DJ & producer who has had a few recent top releases on Nordic Trax and Delve Deeper. Cenzo understands the ethos and vision of Large Music and is a perfect fit for our expanding team of artists. To celebrate his upcoming "Tribute" EP we have asked Cenzo to fire off the latest edition of Large Music Radio. Enjoy! TRACKLIST: 1. Wolf Hackmine ‘One Three One Four (Tim Tonal’s Notts Landing mix) Colour & Pitch 2. M Deeh - ‘Moments Of Deep’ (Deep Mix) Dasm Recs 3. Matt Caine - ‘Walk Don’t Run’ - Nordic Trax 4. Finest Wear - ‘Tribute To Pepe’ - Large 5. Intr0Beatz - ‘Post Chilli’ - Plastik People Digital 6. Micky More & Andy Tee - ‘Soul Heaven’ (Right To Life Rmx) GrooveJet Recs 7. Dirty Two - ‘Time & Space’ (Enter The Void Rmx) Large 8. Saison - ‘Caught Up’ - Papa Records 9. Finest Wear - ‘In Her Mind’ - Large 10. Thabo Getsome - ‘Don’t Make Me Wait’ - Lapsus Music 11. SPQH - ‘State Of Mind’ - Dirty Bird Select 12. Jus Tadi - ‘Real Things’ - Sub_Urban 13. Echonomist - ‘Kubrick Thursdays’ (Dave Pad Rmx) Highway Records 14. Christian Lamper - ‘Piano Rush’ - Be Adult Music 15. S3A - ‘Feels Like Garage’ - Quintessentials

Walk Don’t Run - The Race Walking Show - race walker Cindi Leeman joins Sara Gross to bring you the latest podcast about this fast growing sport that made its Olympic debut for women in 1992.  Their first guest is Bonnie Stein who has been teaching, training and race-walking for 28 years - she is known as Tampa Bay’s ‘Walk Your Talk’ Coach for helping thousands of people of all ages to take up the sport. Join Cindi & Sara every month to find out more about what's happening in the sport. For more global women’s sports coverage visit us at www.wispsports.com and follow us on social media channels @WiSP Sports.

NEW FOR APRIL 15, 2015 You Been Had - The Best Radio You Have Never Heard - Vol. 256 15 tracks on April 15. $15 on the Perfecta, please . . . 1. The Queen Is Dead (live) - Morrissey Buy From iTunes* 2. Tenement Funster / Flick Of The Wrist (live) / Lily Of The Valley - Queen Buy From iTunes 3. Everything's A Ceiling (live) - Death Cab For Cutie Buy From iTunes* 4. Distance Wheel - Razorhouse Buy From iTunes 5. I'm One (live) - The Who w/ Eddie Vedder Buy From iTunes* 6. Cheap Reward (Honky Tonk Version) - Elvis Costello 7. Dead Flowers (live) - The Rolling Stones Buy From iTunes* 8. Just Like A Woman (live) - Govt. Mule w/ Gregg Allman and Friends Buy From iTunes 9. Walk Don't Run - Steve Howe Buy From iTunes 10. To Be Over (live unplugged) - Yes Buy From iTunes 11. This Island Earth - Todd Rundgren Buy From iTunes 12. The Way You Are (early) - Tears For Fears Buy From iTunes 13. The Sheltering Sky (alt) - King Crimson 14. Old Man Of The Sea - Steve Rothery w/ Steve Hackett and Steven WIlsonBuy From iTunes 15. Midnight Sun - Steve Hackett The Best Radio You Have Never Heard Never picked a show without a breeders guide . . . Accept No Substitute Click to join the conversation on the Facebook page.