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Send us a textBob Wills passed from this life on May 13, 1975, and almost 50 years to the day, I got to sit down with the daughter of the King of Western Swing - Carolyn Wills - to reminisce about her childhood, talk about what it was like at her house growing up, as well as celebrate her new success as an award-winning author with her children's book, "Glory Be! It's Punkin's Story!" about her father's horse, Punkin'.Many thanks to the folks at the Cowtown Birthplace of Western Swing Festival and its founder, Mr. Michael Markwardt for sponsoring this Western Swing series on Calling to the Good!For tickets to their annual Western Swing festival in Fort Worth, Texas each year check out their website at BirthplaceOfWesternSwing.com!To order a copy of Carolyn's children's book visit BobWills.comCallingToTheGood.com
Austin duo Pendulum Hearts take over stages with their blend of Western Swing and rockabilly, filled-out by a rotating cast of characters to round out the rhythm section and sprinkle in soloists. The beat of Pendulum Hearts comes from guitarist and vocalist Chase Risinger and fiddle player Tony Perez. They're sweat-inducing, boot-scooting live shows are […] The post Pendulum Hearts: “Cocaine Cowboy” appeared first on KUT & KUTX Studios -- Podcasts.
Sintonía: "Dancin´At The Rancho" - Tex Williams & His String Band"On a Slow Boat To China" y "Williams Rag" compuestas e interpretadas por Tex Williams & His String Band"Wooly Boogie", "Cornstalk Hop", "Slip In And Slip Out", "Oklahoma Hayseed", "My Window Faces The South", "Remember This", "Just Because" y "Pork Chop Stomp" compuestas e interpretadas por Grady Martin & His Winging Strings"Moonlight Cocktail", "Curtain Call", "Snow Deer", "Tippin´ In", "The Bandera Shuffle", "Tuxedo Junction", "Tennessee Stomp" y "Johnson Rag" compuestas e interpretadas por Billy Gray & His Western Okies"Todas las músicas extraídas de la colección (7x10") "Country & Western - Dance-O-Rama - The Complete Works" (Sleazy Records, 2022), una reedición de la serie de 7 vinilos de 10 pulgadas que publicó el sello discográfico Decca en 1955Relación de los dos programas anteriores de este tríptico coleccionable sobre el Western Dance (o Western Swing) estadounidense de la década de los 50:1- Emitido el 17/03/2025 con Bob Wills & His Texas Playboys y Milton Brown & His Brownies2- Emitido el 20/03/2025 con Adolph Hofner, Spade Cooley y Tex WilliamsEscuchar audio
Morey Sullivan is a legend in his own time. He brought the band that Hank Thompson later dubbed The Brazos Valley Boys - and they are still playing good music today!Join us down at Good Time Charlee's in Pawhuska, Oklahoma as Morey Sullivan and host, Kelly Hurd, talk about how it all began with Hank Thompson and where it's all headed today!Also, Hank Thompson's Brazos Valley Boys will be playing at the 2025 Pawhuska Western Swing Festival the weekend of November 14-15. Find out more at PawhuskaWesternSwingFestival.com!CallingToTheGood.com
Fashion designers in northwest Arkansas are forging a new path after a supporting organization folds. Also, Matt McGowan explains that his new novel, “Western Swing,” includes a young man seeking his own new path. Plus, news from Michael Tilley with Talk Business and Politics.
If you haven't already tuned in toAmerican Country Network(ACN), after listening to this episode you just might want to, because ACN is airing original country music content that you're gonna love!We have two of the network's creatives on Calling to the Good today and they are also BOTH performing at the upcoming Cowtown Birthplace of Western Swing Festival in Fort Worth, Texas in November!Steve Markwardt and Curt Ryle of Clarksville Creative Soundshareabout their new show, "Small Town Sound," on ACN, as well as give a little insight on Country Music and its roots in Western Swing!AND - we've even included a word from Tucker Carlson on this one!I'm Kelly Hurd, your host - and consider yourself invited to join us!Thank you to the Cowtown Birthplace of Western Swing Festival for sponsoring our Western Swing series!Find out more at:BirthplaceOfWesternSwing.comCallingToTheGood.comACNCountry.com
Hey y'all!Let's do a little Calling to the Good!Pull up a chair and join us around a table in the historic Guthrie Depot as the "boys" of Oklahoma Swing talk a little Bob Wills, limousines, Reba, barn fiddlin', dozens of dollars, and the journey that brought them together to revive Western Swing music north of the Red River!May all your pastures be belly-deep, your cattle be tick-fat, and may the good Lord take a liking to ya!Are you listening, Henry? ;)Oklahoma Swing band members:Greg BurgessHenry BurgessBobby BakerJoe SettlemiresRichard SharpBo Posey Steve Shortmissing: John BlairCallingToTheGood.comBirthplaceOfWesternSwing.comPawhuskaWesternSwingFestival.com
When you get five Kentucky gentlemen together, you just never know where the conversation might go...I enjoyed every minute of visiting with The Honkytonk Wranglers as part of our Western Swing music series brought to you by the Cowtown Birthplace of Western Swing Festival!Turn the volume up and get to know Sethro, Clayton, Scooter, Spencer, and Josh. You just might like a little Bone Stock Honkytonk music, as they call it - and you'll get the chance to listen to some because The Honkytonk Wranglers graciously allowed me to include their video of Crazy Arms in the video version of this episode.I'm your host, Kelly Hurd, and I most definitely approve of this content! Enjoy!
Dravon was the eldest of the three kids and would sometimes hear her mom crying at night. That was really hard for Dravon because she knew how hard her mother had worked and how much she gave up in order to give her children a solid family foundation and a good education. So Dravon was afraid to disappoint her mom because of all the sacrifices her mom had made for the family. Now, Davon is a doctor, an author and a Life Coach. She has so much to thank her mother for, including how her mom instilled in her the power of positive thinking, hard work the power of forgiveness.In Dravon's new book, “Forgiveness: The Pathway to Happiness,” she shares her expertise and personal experience with forgiveness. She teaches that "it is not denial, amnesia, or even reconciliation, but a pathway to peace and a lifetime practice." A few inspirational influencers include Oprah Winfrey, Miya Angelou and Dr. Norman Vincent Peale.As a young child, my guest's journey began in poverty on the South Side of Chicago. Though she had always dreamt of a career on the stage, Dravon went on to earn a doctorate in pharmacy from Creighton University and has worked as a pharmacist for over 30 years. A leader in the healthcare industry , she is the recipient of the Secretary McDonough Coin of Recognition for her leadership efforts to combat the COVID pandemic.Along with her medical career and theatrical aspirations, Dr. Dravon has always had a keen interest in personal development. After reading Norman Vincent Peale's The Power of Positive Thinking in college, she went on to make a lifelong study of the power we all have to create the life we want.Ruby wasn't all hard work and business. Because of her Southside of Chicago roots, she was the queen of "Chicago Steppin.' Chicago Steppin', which I was not familiar with until Dravon shared this story of her mom's love of dancing, is a unique and improvisational partner dance, originated in Chicago's Southside and is rooted in soul, jazz, and R&B music, with influences from styles like the Chicago Bop, Lindy Hop, and Western Swing.Dr. Jame's says her mother always instilled in her children to "be dogmatic and be committed to something." Ruby was unwavering, reflects James. "Her commitment to success was the endgame!"SOCIAL MEDIA LINKS:Instagram- @everydaypeaceFacebook-www.facebook.com/everydaypeacewithdrdravonjames/Twitter- @drdravonjamesLinkedIn - @DrDravonJameshttps://www.linkedin.com/in/dr-dravon-james-84b59a208/ "Should Have Listened To My Mother" is an ongoing conversation about mothers/female role models and the roles they play in our lives. Jackie's guests are open and honest and answer the question, are you who you are today because of, or in spite of, your mother and so much more. You'll be amazed at what the responses are.Gina Kunadian wrote this 5 Star review on Apple Podcast:SHLTMM TESTIMONIAL GINA KUNADIAN JUNE 18, 2024“A Heartfelt and Insightful Exploration of Maternal Love”Jackie Tantillo's “Should Have Listened To My Mother” Podcast is a treasure and it's clear why it's a 2023 People's Choice Podcast Award Nominee. This show delves into the profound impact mother and maternal role models have on our lives through personal stories and reflections.Each episode offers a chance to learn how different individuals have been shaped by their mothers' actions and words. Jackie skillfully guides these conversations, revealing why guests with similar backgrounds have forged different paths.This podcast is a collection of timeless stories that highlight the powerful role of maternal figures in our society. Whether your mother influenced you positively or you thrived despite challenges, this show resonates deeply.I highly recommend “Should Have Listened To My Mother” Podcast for its insightful, heartfelt and enriching content.Gina Kunadian"Should Have Listened To My Mother" would not be possible without the generosity, sincerity and insight from my guests. In 2018/2019, in getting ready to launch my podcast, so many were willing to give their time and share their personal stories of their relationship with their mother, for better or worse and what they learned from that maternal relationship. Some of my guests include Nationally and Internationally recognized authors, Journalists, Columbia University Professors, Health Practitioners, Scientists, Artists, Attorneys, Baritone Singer, Pulitzer Prize Winning Journalist, Activists, Freighter Sea Captain, Film Production Manager, Professor of Writing Montclair State University, Attorney and family advocate @CUNY Law; NYC First Responder/NYC Firefighter, Child and Adult Special Needs Activist, Property Manager, Chefs, Self Help Advocates, therapists and so many more talented and insightful women and men.Jackie has worked in the broadcasting industry for over four decades. She has interviewed many fascinating people including musicians, celebrities, authors, activists, entrepreneurs, politicians and more.A big thank you goes to Ricky Soto, NYC based Graphic Designer, who created the logo for "Should Have Listened To My Mother".Check out our website for more background information: https://www.jackietantillo.com/Or more demos of what's to come at https://soundcloud.com/jackie-tantilloLink to website and show notes: https://shltmm.simplecast.com/Or Find SHLTMM Website here: https://shltmm.simplecast.com/Listen wherever you find podcasts: https://www.facebook.com/ShouldHaveListenedToMyMotherhttps://www.facebook.com/jackietantilloInstagram:https://www.instagram.com/shouldhavelistenedtomymother/https://www.instagram.com/jackietantillo7/LinkedIn:https://www.linkedin.com/in/jackie-tantillo/YOUTUBE: https://www.youtube.com/@ShouldHaveListenedToMyMother
Sintonía: "Charmaine" - Spade Cooley & His Buckle-Busters"Tickle Toe Song", "Alamo Rag", "South Texas Swing", "Country Fair Polka", "Twilight Waltz", "South Of The Border In Laredo" y "Happy Go Lucky Polka", interpretadas por Adolph Hofner & His San Antonians"Sparkling Silver Bells", "Y´Ready", "Yearning (Just for You)", "The Ping-Pong Song", "Down By The Pecos", "Y´hear" y "Sail On", interpretadas por Spade Cooley & His Buckle-Busters"Air Mail Special", "Elmer´s Tune", "Take The ´A´ Train", "Perdido (Lost)" y "Rancho Boogie", interpretadas por Tex Williams & His String Band Todas las músicas extraídas de la colección (7x10") "Country & Western - Dance-O-Rama - The Complete Works" (Sleazy Records, 2022), una reedición de la serie de 7 vinilos de 10 pulgadas que publicó el sello discográfico Decca en 1955Escuchar audio
Celebrating 19 years of this podcast with some of the host's favorite records, along with some memories of the show's origin. Songs include: Right Or Wrong by Bob Wills, Cherokee by Sarah Vaughn, Devil Got My Woman by Skip James, In a Mist by Frankie Traumbaur, The Half Of It Dearie Blues by Fred Astaire and Once In a While by Louis Armstrong.
This is one epic conversation!Here we were in the historic Stampede Dance Hall on the Snyder Highway outside of Big Springs, Texas with none other than Jody Nix - a legend in Texas dance hall music.We talked about his being invited to be part of the last Bob Wills album ever recorded - "For the Last Time" - as well as about growing up with the King of Western Swing coming over to his house after becoming friends with Jody's father, Hoyle Nix.Jody even brought Bob Wills' original fiddle to the Stampede that day, and took it out and played it!Enjoy this insightful look back into the days of the beginnings of Western Swing, as well as an inspiring look into the life of Mr. Jody Nix, himself!Thank you to Cowtown Birthplace of Western Swing Festival and Mr. Mike Markwardt for sponsoring this Western Swing series on the Calling to the Good podcast!Find out more about their festival at: BirthplaceOfWesternSwing.com!Host: Kelly Hurd
Jake Hooker and Tommy Hooker have been making dance music for decades and managed to stay true-to-self in the Western Swing industry while putting their own stamp on it and calling it Texas Swing!Around a wooden table over a cup of coffee, host Kelly Hurd, joined Jake and Tommy in the Hooker's guest house/music studio for a conversation that will stand the test of time and one that was definitely "Calling to the Good!"Be sure to subscribe to the Calling to the Good podcast because there's more to come!Also, if you're a Western Swing music lover, you'll want to follow the Cowtown Birthplace of Western Swing Facebook and Instagram pages!
Over the past 25 years, Texas music legend - Dave Alexander - has established himself as one of today's most sought-after Country and Western Swing performers!When Dave is not performing with his own award-winning Big Texas Swing Band, you'll find him touring and recording with such artists as George Strait, Willie Nelson, Lyle Lovett, Sheryl Crow, Asleep At The Wheel, Tracy Byrd, Randy Travis, Dwight Yoakam, and LeAnn Rimes. Dave will also be one of the performers at the 2025 annual Cowtown Birthplace of Western Swing Festival taking place on November 6-9th in Fort Worth, Texas at the historic National Hall.Host, Kelly Hurd will make sure it's entertaining and pull you right into the conversation! Get ready to smile and enjoy a moment of Calling to the Good!
Sintonía: "Brownie Special" - Milton Brown & His Brownies"San Antonio Rose" - "Spanish Two-Step" - "Lone Star Rag" - "Four Our Five" - "Beaumont Rag" - "Don´t Let Your Deal Go Down" - "New Osage Stomp" - "Black and Blue Rag". Instrumentales y canciones interpretadas por Bob Wills & His Texas Playboys"St Louis Blues" - "Sweet Jenny Lee" - "Texas Hambone Blues" - "Right or Wrong" - "Washington and Lee Swing" - "Beautiful Texas" - "Little Betty Brown". Instrumentales y canciones interpretadas por Milton Brown & His BrowniesTodas las músicas extraídas de la colección (7x10") "Country & Western - Dance-O-Rama - The Complete Works" (Sleazy Records, 2022), una reedición de la serie de 7 vinilos de 10 pulgadas que publicó el sello discográfico Decca en 1955Escuchar audio
The award-winning multi-talented Sensei of Swing Eric Diamondgives us an update of his best-selling release “All of Me” featuring the titletrack, “I've Got a New Heartache”, “Bring Me Sunshine” plus a sneak peek intohis upcoming 3rd release for 2025! Eric began his amazing career at 15making the finals of the Jimmy Dean Country Showdown, played locally in SantaFe and Durango, CO until 21, fronted Eric Diamond & The Rocky MountainPlayboys and played with Cowtown Swing later moving to Nashville, plus amulti-award winner as the most western swing played on the radio, PeopleMagazine's People of Country at #10, Heroes of Western Swing from Gov. Abbott, '24Entertainer of the Year with Tom Ousley and inducted into the Western SwingHall of Fame in Sacramento, CA! Check out the amazing Eric Diamond on all majorplatforms andwww.ericdiamondmusic.comtoday! #ericdiamond #senseiofswing #westernswing #ericdiamondmusic #allofme#ivegotanewheartache #bringmesunshine #jimmydeancountryshowdown #peoplemagazine#heoresofwesternswing #govenorabbott #entertaineroftheyear #tomousley #westernswinghalloffame#spreaker #iheartradio #spotify #applemusic #youtube #anchorfm #bitchute#rumble #mikewagner #themikewagnershow #mikewagnerericdiamond#themikewagnershowericdiamond
The award-winning multi-talented Sensei of Swing Eric Diamondgives us an update of his best-selling release “All of Me” featuring the titletrack, “I've Got a New Heartache”, “Bring Me Sunshine” plus a sneak peek intohis upcoming 3rd release for 2025! Eric began his amazing career at 15making the finals of the Jimmy Dean Country Showdown, played locally in SantaFe and Durango, CO until 21, fronted Eric Diamond & The Rocky MountainPlayboys and played with Cowtown Swing later moving to Nashville, plus amulti-award winner as the most western swing played on the radio, PeopleMagazine's People of Country at #10, Heroes of Western Swing from Gov. Abbott, '24Entertainer of the Year with Tom Ousley and inducted into the Western SwingHall of Fame in Sacramento, CA! Check out the amazing Eric Diamond on all majorplatforms andwww.ericdiamondmusic.comtoday! #ericdiamond #senseiofswing #westernswing #ericdiamondmusic #allofme#ivegotanewheartache #bringmesunshine #jimmydeancountryshowdown #peoplemagazine#heoresofwesternswing #govenorabbott #entertaineroftheyear #tomousley #westernswinghalloffame#spreaker #iheartradio #spotify #applemusic #youtube #anchorfm #bitchute#rumble #mikewagner #themikewagnershow #mikewagnerericdiamond#themikewagnershowericdiamond
The award-winning multi-talented Sensei of Swing Eric Diamond gives us an update of his best-selling release “All of Me” featuring the title track, “I've Got a New Heartache”, “Bring Me Sunshine” plus a sneak peek into his upcoming 3rd release for 2025! Eric began his amazing career at 15 making the finals of the Jimmy Dean Country Showdown, played locally in Santa Fe and Durango, CO until 21, fronted Eric Diamond & The Rocky Mountain Playboys and played with Cowtown Swing later moving to Nashville, plus a multi-award winner as the most western swing played on the radio, People Magazine's People of Country at #10, Heroes of Western Swing from Gov. Abbott, '24 Entertainer of the Year with Tom Ousley and inducted into the Western Swing Hall of Fame in Sacramento, CA! Check out the amazing Eric Diamond on all major platforms and www.ericdiamondmusic.com today! #ericdiamond #senseiofswing #westernswing #ericdiamondmusic #allofme #ivegotanewheartache #bringmesunshine #jimmydeancountryshowdown #peoplemagazine #heoresofwesternswing #govenorabbott #entertaineroftheyear #tomousley #westernswinghalloffame #spreaker #iheartradio #spotify #applemusic #youtube #anchorfm #bitchute #rumble #mikewagner #themikewagnershow #mikewagnerericdiamond #themikewagnershowericdiamondBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-mike-wagner-show--3140147/support.
January wasn't a great month for the Leafs, with players still heading in and out of the lineup, and continued scoring struggles. Thankfully we've turned the page on the calendar, and are heading into the month of February with a chance to reset and recharge. In our intro to the show we discuss the big news in the NHL, the salary cap increase, and what it might mean for the Leafs. We're hoping that our team will finally get the cap relief we've all been waiting for. Then, in this instalment of the GBU, we welcome the 4 Nations break and talk about how it may benefit the Leafs. We also give a shout out..again, to Joseph Woll who has been a rock between the pipes during this difficult stretch. On the bad side, we lament the Leafs' home record, and lack of scoring. For the Third Period, we are excited to welcome guest Jeremy Ridgewell from Editor in Leaf, and get his insights on the team's offensive struggles, his thoughts on Matthews' participation in the 4 Nations Face Off and what he thinks the Leafs need to target to bolster their lineup leading up to the NHL Trade Deadline. This Western swing so far has been the antidote we've been looking for. With only a handful of games remaining before the break, here's hoping that the Buds can head into it on a high note! Go Leafs Go! Chapters 00:00 Introduction and Awards Recognition 01:53 NHL Salary Cap Changes 06:10 The Good, The Bad, and The Ugly 21:51 Guest Segment with Jeremy Ridgewell 27:40 The All-Star Game Experience 28:38 Trade Deadline Insights 31:49 Marlies Development and Opportunities 36:42 Leaf Watch Parties and Fan Engagement https://bleav.com/shows/ladies-talkin-leafs/ https://www.ladiestalkinleafs.com/ https://www.youtube.com/watch?v=fOtMA8vhKUo Support the show https://ko-fi.com/ltl1917 https://www.nhl.com/mapleleafs/ https://editorinleaf.com/the-toronto-maple-leafs-latest-trade-rumors-01jjpg7m5809 https://www.nhl.com/news/nhl-nhlpa-announce-team-payroll-ranges-for-next-3-seasons https://www.sportsnet.ca/nhl/article/a-tough-stretch-maple-leafs-scoring-struggles-persist-in-third-straight-loss/ https://www.tsn.ca/nhl/masters-toronto-maple-leafs-joseph-woll-delivers-big-time-effort-to-beat-connor-mcdavid-oilers-1.2245666 https://www.dailyfaceoff.com/teams/toronto-maple-leafs/line-combinations https://www.marlies.ca/articles/alex-steeves-named-ahl-player-of-the-month https://www.nhl.com/news/toronto-maple-leafs-auston-matthews-scoring-pace-similar-to-69-goal-season https://theleafsnation.com/news/daily-faceoff-maple-leafs-prospect-topi-niemela-trade-candidate-deadline https://bottomlineto.com/
Two pals who love hockey and teaching high school get together weekly to talk shop on stories around the NHL, the PWHL, College Hockey, and this week in the Florida Panthers Hockey Club. This week Tori and Guillermo are back to talk all things NHL and Panthers as the panthers head out for their annual pilgrimage to the west coast
Hörspiel-Country Musical · Zum Star wurde der König des westlichen Schwungs alias Spade Cooley Anfang der 1940er Jahre mit "Shame on you". Fortan bezeichnete er sich selbst als King of Western Swing. In den gut 35 Jahren seiner Karriere erlebte Spade Cooley den Aufstieg und Fall auf besonders dramatische Weise. | Von Britta Höper | Nach einer Idee von Ulrich Bassenge | Mit Peter Lohmeyer, April Hailer, Reiner Schöne, Frank Spilker u.a | Musik: Ulrich Bassenge, Reinhard Bassenge, Jörn Bösel, Henning Eichler, Thomas Frömming, G-Rag, Ulrike Glinsböckel, Peter Holzapfel, Andre Huthmann | Komposition: Ulrich Bassenge | Regie: Leonhard Koppelmann | BR 2004
Two pals who love hockey and teaching high school get together weekly to talk shop on stories around the NHL, the PWHL, College Hockey, and this week in the Florida Panthers Hockey Club. This week Tori and Guillermo are back to talk all things NHL and Panthers
LIVE: FROM NASHVILLE TUESDAY DECEMBER 31st on the EQUESTRIAN LEGACY RADIO NETWORK... Welcome Dave Munsick: Songteller with great music from his new album BACKTRACKS and from Canada our talented friends The Western Swing Authority's Stacey Lee & Shane Guse! It all happens LIVE at NOON CST at Equestrianlegacy.net with award winning host Gary & Mary Kaye Holt and anytime on Apple Podcast, iHeart Radio and Spotify...Just search for Equestrian Legacy Radio! REBROADCAST FROM AN EARLIER SHOW
Two pals who love hockey and teaching high school get together weekly to talk shop on stories around the NHL, the PWHL, College Hockey, and this week in the Florida Panthers Hockey Club. This week Tori and Guillermo are back, in person no less, to chat about our Western swing and our inability to stay up after 11pm.
Panthers continue their Western Swing and hopefully more wins to come.
Ustedes lo han pedido, disfruten pues con este fantafabuloso segundo monográfico dedicado al Western Swing primordial y algunos de sus grupos más representativos. A partir de las ocho de la mañana del sábado en la sintonía de Radio 3.Escuchar audio
Este sábado les ofreceremos un primer monográfico de un género favorito nuestro donde los haya, el Western Swing. Esos sonidos, originarios de Texas y estados limítrofes, que mezclaban la música rural tradicional con el jazz, el swing, el blues y el pop. A partir de las ocho de la mañana del sábado en la sintonía de Radio 3.Escuchar audio
Spade Cooley was the King of Western Swing, but when his career dried up, he turned his fury on his petrified wife. Matt heads to the basement with his band Mr. Pescado, plugs in his amp, and says goodbye with a song.See omnystudio.com/listener for privacy information.
GEORGIA RADIO - Western Swing and Texas music legend Jody Nix is set to make a special appearance on Georgia Radio, where he'll sit down with host Matt Jolley to discuss his latest project, It's About Time. Following the interview, live listeners will be treated to an exclusive track from It's About Time, showcasing the distinctive sound that has made Nix a beloved figure in the Western Swing community.Don't miss this chance to catch up with Jody Nix and enjoy a preview of his new music. Tune in to Georgia Radio on Monday for an unforgettable experience!QUICK LINK: http://www.jodynixmusic.comSupport this podcast at — https://redcircle.com/georgia-radio/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
Join Dave Stroud for two hours of the very best of country swing music on Deeper Roots Radio: A Century of America's Music. He'll excavate the archives for a show from over eight years ago, reminding us that the west had been long-settled when a new sound exploded. It blasted its way out of the dance halls and barn-dance venues of the Midwest with an upbeat blend of jazz, hillbilly, and down-home blues. The arrangements blended strings, guitar, fiddle and bass, with the rhythmic sounds of urban jazz to reveal something catchy and danceable…and marketable. Before the beat was modernized into the mass market country blandness that paralleled mainstream pop, there were the pioneers including Milton Brown, Bob Wills, Adolph Hofner, Spade Cooley, Light Crust Doughboys, and a host of others. Drop in and celebrate this classic fusion of America's best.
In the Spring of 1956, Leo Fender introduced the greatest little solid body of all-time, the Fender Electric Mandolin. Nicknamed ,Mandocaster, by collectors, they were designed to replicate the sound of Tiny Moore, and Johnny Gimble, the fiery 4-string mandolin playing veterans of Bob Wills Texas Playboys Band. The instrument was not a success as Western Swing's popularity was waning by the time Leo introduced it, but it found new and exciting uses in the ensuing 70 years. Today we look at the instrument, and the inspiration behind it, with a look at the playing and influence of both Tiny Moore and Johnny Gimble.To Support the Channel:Patreon https://www.patreon.com/AskZacTip jar: https://paypal.me/AskZacVenmo @AskZac Or check out my store for merch - https://my-store-be0243.creator-spring.com/Gear Used:1958 Fender Electric Mandolin1959 Fender Harvard AmpThanks to the following siteswww.guitarhq.comwww.emando.comBook MentionedFender The Golden Age 1946-1970https://amzn.to/4duer8P#fendermandolin #mandocaster #askzacSupport the Show.
You'll like this week's episode as Cody and Jimbo were honored to visit with Rosetta Wills. Rosetta was born and raised in Pawhuska, and is the daughter of the iconic band leader and king of Western Swing, Bob Wills. Listen in as she shares some great stories of when Bob was courting her mother, and all the times the Texas Playboys played in Pawhuska. Don't miss this one!
THURSDAY AUGUST 1st NOON CST on EQUESTRIAN LEGACY RADIO... THIS WEEK WE GO BACK 7 YEARS FOR THIS SHOW...MANY OF OUR GUEST ARE NO LONGER WITH US BUT I KNOW YOU'LL ENJOY THE SHOW AND THE MEMORIES! We welcome to the CAMPFIRE CAFE' Hot Texas Swing Band's Alex Dormont. With one boot in Cowboy Music and the other in Swing, the Hot Texas Swing Band is riding the trail previously blazed by artists such as Bob Wills and Asleep at the Wheel. Backed by a passion for traditional Western Swing, the Hot Texas Swing Band pushes the genre forward with Rockabilly, Latin beats and original material for a fresh sound and high-energy live shows that have critics and fans raving. Jim McGarvey, Exec. Director of BCHA joins us for SADDLE UP AMERICA! Jim brings with him as guest Roland Cheek one of the founders of BCHA and Phyllis Ausk the wife of the late Ken Ausk co-founder BCHA. How have the challenges changed and stayed the same over the years and how should they be addressed today. EQUESTRAIN LEGACY RADIO is HEARD AROUND THE WORLD at Equestrianlegacy.net and on iHeart Radio, Apple Podcast, Spotify and Most Streaming Platforms...Just search for Equestrian Legacy Radio!
#NHRA #dragracing #Racing Steve Johnson and Buddy Hull join WFO Radio before the NHRA Northwest Nationals. Steve Johnson prepares for his 500th NHRA National event on the NHRA Western Swing. Buddy Hull prepares for his first Western Swing as a Funny Car driver for Jim Dunn Racing. Hull will give the details of his season so far, and qualifying "under the lights" at historic Pacific Raceways. NHRA's Alan Reinhart will recap the weekend of NHRA Lucas Oil Series racing at Woodburn, Dragstrip. Host, Joe Castello previews Pacific Raceways and the NHRA Western Swing. Interviews on WFO Radio have become part of winning for drivers in the NHRA Drag Racing Series. As part of the National Hot Rod Association's Track Announcing team, host Joe Castello brings insights directly from the world of professional NHRA Mission Foods and Lucas Oil Series Drag Racing. NHRA results and news are featured in weekly livestreams, NHRA's Alan Reinhart and other NHRA stars including John Force, Ron Capps, Antron Brown, Steve Torrence, Justin Ashley, Josh Hart, Austin Prock, Greg Anderson, and Erica Enders all make frequent stops on the WFO Radio Podcast and livestream. MERCH: https://www.teepublic.com/stores/wfo-radio?ref_id=24678 PATREON: https://www.patreon.com/WFORadio APPLE: https://podcasts.apple.com/us/podcast/wfo-radio-podcast/id449870843?ls=1 SPOTIFY: https://open.spotify.com/show/0oo5mn0E3VmfhRCTHyLQIS GOOGLE: https://podcasts.google.com/feed/aHR0cDovL2ZlZWRzLmZlZWRidXJuZXIuY29tL1dmb1JhZGlv
LIVE: FROM NASHVILLE TUESDAY JULY 9th on the EQUESTRIAN LEGACY RADIO NETWORK... Welcome Dave Munsick: Songteller with great music from his new album BACKTRACKS and from Canada our talented friends The Western Authority's Stacey Lee & Shane Guse! It all happens LIVE at NOON CST at Equestrianlegacy.net with award winning host Gary & Mary Kaye Holt and anytime on Apple Podcast, iHeart Radio, iTunes and Spotify...Just search for Equestrian Legacy Radio!
Today on the program, we're proud to present the story behind the King of Western Swing, Bob Wills. One of the most influential and iconic bandleaders and musicians of the 1930's-1950's, Bob came from a humble life of a poor sharecropping family, and was deeply influenced by old time and breakdown fiddle through his Texas state champion family of fiddlers in his father and uncle. Bob also loved all the turn of the century and 1920's black music, and this confluence of cultures would help him create the craze that became Western swing, and the details of his journey to get there will surprise you. Story by Brent Davis and Nicholas Edward Williams Support Educational Programming: Join the Patreon Community Send a one-time donation on Venmo or PayPal Follow American Songcatcher: Instagram | TikTok | Facebook Credits: Brent Davis - Research, Writing Nicholas Edward Williams - Production, research, editing, recording and distribution Homecoming: Reflections on Bob Wills and his Texas Playboys, 1915-1973, Charles R. Townsend. Country Music Hall of Fame Authentic Texas OW Mayo The Life and Times of Bob Wills Country Music, an Illustrated History, Dayton Duncan and Ken Burns. Country Music, a PBS documentary by Florentine Films, Ken Burns, director; Dayton Duncan, writer. OK History Life and Times of Bob Wills (TNN) Texas Monthly Birthplace of Western Swing The Country Music Pop-Up Book, by the staff of the Country Music Hall of Fame and Museum. The Hag: The Life, Times, and Music of Merle Haggard, Marc Elliot. --- Send in a voice message: https://podcasters.spotify.com/pod/show/americansongcatcher/message Support this podcast: https://podcasters.spotify.com/pod/show/americansongcatcher/support
To Support the Channel:Patreon https://www.patreon.com/AskZacTip jar: https://paypal.me/AskZacVenmo @AskZac Or check out my store for merch - https://my-store-be0243.creator-spring.com/Nashville is a "Telecaster-Town," a common phrase bandied about, and many will stress the importance of Tele ownership if one wants to work as a pro guitarist in Music City. Surprisingly, the Tele did not immediately earn this status the day Leo Fender introduced the Broadcaster in 1950. In fact, it took more than a decade after its release before it became an essential for 615-area session men. The trailblazers of the Tele include, Jabo Arrington, Billy Sanford, and Fred Carter Jr, though lesser known names, they made both the sound and the playing techniques associated with it Nashville essentials. A major sub-plot of this story takes place in Shreveport, LA, where Billy Sanford & Fred Carter Jr, along with James Burton, and Roy Buchanan were all performing and hanging out together in the late 1950s. Together, these players forged a style based around the use of the Telecaster, and utilizing a mix of Delta Blues, Rockabilly, Western Swing, and wild string bending allowed by their shared use of banjo strings. Jabo Arrington article from VG maghttps://www.vintageguitar.com/40127/jabo-vince-and-broadcaster-0048/Strings: D'Addario NYXL 95-44https://amzn.to/41rnl0V2023 Headstrong Lil' King with 12" Eminence GA-SC64 speakerhttps://headstrongamps.com/lil-king-amp#askzac #telecasterSupport the Show.
THE TROUBADOUR PODCAST - The Premier Red Dirt, Texas Country and Independent Music Podcast
The #1 way you can support The Troubadour is by visiting our Patreon page This episode features our interview with The Texas Trio, comprised of Kyle Park, John Michael Whitby & Jason Roberts. Kyle has been a guest on the podcast several times but it was our first time getting to visit with Jason Roberts and John Michael Withby (JMW). Both are very accomplished musicians in their own right. Jason and JMW both played with Asleep At The Wheel for earlier in their careers. Currently, Jason is fronting the famed Bob's Wills Texas Playboys and JMW has been playing keys in Country Music Icon George Strait's Ace in the Hole Band for 19 years now. Sounds like Jason will even be doing some dates with the Ace in the Hole Band as well before long! Their new self-titled album was just released on Friday, May 17th, 2024 and you can check it out HERE! Enjoy the episode! We're also excited to say that we are now an affiliate for Sweetwater. So, the next time you need any new strings, picks, microphones, recording gear, etc. make sure to use this link!
Dave Alexander's musical journey is a tapestry woven with accolades, collaborations, and a deep-rooted love for Texas music. From his early days as a Western Swing enthusiast to his status as a revered multi-instrumentalist and vocalist, Dave has left an indelible mark on the music scene.Starting with the formation of "The Legends of Western Swing," Dave surrounded himself with musical luminaries, including former members of Bob Wills' Texas Playboys. This collaboration laid the foundation for a career marked by unforgettable performances and enduring musical partnerships.His talent caught the attention of the industry, leading to a prestigious role as the "House Band" for the Houston Livestock Show and Rodeo, where he forged lasting connections with country and Western Swing icons like George Strait, Willie Nelson, and Lyle Lovett.Throughout his career, Dave has amassed a treasure trove of awards and accolades, including Grammy nominations and multiple Will Rogers Awards from the Academy Of Western Artists. He has been honored with inductions into several Hall of Fames, including the Texas Western Swing Hall Of Fame and the Oklahoma Country Music Hall Of Fame.Dave's musical journey is not just about accolades—it's about collaboration and connection. From sharing the stage with music legends to collaborating with a diverse array of artists, including George Strait, Willie Nelson, and Sheryl Crow, Dave's versatility and talent shine through in every performance.As he continues to uphold the rich tradition of Texas music, Dave Alexander's legacy is not just in the awards he's received or the stages he's graced, but in the hearts of fans who have been touched by his music, his passion, and his unwavering dedication to the art form he loves.http://www.davealexander.com/Support the Show.Thanks for listening for more information or to listen to other podcasts or watch YouTube videos click on this link >https://thetroutshow.com/
Explore the extraordinary musical journey of Eric Diamond, who embarked on his passion at 15 and has since earned multiple awards. This year, he will achieve a remarkable milestone when he is inducted into the Western Swing Music Hall of Fame. Join us in a brief yet thrilling overview of Eric's accolades, culminating in a sneak peek of his latest album, "All of Me." Eric Diamond is, 'Someone You Should Know. ' Click here to buy the host a cold one.Show Links: Click here to go to Eric's Facebook pageClick here to go to Eric's WebsiteClick here to go to Eric's YouTube Music ChannelAll music used by permission from the artistSomeone You Should Know 2024 // CatGotYourTongueStudios 2024How to Contact Us:Official Website: https://Someoneyoushouldknowpodcast.comGmail: Someoneyoushouldknowpodcast@gmail.comTwitter: @RIKANTHONY1Facebook: https://www.facebook.com/rikanthonyInstagram: https://www.instagram.com/someoneyoushouldknowpodcast/LinkedIn: https://www.linkedin.com/in/rik-anthony2019/TikTok: @SomeoneYouShouldKnow2023YouTube: https://www.youtube.com/@someoneyoushouldknowpodcastThank you for listening!Theme music "Welcome to the Show" by Kevin MacLeod was used per the standard license agreement.
It's been too long since we've slipped into Patrick's Book Nook, so here's one for everyone to enjoy. It's a look at a book published in 2003 by Rich Kienzle that examines the great artists who worked in the Southwest in the 1940s and 1950s, including Hank Thompson, Speedy West and Jimmy Bryant and Hank Thompson, among many others. Rockin' the Suburbs on Apple Podcasts/iTunes or other podcast platforms, including audioBoom, Spotify, Google Podcasts, Amazon, iHeart, Stitcher and TuneIn. Or listen at SuburbsPod.com. Please rate/review the show on Apple Podcasts and share it with your friends. Visit our website at SuburbsPod.com Email Jim & Patrick at rock@suburbspod.com Follow us on the Threads, Facebook or Instagram @suburbspod If you're glad or sad or high, call the Suburban Party Line — 612-440-1984. Theme music: "Ascension," originally by Quartjar, covered by Frank Muffin. Visit quartjar.bandcamp.com and frankmuffin.bandcamp.com.
Locked On Penguins - Daily Podcast On The Pittsburgh Penguins
The Pittsburgh Penguins are officially done after back-to-back losses to the Stars and Avalanche, and both Hunter and Pat are here to discuss what went wrong. They start with the game against the Dallas Stars and how the Penguins let a good start go to waste. They go into how Michael Bunting got things going before the team became fragile again after the Stars got a couple of goals. They analyze how the Penguins power play could take a couple of lessons from the Stars one before looking at how Tristan Jarry wasn't good enough when he needed to be. After that, they recap the 4-0 blown lead to the Colorado Avalanche and discuss how the team wilted after a very strong first half of the game. They look at how the team wasted Sidney Crosby's vintage performance and how this loss is the cherry on top for this season. They look at how things got started for the Penguins before they wilted, plus how the goaltending was also not good enough. Finally, they have a full discussion about the March goaltending to end the show and if this raises questions about Jarry for next year.Support Us By Supporting Our Sponsors!eBay MotorsFor parts that fit, head to eBay Motors and look for the green check. Stay in the game with eBay Guaranteed Fit at eBayMotos.com. Let's ride. eBay Guaranteed Fit only available to US customers. Eligible items only. Exclusions apply.IndeedIndeed knows when you're growing your own business, you have to make every dollar count. Visit Indeed.com/LOCKEDON to start hiring now. RobinhoodRobinhood has the only IRA that gives you a 3% boost on every dollar you contribute when you subscribe to Robinhood Gold. Now through April 30th, Robinhood is even boosting every single dollar you transfer in from other retirement accounts with a 3% match. Available to U.S. customers in good standing. Robinhood Financial LLC (member SIPC), is a registered broker dealer.SleeperDownload the Sleeper App and use promo code LOCKEDONNHL to get up to a $100 match on your first deposit. Terms and conditions apply. See Sleeper's Terms of Use for details.GametimeDownload the Gametime app, create an account, and use code LOCKEDON for $20 off your first purchase.FanDuelNew customers, join today and you'll get TWO HUNDRED DOLLARS in BONUS BETS if your first bet of FIVE DOLLARS or more wins. Visit FanDuel.com/LOCKEDON to get started. FANDUEL DISCLAIMER: 21+ in select states. First online real money wager only. Bonus issued as nonwithdrawable free bets that expires in 14 days. Restrictions apply. See terms at sportsbook.fanduel.com. Gambling Problem? Call 1-800-GAMBLER or visit FanDuel.com/RG (CO, IA, MD, MI, NJ, PA, IL, VA, WV), 1-800-NEXT-STEP or text NEXTSTEP to 53342 (AZ), 1-888-789-7777 or visit ccpg.org/chat (CT), 1-800-9-WITH-IT (IN), 1-800-522-4700 (WY, KS) or visit ksgamblinghelp.com (KS), 1-877-770-STOP (LA), 1-877-8-HOPENY or text HOPENY (467369) (NY), TN REDLINE 1-800-889-9789 (TN)
Tune in as Ruby Leigh bares her soul, revealing the raw emotions and untold stories that shaped her unforgettable journey on The Voice. Ruby's revelations will leave listeners on the edge of their seats, from her jaw-dropping encounter with industry legends Reba McEntire and Wynonna Judd to the heart-pounding moments before stepping onto the stage. For a full episode transcript, visit our website HERE.
Southwestern multi-talented singer/songwriter Eric Diamond talks about his latest release “All of Me” featuring the title track, “Oklahoma Bound”, “When Right is Wrong”, “Waylon, Willie, Haggard & Jones” and his previous release “The Call Me A Playboy”! Eric began his career at 15 and a state finalist of the Jimmy Dean Country Showdown, played in Santa Fe, NM; Durango, CO; before moving to Nashville and later performing in Texas, Missouri, and Oklahoma with the Rocky Mountain Playboys, and the winner of numerous awards in Western Swing with plenty of followers on Spotify, YouTube and more! Check out the amazing Eric Diamond and his latest release on all major platforms and www.ericdiamondmusic.com today! #ericdiamond #southwesternsinger #westernswing #rockymountainplayboys #allofme #oklahomabound #whenrightiswrong #waylonjennings #willienelson #merlehaggard #georgejones #bismarck #northdakota #santafenewmexico #durangocolorado #jimmydeancountryshowdown #spreaker #iheartradio #spotify #applemusic #youtube #anchorfm #bitchute #rumble #mikewagner #themikewagnershow #mikewagnerericdiamond #themikewagnershowericdiamond --- Send in a voice message: https://podcasters.spotify.com/pod/show/themikewagnershow/message Support this podcast: https://podcasters.spotify.com/pod/show/themikewagnershow/support
For those who haven't heard the announcement I just posted , songs from this point on will sometimes be split among multiple episodes, so this is the second part of a multi-episode look at the Byrds in 1966-69 and the birth of country rock. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode, on "With a Little Help From My Friends" by Joe Cocker. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud at this time as there are too many Byrds songs in the first chunk, but I will try to put together a multi-part Mixcloud when all the episodes for this song are up. My main source for the Byrds is Timeless Flight Revisited by Johnny Rogan, I also used Chris Hillman's autobiography, the 331/3 books on The Notorious Byrd Brothers and The Gilded Palace of Sin, I used Barney Hoskyns' Hotel California and John Einarson's Desperadoes as general background on Californian country-rock, Calling Me Hone, Gram Parsons and the Roots of Country Rock by Bob Kealing for information on Parsons, and Requiem For The Timeless Vol 2 by Johnny Rogan for information about the post-Byrds careers of many members. Information on Gary Usher comes from The California Sound by Stephen McParland. And this three-CD set is a reasonable way of getting most of the Byrds' important recordings. The International Submarine Band's only album can be bought from Bandcamp. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we begin, a brief warning – this episode contains brief mentions of suicide, alcoholism, abortion, and heroin addiction, and a brief excerpt of chanting of a Nazi slogan. If you find those subjects upsetting, you may want to read the transcript rather than listen. As we heard in the last part, in October 1967 Roger McGuinn and Chris Hillman fired David Crosby from the Byrds. It was only many years later, in a conversation with the group's ex-manager Jim Dickson, that Crosby realised that they didn't actually have a legal right to fire him -- the Byrds had no partnership agreement, and according to Dickson given that the original group had been Crosby, McGuinn, and Gene Clark, it would have been possible for Crosby and McGuinn to fire Hillman, but not for McGuinn and Hillman to fire Crosby. But Crosby was unaware of this at the time, and accepted a pay-off, with which he bought a boat and sailed to Florida, where saw a Canadian singer-songwriter performing live: [Excerpt: Joni Mitchell, "Both Sides Now (live Ann Arbor, MI, 27/10/67)"] We'll find out what happened when David Crosby brought Joni Mitchell back to California in a future story... With Crosby gone, the group had a major problem. They were known for two things -- their jangly twelve-string guitar and their soaring harmonies. They still had the twelve-string, even in their new slimmed-down trio format, but they only had two of their four vocalists -- and while McGuinn had sung lead on most of their hits, the sound of the Byrds' harmony had been defined by Crosby on the high harmonies and Gene Clark's baritone. There was an obvious solution available, of course, and they took it. Gene Clark had quit the Byrds in large part because of his conflicts with David Crosby, and had remained friendly with the others. Clark's solo album had featured Chris Hillman and Michael Clarke, and had been produced by Gary Usher who was now producing the Byrds' records, and it had been a flop and he was at a loose end. After recording the Gene Clark with the Gosdin Brothers album, Clark had started work with Curt Boettcher, a singer-songwriter-producer who had produced hits for Tommy Roe and the Association, and who was currently working with Gary Usher. Boettcher produced two tracks for Clark, but they went unreleased: [Excerpt: Gene Clark, "Only Colombe"] That had been intended as the start of sessions for an album, but Clark had been dropped by Columbia rather than getting to record a second album. He had put together a touring band with guitarist Clarence White, bass player John York, and session drummer "Fast" Eddie Hoh, but hadn't played many gigs, and while he'd been demoing songs for a possible second solo album he didn't have a record deal to use them on. Chisa Records, a label co-owned by Larry Spector, Peter Fonda, and Hugh Masekela, had put out some promo copies of one track, "Yesterday, Am I Right", but hadn't released it properly: [Excerpt: Gene Clark, "Yesterday, Am I Right"] Clark, like the Byrds, had left Dickson and Tickner's management organisation and signed with Larry Spector, and Spector was wanting to make the most of his artists -- and things were very different for the Byrds now. Clark had had three main problems with being in the Byrds -- ego clashes with David Crosby, the stresses of being a pop star with a screaming teenage fanbase, and his fear of flying. Clark had really wanted to have the same kind of role in the Byrds that Brian Wilson had with the Beach Boys -- appear on the records, write songs, do TV appearances, maybe play local club gigs, but not go on tour playing to screaming fans. But now David Crosby was out of the group and there were no screaming fans any more -- the Byrds weren't having the kind of pop hits they'd had a few years earlier and were now playing to the hippie audience. Clark promised that with everything else being different, he could cope with the idea of flying -- if necessary he'd just take tranquilisers or get so drunk he passed out. So Gene Clark rejoined the Byrds. According to some sources he sang on their next single, "Goin' Back," though I don't hear his voice in the mix: [Excerpt: The Byrds, "Goin' Back"] According to McGuinn, Clark was also an uncredited co-writer on one song on the album they were recording, "Get to You". But before sessions had gone very far, the group went on tour. They appeared on the Smothers Brothers TV show, miming their new single and "Mr. Spaceman", and Clark seemed in good spirits, but on the tour of the Midwest that followed, according to their road manager of the time, Clark was terrified, singing flat and playing badly, and his guitar and vocal mic were left out of the mix. And then it came time to get on a plane, and Clark's old fears came back, and he refused to fly from Minneapolis to New York with the rest of the group, instead getting a train back to LA. And that was the end of Clark's second stint in the Byrds. For the moment, the Byrds decided they were going to continue as a trio on stage and a duo in the studio -- though Michael Clarke did make an occasional return to the sessions as they progressed. But of course, McGuinn and Hillman couldn't record an album entirely by themselves. They did have several tracks in a semi-completed state still featuring Crosby, but they needed people to fill his vocal and instrumental roles on the remaining tracks. For the vocals, Usher brought in his friend and collaborator Curt Boettcher, with whom he was also working at the time in a band called Sagittarius: [Excerpt: Sagittarius, "Another Time"] Boettcher was a skilled harmony vocalist -- according to Usher, he was one of the few vocal arrangers that Brian Wilson looked up to, and Jerry Yester had said of the Modern Folk Quartet that “the only vocals that competed with us back then was Curt Boettcher's group” -- and he was more than capable of filling Crosby's vocal gap, but there was never any real camaraderie between him and the Byrds. He particularly disliked McGuinn, who he said "was just such a poker face. He never let you know where you stood. There was never any lightness," and he said of the sessions as a whole "I was really thrilled to be working with The Byrds, and, at the same time, I was glad when it was all over. There was just no fun, and they were such weird guys to work with. They really freaked me out!" Someone else who Usher brought in, who seems to have made a better impression, was Red Rhodes: [Excerpt: Red Rhodes, "Red's Ride"] Rhodes was a pedal steel player, and one of the few people to make a career on the instrument outside pure country music, which is the genre with which the instrument is usually identified. Rhodes was a country player, but he was the country pedal steel player of choice for musicians from the pop and folk-rock worlds. He worked with Usher and Boettcher on albums by Sagittarius and the Millennium, and played on records by Cass Elliot, Carole King, the Beach Boys, and the Carpenters, among many others -- though he would be best known for his longstanding association with Michael Nesmith of the Monkees, playing on most of Nesmith's recordings from 1968 through 1992. Someone else who was associated with the Monkees was Moog player Paul Beaver, who we talked about in the episode on "Hey Jude", and who had recently played on the Monkees' Pisces, Aquarius, Capricorn & Jones, Ltd album: [Excerpt: The Monkees, "Star Collector"] And the fourth person brought in to help the group out was someone who was already familiar to them. Clarence White was, like Red Rhodes, from the country world -- he'd started out in a bluegrass group called the Kentucky Colonels: [Excerpt: The Kentucky Colonels, "Clinch Mountain Backstep"] But White had gone electric and formed one of the first country-rock bands, a group named Nashville West, as well as becoming a popular session player. He had already played on a couple of tracks on Younger Than Yesterday, as well as playing with Hillman and Michael Clarke on Gene Clark's album with the Gosdin Brothers and being part of Clark's touring band with John York and "Fast" Eddie Hoh. The album that the group put together with these session players was a triumph of sequencing and production. Usher had recently been keen on the idea of crossfading tracks into each other, as the Beatles had on Sgt Pepper, and had done the same on the two Chad and Jeremy albums he produced. By clever crossfading and mixing, Usher managed to create something that had the feel of being a continuous piece, despite being the product of several very different creative minds, with Usher's pop sensibility and arrangement ideas being the glue that held everything together. McGuinn was interested in sonic experimentation. He, more than any of the others, seems to have been the one who was most pushing for them to use the Moog, and he continued his interest in science fiction, with a song, "Space Odyssey", inspired by the Arthur C. Clarke short story "The Sentinel", which was also the inspiration for the then-forthcoming film 2001: A Space Odyssey: [Excerpt: The Byrds, "Space Odyssey"] Then there was Chris Hillman, who was coming up with country material like "Old John Robertson": [Excerpt: The Byrds, "Old John Robertson"] And finally there was David Crosby. Even though he'd been fired from the group, both McGuinn and Hillman didn't see any problem with using the songs he had already contributed. Three of the album's eleven songs are compositions that are primarily by Crosby, though they're all co-credited to either Hillman or both Hillman and McGuinn. Two of those songs are largely unchanged from Crosby's original vision, just finished off by the rest of the group after his departure, but one song is rather different: [Excerpt: The Byrds, "Draft Morning"] "Draft Morning" was a song that was important to Crosby, and was about his -- and the group's -- feelings about the draft and the ongoing Vietnam War. It was a song that had meant a lot to him, and he'd been part of the recording for the backing track. But when it came to doing the final vocals, McGuinn and Hillman had a problem -- they couldn't remember all the words to the song, and obviously there was no way they were going to get Crosby to give them the original lyrics. So they rewrote it, coming up with new lyrics where they couldn't remember the originals: [Excerpt: The Byrds, "Draft Morning"] But there was one other contribution to the track that was very distinctively the work of Usher. Gary Usher had a predilection at this point for putting musique concrete sections in otherwise straightforward pop songs. He'd done it with "Fakin' It" by Simon and Garfunkel, on which he did uncredited production work, and did it so often that it became something of a signature of records on Columbia in 1967 and 68, even being copied by his friend Jim Guercio on "Susan" by the Buckinghams. Usher had done this, in particular, on the first two singles by Sagittarius, his project with Curt Boettcher. In particular, the second Sagittarius single, "Hotel Indiscreet", had had a very jarring section (and a warning here, this contains some brief chanting of a Nazi slogan): [Excerpt: Sagittarius, "Hotel Indiscreet"] That was the work of a comedy group that Usher had discovered and signed to Columbia. The Firesign Theatre were so named because, like Usher, they were all interested in astrology, and they were all "fire signs". Usher was working on their first album, Waiting For The Electrician or Someone Like Him, at the same time as he was working on the Byrds album: [Excerpt: The Firesign Theatre, "W.C. Fields Forever"] And he decided to bring in the Firesigns to contribute to "Draft Morning": [Excerpt: The Byrds, "Draft Morning"] Crosby was, understandably, apoplectic when he heard the released version of "Draft Morning". As far as Hillman and McGuinn were concerned, it was always a Byrds song, and just because Crosby had left the band didn't mean they couldn't use material he'd written for the Byrds. Crosby took a different view, saying later "It was one of the sleaziest things they ever did. I had an entire song finished. They just casually rewrote it and decided to take half the credit. How's that? Without even asking me. I had a finished song, entirely mine. I left. They did the song anyway. They rewrote it and put it in their names. And mine was better. They just took it because they didn't have enough songs." What didn't help was that the publicity around the album, titled The Notorious Byrd Brothers minimised Crosby's contributions. Crosby is on five of the eleven tracks -- as he said later, "I'm all over that album, they just didn't give me credit. I played, I sang, I wrote, I even played bass on one track, and they tried to make out that I wasn't even on it, that they could be that good without me." But the album, like earlier Byrds albums, didn't have credits saying who played what, and the cover only featured McGuinn, Hillman, and Michael Clarke in the photo -- along with a horse, which Crosby took as another insult, as representing him. Though as McGuinn said, "If we had intended to do that, we would have turned the horse around". Even though Michael Clarke was featured on the cover, and even owned the horse that took Crosby's place, by the time the album came out he too had been fired. Unlike Crosby, he went quietly and didn't even ask for any money. According to McGuinn, he was increasingly uninterested in being in the band -- suffering from depression, and missing the teenage girls who had been the group's fans a year or two earlier. He gladly stopped being a Byrd, and went off to work in a hotel instead. In his place came Hillman's cousin, Kevin Kelley, fresh out of a band called the Rising Sons: [Excerpt: The Rising Sons, "Take a Giant Step"] We've mentioned the Rising Sons briefly in some previous episodes, but they were one of the earliest LA folk-rock bands, and had been tipped to go on to greater things -- and indeed, many of them did, though not as part of the Rising Sons. Jesse Lee Kincaid, the least well-known of the band, only went on to release a couple of singles and never had much success, but his songs were picked up by other acts -- his "Baby You Come Rollin' 'Cross My Mind" was a minor hit for the Peppermint Trolley Company: [Excerpt: The Peppermint Trolley Company, "Baby You Come Rollin' 'Cross My Mind"] And Harry Nilsson recorded Kincaid's "She Sang Hymns Out of Tune": [Excerpt: Harry Nilsson, "She Sang Hymns Out of Tune"] But Kincaid was the least successful of the band members, and most of the other members are going to come up in future episodes of the podcast -- bass player Gary Marker played for a while with Captain Beefheart and the Magic Band, lead singer Taj Mahal is one of the most respected blues singers of the last sixty years, original drummer Ed Cassidy went on to form the progressive rock band Spirit, and lead guitarist Ry Cooder went on to become one of the most important guitarists in rock music. Kelley had been the last to join the Rising Sons, replacing Cassidy but he was in the band by the time they released their one single, a version of Rev. Gary Davis' "Candy Man" produced by Terry Melcher, with Kincaid on lead vocals: [Excerpt: The Rising Sons, "Candy Man"] That hadn't been a success, and the group's attempt at a follow-up, the Goffin and King song "Take a Giant Step", which we heard earlier, was blocked from release by Columbia as being too druggy -- though there were no complaints when the Monkees released their version as the B-side to "Last Train to Clarksville". The Rising Sons, despite being hugely popular as a live act, fell apart without ever releasing a second single. According to Marker, Mahal realised that he would be better off as a solo artist, but also Columbia didn't know how to market a white group with a Black lead vocalist (leading to Kincaid singing lead on their one released single, and producer Terry Melcher trying to get Mahal to sing more like a white singer on "Take a Giant Step"), and some in the band thought that Terry Melcher was deliberately trying to sink their career because they refused to sign to his publishing company. After the band split up, Marker and Kelley had formed a band called Fusion, which Byrds biographer Johnny Rogan describes as being a jazz-fusion band, presumably because of their name. Listening to the one album the group recorded, it is in fact more blues-rock, very like the music Marker made with the Rising Sons and Captain Beefheart. But Kelley's not on that album, because before it was recorded he was approached by his cousin Chris Hillman and asked to join the Byrds. At the time, Fusion were doing so badly that Kelley had to work a day job in a clothes shop, so he was eager to join a band with a string of hits who were just about to conclude a lucrative renegotiation of their record contract -- a renegotiation which may have played a part in McGuinn and Hillman firing Crosby and Clarke, as they were now the only members on the new contracts. The choice of Kelley made a lot of sense. He was mostly just chosen because he was someone they knew and they needed a drummer in a hurry -- they needed someone new to promote The Notorious Byrd Brothers and didn't have time to go through a laborious process of audtioning, and so just choosing Hillman's cousin made sense, but Kelley also had a very strong, high voice, and so he could fill in the harmony parts that Crosby had sung, stopping the new power-trio version of the band from being *too* thin-sounding in comparison to the five-man band they'd been not that much earlier. The Notorious Byrd Brothers was not a commercial success -- it didn't even make the top forty in the US, though it did in the UK -- to the presumed chagrin of Columbia, who'd just paid a substantial amount of money for this band who were getting less successful by the day. But it was, though, a gigantic critical success, and is generally regarded as the group's creative pinnacle. Robert Christgau, for example, talked about how LA rather than San Francisco was where the truly interesting music was coming from, and gave guarded praise to Captain Beefheart, Van Dyke Parks, and the Fifth Dimension (the vocal group, not the Byrds album) but talked about three albums as being truly great -- the Beach Boys' Wild Honey, Love's Forever Changes, and The Notorious Byrd Brothers. (He also, incidentally, talked about how the two songs that Crosby's new discovery Joni Mitchell had contributed to a Judy Collins album were much better than most folk music, and how he could hardly wait for her first album to come out). And that, more or less, was the critical consensus about The Notorious Byrd Brothers -- that it was, in Christgau's words "simply the best album the Byrds have ever recorded" and that "Gone are the weak--usually folky--tracks that have always flawed their work." McGuinn, though, thought that the album wasn't yet what he wanted. He had become particularly excited by the potentials of the Moog synthesiser -- an instrument that Gary Usher also loved -- during the recording of the album, and had spent a lot of time experimenting with it, coming up with tracks like the then-unreleased "Moog Raga": [Excerpt: The Byrds, "Moog Raga"] And McGuinn had a concept for the next Byrds album -- a concept he was very excited about. It was going to be nothing less than a grand sweeping history of American popular music. It was going to be a double album -- the new contract said that they should deliver two albums a year to Columbia, so a double album made sense -- and it would start with Appalachian folk music, go through country, jazz, and R&B, through the folk-rock music the Byrds had previously been known for, and into Moog experimentation. But to do this, the Byrds needed a keyboard player. Not only would a keyboard player help them fill out their thin onstage sound, if they got a jazz keyboardist, then they could cover the jazz material in McGuinn's concept album idea as well. So they went out and looked for a jazz piano player, and happily Larry Spector was managing one. Or at least, Larry Spector was managing someone who *said* he was a jazz pianist. But Gram Parsons said he was a lot of things... [Excerpt: Gram Parsons, "Brass Buttons (1965 version)"] Gram Parsons was someone who had come from a background of unimaginable privilege. His maternal grandfather was the owner of a Florida citrus fruit and real-estate empire so big that his mansion was right in the centre of what was then Florida's biggest theme park -- built on land he owned. As a teenager, Parsons had had a whole wing of his parents' house to himself, and had had servants to look after his every need, and as an adult he had a trust fund that paid him a hundred thousand dollars a year -- which in 1968 dollars would be equivalent to a little under nine hundred thousand in today's money. Two events in his childhood had profoundly shaped the life of young Gram. The first was in February 1956, when he went to see a new singer who he'd heard on the radio, and who according to the local newspaper had just recorded a new song called "Heartburn Motel". Parsons had tried to persuade his friends that this new singer was about to become a big star -- one of his friends had said "I'll wait til he becomes famous!" As it turned out, the day Parsons and the couple of friends he did manage to persuade to go with him saw Elvis Presley was also the day that "Heartbreak Hotel" entered the Billboard charts at number sixty-eight. But even at this point, Elvis was an obvious star and the headliner of the show. Young Gram was enthralled -- but in retrospect he was more impressed by the other acts he saw on the bill. That was an all-star line-up of country musicians, including Mother Maybelle and the Carter Sisters, and especially the Louvin Brothers, arguably the greatest country music vocal duo of all time: [Excerpt: The Louvin Brothers, "The Christian Life"] Young Gram remained mostly a fan of rockabilly music rather than country, and would remain so for another decade or so, but a seed had been planted. The other event, much more tragic, was the death of his father. Both Parsons' parents were functioning alcoholics, and both by all accounts were unfaithful to each other, and their marriage was starting to break down. Gram's father was also, by many accounts, dealing with what we would now call post-traumatic stress disorder from his time serving in the second world war. On December the twenty-third 1958, Gram's father died of a self-inflicted gunshot wound. Everyone involved seems sure it was suicide, but it was officially recorded as natural causes because of the family's wealth and prominence in the local community. Gram's Christmas present from his parents that year was a reel-to-reel tape recorder, and according to some stories I've read his father had left a last message on a tape in the recorder, but by the time the authorities got to hear it, it had been erased apart from the phrase "I love you, Gram." After that Gram's mother's drinking got even worse, but in most ways his life still seemed charmed, and the descriptions of him as a teenager are about what you'd expect from someone who was troubled, with a predisposition to addiction, but who was also unbelievably wealthy, good-looking, charming, and talented. And the talent was definitely there. One thing everyone is agreed on is that from a very young age Gram Parsons took his music seriously and was determined to make a career as a musician. Keith Richards later said of him "Of the musicians I know personally (although Otis Redding, who I didn't know, fits this too), the two who had an attitude towards music that was the same as mine were Gram Parsons and John Lennon. And that was: whatever bag the business wants to put you in is immaterial; that's just a selling point, a tool that makes it easier. You're going to get chowed into this pocket or that pocket because it makes it easier for them to make charts up and figure out who's selling. But Gram and John were really pure musicians. All they liked was music, and then they got thrown into the game." That's not the impression many other people have of Parsons, who is almost uniformly described as an incessant self-promoter, and who from his teens onwards would regularly plant fake stories about himself in the local press, usually some variant of him having been signed to RCA records. Most people seem to think that image was more important to him than anything. In his teens, he started playing in a series of garage bands around Florida and Georgia, the two states in which he was brought up. One of his early bands was largely created by poaching the rhythm section who were then playing with Kent Lavoie, who later became famous as Lobo and had hits like "Me and You and a Dog Named Boo". Lavoie apparently held a grudge -- decades later he would still say that Parsons couldn't sing or play or write. Another musician on the scene with whom Parsons associated was Bobby Braddock, who would later go on to co-write songs like "D-I-V-O-R-C-E" for Tammy Wynette, and the song "He Stopped Loving Her Today", often considered the greatest country song ever written, for George Jones: [Excerpt: George Jones, "He Stopped Loving Her Today"] Jones would soon become one of Parsons' musical idols, but at this time he was still more interested in being Elvis or Little Richard. We're lucky enough to have a 1962 live recording of one of his garage bands, the Legends -- the band that featured the bass player and drummer he'd poached from Lobo. They made an appearance on a local TV show and a friend with a tape recorder recorded it off the TV and decades later posted it online. Of the four songs in that performance, two are R&B covers -- Little Richard's "Rip It Up" and Ray Charles' "What'd I Say?", and a third is the old Western Swing classic "Guitar Boogie Shuffle". But the interesting thing about the version of "Rip it Up" is that it's sung in an Everly Brothers style harmony, and the fourth song is a recording of the Everlys' "Let It Be Me". The Everlys were, of course, hugely influenced by the Louvin Brothers, who had so impressed young Gram six years earlier, and in this performance you can hear for the first time the hints of the style that Parsons would make his own a few years later: [Excerpt: Gram Parsons and the Legends, "Let it Be Me"] Incidentally, the other guitarist in the Legends, Jim Stafford, also went on to a successful musical career, having a top five hit in the seventies with "Spiders & Snakes": [Excerpt: Jim Stafford, "Spiders & Snakes"] Soon after that TV performance though, like many musicians of his generation, Parsons decided to give up on rock and roll, and instead to join a folk group. The group he joined, The Shilos, were a trio who were particularly influenced by the Journeymen, John Phillips' folk group before he formed the Mamas and the Papas, which we talked about in the episode on "San Francisco". At various times the group expanded with the addition of some female singers, trying to capture something of the sound of the New Chrisy Minstrels. In 1964, with the band members still in school, the Shilos decided to make a trip to Greenwich Village and see if they could make the big time as folk-music stars. They met up with John Phillips, and Parsons stayed with John and Michelle Phillips in their home in New York -- this was around the time the two of them were writing "California Dreamin'". Phillips got the Shilos an audition with Albert Grossman, who seemed eager to sign them until he realised they were still schoolchildren just on a break. The group were, though, impressive enough that he was interested, and we have some recordings of them from a year later which show that they were surprisingly good for a bunch of teenagers: [Excerpt: The Shilos, "The Bells of Rhymney"] Other than Phillips, the other major connection that Parsons made in New York was the folk singer Fred Neil, who we've talked about occasionally before. Neil was one of the great songwriters of the Greenwich Village scene, and many of his songs became successful for others -- his "Dolphins" was recorded by Tim Buckley, most famously his "Everybody's Talkin'" was a hit for Harry Nilsson, and he wrote "Another Side of This Life" which became something of a standard -- it was recorded by the Animals and the Lovin' Spoonful, and Jefferson Airplane, as well as recording the song, included it in their regular setlists, including at Monterey: [Excerpt: Jefferson Airplane, "The Other Side of This Life (live at Monterey)"] According to at least one biographer, though, Neil had another, more pernicious, influence on Parsons -- he may well have been the one who introduced Parsons to heroin, though several of Parsons' friends from the time said he wasn't yet using hard drugs. By spring 1965, Parsons was starting to rethink his commitment to folk music, particularly after "Mr. Tambourine Man" became a hit. He talked with the other members about their need to embrace the changes in music that Dylan and the Byrds were bringing about, but at the same time he was still interested enough in acoustic music that when he was given the job of arranging the music for his high school graduation, the group he booked were the Dillards. That graduation day was another day that would change Parsons' life -- as it was the day his mother died, of alcohol-induced liver failure. Parsons was meant to go on to Harvard, but first he went back to Greenwich Village for the summer, where he hung out with Fred Neil and Dave Van Ronk (and started using heroin regularly). He went to see the Beatles at Shea Stadium, and he was neighbours with Stephen Stills and Richie Furay -- the three of them talked about forming a band together before Stills moved West. And on a brief trip back home to Florida between Greenwich Village and Harvard, Parsons spoke with his old friend Jim Stafford, who made a suggestion to him -- instead of trying to do folk music, which was clearly falling out of fashion, why not try to do *country* music but with long hair like the Beatles? He could be a country Beatle. It would be an interesting gimmick. Parsons was only at Harvard for one semester before flunking out, but it was there that he was fully reintroduced to country music, and in particular to three artists who would influence him more than any others. He'd already been vaguely aware of Buck Owens, whose "Act Naturally" had recently been covered by the Beatles: [Excerpt: Buck Owens, "Act Naturally"] But it was at Harvard that he gained a deeper appreciation of Owens. Owens was the biggest star of what had become known as the Bakersfield Sound, a style of country music that emphasised a stripped-down electric band lineup with Telecaster guitars, a heavy drumbeat, and a clean sound. It came from the same honky-tonk and Western Swing roots as the rockabilly music that Parsons had grown up on, and it appealed to him instinctively. In particular, Parsons was fascinated by the fact that Owens' latest album had a cover version of a Drifters song on it -- and then he got even more interested when Ray Charles put out his third album of country songs and included a version of Owens' "Together Again": [Excerpt: Ray Charles, "Together Again"] This suggested to Parsons that country music and the R&B he'd been playing previously might not quite be so far apart as he'd thought. At Harvard, Parsons was also introduced to the work of another Bakersfield musician, who like Owens was produced by Ken Nelson, who also produced the Louvin Brothers' records, and who we heard about in previous episodes as he produced Gene Vincent and Wanda Jackson. Merle Haggard had only had one big hit at the time, "(My Friends Are Gonna Be) Strangers": [Excerpt: Merle Haggard, "(My Friends are Gonna Be) Strangers"] But he was about to start a huge run of country hits that would see every single he released for the next twelve years make the country top ten, most of them making number one. Haggard would be one of the biggest stars in country music, but he was also to be arguably the country musician with the biggest influence on rock music since Johnny Cash, and his songs would soon start to be covered by everyone from the Grateful Dead to the Everly Brothers to the Beach Boys. And the third artist that Parsons was introduced to was someone who, in most popular narratives of country music, is set up in opposition to Haggard and Owens, because they were representatives of the Bakersfield Sound while he was the epitome of the Nashville Sound to which the Bakersfield Sound is placed in opposition, George Jones. But of course anyone with ears will notice huge similarities in the vocal styles of Jones, Haggard, and Owens: [Excerpt: George Jones, "The Race is On"] Owens, Haggard, and Jones are all somewhat outside the scope of this series, but are seriously important musicians in country music. I would urge anyone who's interested in them to check out Tyler Mahan Coe's podcast Cocaine and Rhinestones, season one of which has episodes on Haggard and Owens, as well as on the Louvin Brothers who I also mentioned earlier, and season two of which is entirely devoted to Jones. When he dropped out of Harvard after one semester, Parsons was still mostly under the thrall of the Greenwich Village folkies -- there's a recording of him made over Christmas 1965 that includes his version of "Another Side of This Life": [Excerpt: Gram Parsons, "Another Side of This Life"] But he was encouraged to go further in the country direction by John Nuese (and I hope that's the correct pronunciation – I haven't been able to find any recordings mentioning his name), who had introduced him to this music and who also played guitar. Parsons, Neuse, bass player Ian Dunlop and drummer Mickey Gauvin formed a band that was originally called Gram Parsons and the Like. They soon changed their name though, inspired by an Our Gang short in which the gang became a band: [Excerpt: Our Gang, "Mike Fright"] Shortening the name slightly, they became the International Submarine Band. Parsons rented them a house in New York, and they got a contract with Goldstar Records, and released a couple of singles. The first of them, "The Russians are Coming, The Russians are Coming" was a cover of the theme to a comedy film that came out around that time, and is not especially interesting: [Excerpt: The International Submarine Band, "The Russians are Coming, The Russians are Coming"] The second single is more interesting. "Sum Up Broke" is a song by Parsons and Neuse, and shows a lot of influence from the Byrds: [Excerpt: The international Submarine Band, "Sum Up Broke"] While in New York with the International Submarine Band, Parsons made another friend in the music business. Barry Tashian was the lead singer of a band called the Remains, who had put out a couple of singles: [Excerpt: The Remains, "Why Do I Cry?"] The Remains are now best known for having been on the bill on the Beatles' last ever tour, including playing as support on their last ever show at Candlestick Park, but they split up before their first album came out. After spending most of 1966 in New York, Parsons decided that he needed to move the International Submarine Band out to LA. There were two reasons for this. The first was his friend Brandon DeWilde, an actor who had been a child star in the fifties -- it's him at the end of Shane -- who was thinking of pursuing a musical career. DeWilde was still making TV appearances, but he was also a singer -- John Nuese said that DeWilde sang harmony with Parsons better than anyone except Emmylou Harris -- and he had recorded some demos with the International Submarine Band backing him, like this version of Buck Owens' "Together Again": [Excerpt: Brandon DeWilde, "Together Again"] DeWilde had told Parsons he could get the group some work in films. DeWilde made good on that promise to an extent -- he got the group a cameo in The Trip, a film we've talked about in several other episodes, which was being directed by Roger Corman, the director who worked a lot with David Crosby's father, and was coming out from American International Pictures, the company that put out the beach party films -- but while the group were filmed performing one of their own songs, in the final film their music was overdubbed by the Electric Flag. The Trip starred Peter Fonda, another member of the circle of people around David Crosby, and another son of privilege, who at this point was better known for being Henry Fonda's son than for his own film appearances. Like DeWilde, Fonda wanted to become a pop star, and he had been impressed by Parsons, and asked if he could record Parsons' song "November Nights". Parsons agreed, and the result was released on Chisa Records, the label we talked about earlier that had put out promos of Gene Clark, in a performance produced by Hugh Masekela: [Excerpt: Peter Fonda, "November Nights"] The other reason the group moved West though was that Parsons had fallen in love with David Crosby's girlfriend, Nancy Ross, who soon became pregnant with his daughter -- much to Parsons' disappointment, she refused to have an abortion. Parsons bought the International Submarine Band a house in LA to rehearse in, and moved in separately with Nancy. The group started playing all the hottest clubs around LA, supporting bands like Love and the Peanut Butter Conspiracy, but they weren't sounding great, partly because Parsons was more interested in hanging round with celebrities than rehearsing -- the rest of the band had to work for a living, and so took their live performances more seriously than he did, while he was spending time catching up with his old folk friends like John Phillips and Fred Neil, as well as getting deeper into drugs and, like seemingly every musician in 1967, Scientology, though he only dabbled in the latter. The group were also, though, starting to split along musical lines. Dunlop and Gauvin wanted to play R&B and garage rock, while Parsons and Nuese wanted to play country music. And there was a third issue -- which record label should they go with? There were two labels interested in them, neither of them particularly appealing. The offer that Dunlop in particular wanted to go with was from, of all people, Jay Ward Records: [Excerpt: A Salute to Moosylvania] Jay Ward was the producer and writer of Rocky & Bullwinkle, Peabody & Sherman, Dudley Do-Right and other cartoons, and had set up a record company, which as far as I've been able to tell had only released one record, and that five years earlier (we just heard a snippet of it). But in the mid-sixties several cartoon companies were getting into the record business -- we'll hear more about that when we get to song 186 -- and Ward's company apparently wanted to sign the International Submarine Band, and were basically offering to throw money at them. Parsons, on the other hand, wanted to go with Lee Hazlewood International. This was a new label set up by someone we've only talked about in passing, but who was very influential on the LA music scene, Lee Hazlewood. Hazlewood had got his start producing country hits like Sanford Clark's "The Fool": [Excerpt: Sanford Clark, "The Fool"] He'd then moved on to collaborating with Lester Sill, producing a series of hits for Duane Eddy, whose unique guitar sound Hazlewood helped come up with: [Excerpt: Duane Eddy, "Rebel Rouser"] After splitting off from Sill, who had gone off to work with Phil Spector, who had been learning some production techniques from Hazlewood, Hazlewood had gone to work for Reprise records, where he had a career in a rather odd niche, producing hit records for the children of Rat Pack stars. He'd produced Dino, Desi, and Billy, who consisted of future Beach Boys sideman Billy Hinsche plus Desi Arnaz Jr and Dean Martin Jr: [Excerpt: Dino, Desi, and Billy, "I'm a Fool"] He'd also produced Dean Martin's daughter Deana: [Excerpt: Deana Martin, "Baby I See You"] and rather more successfully he'd written and produced a series of hits for Nancy Sinatra, starting with "These Boots are Made for Walkin'": [Excerpt: Nancy Sinatra, "These Boots are Made for Walkin'"] Hazlewood had also moved into singing himself. He'd released a few tracks on his own, but his career as a performer hadn't really kicked into gear until he'd started writing duets for Nancy Sinatra. She apparently fell in love with his demos and insisted on having him sing them with her in the studio, and so the two made a series of collaborations like the magnificently bizarre "Some Velvet Morning": [Excerpt: Lee Hazlewood and Nancy Sinatra, "Some Velvet Morning"] Hazlewood is now considered something of a cult artist, thanks largely to a string of magnificent orchestral country-pop solo albums he recorded, but at this point he was one of the hottest people in the music industry. He wasn't offering to produce the International Submarine Band himself -- that was going to be his partner, Suzi Jane Hokom -- but Parsons thought it was better to sign for less money to a label that was run by someone with a decade-long string of massive hit records than for more money to a label that had put out one record about a cartoon moose. So the group split up. Dunlop and Gauvin went off to form another band, with Barry Tashian -- and legend has it that one of the first times Gram Parsons visited the Byrds in the studio, he mentioned the name of that band, The Flying Burrito Brothers, and that was the inspiration for the Byrds titling their album The Notorious Byrd Brothers. Parsons and Nuese, on the other hand, formed a new lineup of The International Submarine Band, with bass player Chris Ethridge, drummer John Corneal, who Parsons had first played with in The Legends, and guitarist Bob Buchanan, a former member of the New Christy Minstrels who Parsons had been performing with as a duo after they'd met through Fred Neil. The International Submarine Band recorded an album, Safe At Home, which is now often called the first country-rock album -- though as we've said so often, there's no first anything. That album was a mixture of cover versions of songs by people like Johnny Cash and Merle Haggard: [Excerpt: The International Submarine Band, "I Must Be Somebody Else You've Known"] And Parsons originals, like "Do You Know How It Feels To Be Lonesome?", which he cowrote with Barry Goldberg of the Electric Flag: [Excerpt: The International Submarine Band, "Do You Know How It Feels To Be Lonesome?"] But the recording didn't go smoothly. In particular, Corneal realised he'd been hoodwinked. Parsons had told him, when persuading him to move West, that he'd be able to sing on the record and that some of his songs would be used. But while the record was credited to The International Submarine Band, everyone involved agrees that it was actually a Gram Parsons solo album by any other name -- he was in charge, he wouldn't let other members' songs on the record, and he didn't let Corneal sing as he'd promised. And then, before the album could be released, he was off. The Byrds wanted a jazz keyboard player, and Parsons could fake being one long enough to get the gig. The Byrds had got rid of one rich kid with a giant ego who wanted to take control of everything and thought his undeniable talent excused his attempts at dominating the group, and replaced him with another one -- who also happened to be signed to another record label. We'll see how well that worked out for them in two weeks' time.
Today's podcast guest hails from Sacramento, California. She and Her Neon Stars Band began in 2008. and since then she's been bringing Western Swing and Honky Tonk to Northern California. As the Vice President of the Western Swing Society & Hall of Fame inductee, she passionately champions the preservation of this rich musical heritage. She Mae McCoy and she's Someone You Should Know.Click here to buy the host a cold one.Show Links:Click here to go to Mae's websiteClick here to go to Mae's Facebook pageClick here to go to Mae's InstagramClick here to go to Mae's YouTubeClick here to go to Mae's TikTokClick here to learn about the Western Swing SocietyClick here to go to the Western Swing Society Facebook pageAll music used by permission from the artistSomeone You Should Know 2024 // CatGotYourTongueStudios 2024How to Contact Us:Official Website: https://Someoneyoushouldknowpodcast.comGmail: Someoneyoushouldknowpodcast@gmail.comTwitter: @RIKANTHONY1Facebook: https://www.facebook.com/rikanthonyInstagram: https://www.instagram.com/someoneyoushouldknowpodcast/LinkedIn: https://www.linkedin.com/in/rik-anthony2019/TikTok: @SomeoneYouShouldKnow2023YouTube: https://www.youtube.com/@someoneyoushouldknowpodcastThank you for listening!Theme music "Welcome to the Show" by Kevin MacLeod was used per the standard license agreement.
Get your boots on and grab your partner for this two-step through singer Eric Diamond's country music career. He colourfully chronicles how performing in bars at 15 led to bands, Nashville connections and songwriting, then back home again before finding his footing on the Texas circuit. Diamond shares heartfelt stories of the legends who influenced him, from Bob Wills' western swing to Ray Price and Marty Robbins' honky tonk country, and the Texas greats he now calls friends. After persevering, awards, tours and a new album produced by an acclaimed Nashville musician have Diamond swinging and singing again. His love for western music shines through as he previews upcoming festivals, rodeos and his journey to make a new album in 2024. Two-step along to hear this genuine artist's tales from the road.
Mary Kaye Holt is a multiple award winning entertainer who tours extensively throughout the US and Canada.with her unique brand of Western Folk, Americana and Western Swing music. Mary Kaye talks about her musical journey which has brought her from Utah to Nashville.Support this podcast at — https://redcircle.com/songwriter-connection/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
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