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4 episodes with What Goes On
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2 episodes with What Goes On
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5 episodes with What Goes On
2 episodes with What Goes On
2 episodes with What Goes On
3 episodes with What Goes On
Send us a textIntro song: What Goes On by Sufjan Stevens40. Paperback WriterCover 1: Emmanuel SantarromanaCover 2: The Lil SmokiesCover 3: Freedom Fry39. Norwegian Wood (This Bird Has Flown)Cover 1: CircusCover 2: P.M. DawnCover 3: Colin Hay38. All You Need is LoveCover 1: Noel GallagherCover 2: Playing for ChangeCover 3: JJ Heller37. I've Just Seen a FaceCover 1: The DillardsCover 2: Holly ColeCover 3: The String Cheese Incident36. Hello, GoodbyeCover 1: Dwight TwilleyCover 2: Glee CastCover 3: The CureOutro song: Any Time At All by Bryan Adams
2025 af "What Goes On?" - dit forbugermagasin om nyt fra Beatles land ligger klar hos din lydpusher! Medvært er søren Mathiesen der med skrape øjne og grundige ører, guider rundt i de produkter han har stiftet bekendtskab med det seneste år. Og det er ikke småting. Selvom året ikke bragte nyt i den kendte "Beatles-remix af Giles Martin med outtakes"-serie, er der meget at glæde sig over. John Lennons familie har givet varme overtræk på diverse kreditkonti verden over med et ambitiøst "Mind Games" kunstværk, George Harrisons folk har valgt at mange ikke skal bruge for mange penge i "The Material World", Paul McCartney har genudgivet "Band On The Run" igen, igen, igen, igen, mens Ringo Starr topper den britiske country-chart. Og så er der jo lige en box med amerikanske albums at lytte sig igennem. I Mono. Uden bog. Med andre ord - der nok at tage stilling til. God fornøjelse!
After many years of invisibility, Peter Perrett of the Only Ones is out, about and on tour again and talks to us here about the first gigs he ever saw and played, which involves … … what time he goes to bed. … “he writes better lyrics than Elvis Costello and is prettier than Billy Idol”: why Nick Kent's review was an insult. … seeing the Small Faces in 1966, the Floyd with Syd at Middle Earth, Dylan at the Isle of Wight, Fairport Convention, Geno Washington, Lou Reed in 1972 (“a hero”), Sex Pistols in 1975. … the Ally Pally Love-In in 1967 with Pink Floyd, the Animals, Julie Driscoll and Arthur Brown (“doing Alice Cooper five years before Alice Cooper”). … supporting Global Village Trucking Company at the Marquee in 1975 with Glenn Tilbrook and Jools Holland. … memories of Vivienne Westwood, the Bromley Contingent and leopardskin vinyl trousers. … the first gig he ever played, doing the Velvet Underground's What Goes On with a four-string guitar at a college dance. … the tangled tale of Another Girl Another Planet. … “I never thought I'd retire at 28 and come back as a septuagenarian'. … the role reversal of being produced by your own son. … and how the Snow Station Vadsø festival in Norway – with Peter Buck, Lenny Kaye, Fritz Catlin and Mark Bedford – gave him the courage to go back on tour. Peter Perrett tour dates here:https://www.ticketmaster.co.uk/peter-perrett-tickets/artist/5238432 Order his new album The Cleansing here:https://www.amazon.co.uk/Cleansing-Peter-Perrett/dp/B0DB8VMBDLFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
After many years of invisibility, Peter Perrett of the Only Ones is out, about and on tour again and talks to us here about the first gigs he ever saw and played, which involves … … what time he goes to bed. … “he writes better lyrics than Elvis Costello and is prettier than Billy Idol”: why Nick Kent's review was an insult. … seeing the Small Faces in 1966, the Floyd with Syd at Middle Earth, Dylan at the Isle of Wight, Fairport Convention, Geno Washington, Lou Reed in 1972 (“a hero”), Sex Pistols in 1975. … the Ally Pally Love-In in 1967 with Pink Floyd, the Animals, Julie Driscoll and Arthur Brown (“doing Alice Cooper five years before Alice Cooper”). … supporting Global Village Trucking Company at the Marquee in 1975 with Glenn Tilbrook and Jools Holland. … memories of Vivienne Westwood, the Bromley Contingent and leopardskin vinyl trousers. … the first gig he ever played, doing the Velvet Underground's What Goes On with a four-string guitar at a college dance. … the tangled tale of Another Girl Another Planet. … “I never thought I'd retire at 28 and come back as a septuagenarian'. … the role reversal of being produced by your own son. … and how the Snow Station Vadsø festival in Norway – with Peter Buck, Lenny Kaye, Fritz Catlin and Mark Bedford – gave him the courage to go back on tour. Peter Perrett tour dates here:https://www.ticketmaster.co.uk/peter-perrett-tickets/artist/5238432 Order his new album The Cleansing here:https://www.amazon.co.uk/Cleansing-Peter-Perrett/dp/B0DB8VMBDLFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
After many years of invisibility, Peter Perrett of the Only Ones is out, about and on tour again and talks to us here about the first gigs he ever saw and played, which involves … … what time he goes to bed. … “he writes better lyrics than Elvis Costello and is prettier than Billy Idol”: why Nick Kent's review was an insult. … seeing the Small Faces in 1966, the Floyd with Syd at Middle Earth, Dylan at the Isle of Wight, Fairport Convention, Geno Washington, Lou Reed in 1972 (“a hero”), Sex Pistols in 1975. … the Ally Pally Love-In in 1967 with Pink Floyd, the Animals, Julie Driscoll and Arthur Brown (“doing Alice Cooper five years before Alice Cooper”). … supporting Global Village Trucking Company at the Marquee in 1975 with Glenn Tilbrook and Jools Holland. … memories of Vivienne Westwood, the Bromley Contingent and leopardskin vinyl trousers. … the first gig he ever played, doing the Velvet Underground's What Goes On with a four-string guitar at a college dance. … the tangled tale of Another Girl Another Planet. … “I never thought I'd retire at 28 and come back as a septuagenarian'. … the role reversal of being produced by your own son. … and how the Snow Station Vadsø festival in Norway – with Peter Buck, Lenny Kaye, Fritz Catlin and Mark Bedford – gave him the courage to go back on tour. Peter Perrett tour dates here:https://www.ticketmaster.co.uk/peter-perrett-tickets/artist/5238432 Order his new album The Cleansing here:https://www.amazon.co.uk/Cleansing-Peter-Perrett/dp/B0DB8VMBDLFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Label: Sundazed 201Year: 2009Condition: MPrice: $75.00Here's a beautiful, limited-edition box set honoring New York's legendary Velvet Underground. This new, sealed set includes all of the group's very rare 7" vinyl output in their original mono versions, featuring exact reproductions of the labels and, in two cases, with their original picture sleeves. The box set includes rare vintage photos and new liner notes by Rolling Stone's David Fricke. The Velvet Underground whose membership included Lou Reed, John Cale, Sterling Morrison, Maureen Tucker, Doug Yule and Nico introduced numerous sonic and thematic innovations that laid much of the groundwork for punk and alternative rock. Although they're now acknowledged as one of the most influential bands in rock history, during their existence the Velvets barely registered on mainstream radar, and were often reviled by mainstream observers as well as hippie-era arbiters of cool. But, as Fricke writes in the new set's liner notes, "Somewhere, in another rock & roll universe, the Velvet Underground are more than a legendary band. They are stars, with hit singles, the original seven-inch masterpieces inside this box." Although they never came close to scoring a hit, the Velvet Underground was ideally suited to the 7" single format. "The Velvet Underground were a great singles band," David Fricke notes, adding that the Velvets "invented modern rock with searing guitar distortion, throbbing improvisation and brutally realistic tales of life on the wild side. But they did it all in these classic pop songs�compact miracles of raw drive, intimate beauty and Top 40 ecstasy, heard again in the original, thrilling mono single mixes." The seven singles included in The Velvet Underground Singles 1966�69 comprise the four Velvets singles originally released in the U.S. on the Verve and MGM labels, plus an additional pair of singles that were prepared for release but never made it to the marketplace and a special radio-only promotional single. The singles feature alternate mono versions that differ in significant ways from the songs' better-known stereo album versions. For instance, the band's 1966 debut single "All Tomorrow's Parties" appears here in a special mono edit that amplifies the song's melodic beauty and sonic tension, and a mono mix of their sophomore single "Sunday Morning" emphasizes the song's haunting quality. Meanwhile, the mono single version of "White Light/White Heat" exemplifies the vintage Velvets' stark, distortion-laden fury, while a mono edit of "What Goes On" accentuates that song's inherent pop jangle. Here is a listing of the included singles: All Tomorrow's Parties / I'll Be Your Mirror—Verve VK-10427 Sunday Morning / Femme Fatale—Verve VK-10466 White Light/White Heat / Here She Comes Now—Verve VK-10560 White Light/White Heat / I Heard Her Call My Name—Cancelled single Temptation Inside Your Heart / Stephanie Says—Cancelled single What Goes On / Jesus—MGM K-14057 VU Radio Spot / VU Radio Spot—MGM VU-1
Do you have a crush or feelings for someone? How can you tell if what you're feeling is love or infatuation? Over time, a simple crush can develop into new territory – something between a crush but not yet love. So, what's the difference between love and a crush? Let's find out! Want to know the difference between lust and love? We have a video on that too: https://youtu.be/Hf08GRUtjRM Writer: Sara Del Villar Script Editor: Vanessa Tao Script Manager: Kelly Soong Voice: Mithrilda Animator: sarimopi ( https://www.instagram.com/sarimopi/ ) YouTube Manager: Cindy Cheong References: Aron, A., Fisher, H., Mashek, D. J., Strong, G., Li, H., & Brown, L. L. (2005). Reward, motivation, and emotion systems associated with early-stage intense romantic love. Journal of neurophysiology, 94(1), 327–337. doi.org/10.1152/jn.00838.2004 Berridge, K. C., Robinson, T. E., & Aldridge, J. W. (2009). Dissecting components of reward: ‘liking', ‘wanting', and learning. Current opinion in pharmacology, 9(1), 65–73. doi.org/10.1016/j.coph.2008.12.014 Fisher, H. E., Xu, X., Aron, A., & Brown, L. L. (2016). Intense, Passionate, Romantic Love: A Natural Addiction? How the Fields That Investigate Romance and Substance Abuse Can Inform Each Other. Frontiers in psychology, 7, 687. doi.org/10.3389/fpsyg.2016.00687 Gram, C. (2020, March 28). 10 Fundamental Differences Between Having a Crush and Love. Poler Stuff. www.polerstuff.com/crush-vs-love/. Hasa, H. (2020, October 21). What is the Difference Between Crush and Love. Pediaa.Com. pediaa.com/what-is-the-difference-between-crush-and-love/. Kaushik, N. (2011, April 18). Difference Between Crush and Love. Difference Between Similar Terms and Objects. www.differencebetween.net/science/nature/difference-between-crush-and-love/. Naftulin, J. (2018, December 4). Here's why you develop crushes, according to science. Insider. www.insider.com/reasons-for-crushes-science-2018-11. Rubin, E. (2018, May 23). This Is The Scientific Reason Why It's So Fun To Have A Crush On Someone. Elite Daily. www.elitedaily.com/p/this-is-the-scientific-reason-crushes-are-so-fun-to-have-8949278. Steber, C. (2020, February 24). How Your Brain Reacts When You Have A Crush On Someone. Bustle. www.bustle.com/p/how-your-brain-reacts-when-you-have-a-crush-on-someone-21813202. Wu, K., & Adhikary, T. (2020, June 19). Love, Actually: The science behind lust, attraction, and companionship. Science in the News. sitn.hms.harvard.edu/flash/2017/love-actually-science-behind-lust-attraction-companionship/. Xu, X. (2017, July 19). What Goes On in Our Brains When We Are in Love? Scientific American. www.scientificamerican.com/article/what-goes-on-in-our-brains-when-we-are-in-love/.
SingerSongwriterGuitarist Robert LaRoche, began performing professionally at age 15.Originally from Holyoke, Massachusetts, LaRoche formed Power Pop sensations The Sighs in 1982.After 10 years of touring the collegeclub circuit of New England, the Sighs were signed to Virgin Records and released their debut cd “What Goes On” in 1992.The disc received fantastic reviews and the single “Think About Soul” was a staple on “Modern Rock” radio charts throughout the Summer of 1992.The band toured America extensively with such acts as The Spin Doctors and The Gin Blossoms.Their second release “Different” was released in 1995 on NYC indie label Big Deal Records.The band disbanded in 1996 and LaRoche moved on to his next career as lead guitarist and co-writer for Austin, Texas singer Patricia Vonne.Miss Vonne has released seven critically acclaimed cd's on the independent label Bandolera Records, and has toured Europe numerous times where they have built a loyal and ever growing fan base.LaRoche and Vonne have also performed at the prestigious Montreux Jazz Festival in 2013, where they were awarded the critics pick for “Best Live Performance”In September of 2015, Robert released his solo debut cd entitled “Patient Man”.Recorded in Austin, Texas with producer Darin Murphy, the eleven track disc sparkles with gorgeous Everly Brother style harmonies and a finely tuned pop sensibility.LaRoche's song craft is based firmly in American roots music.Influenced by Buddy Holly, Del Shannon, and the aforementioned Everly Brothers, each track on LaRoche's “Patient Man” is filled with endlessly memorable hooks, bathed in a warm and honest production.The Sighs regrouped in the Summer Of 2016 to record for the first time in two decades. The subsequent release Wait On Another Day came out on NYC indie label Omad Records In November 2017. The disc received glowing reviews internationally.In July 2019, Austin singer-songwriter LaRoche released “A Thousand Shades”. This six song EP is bursting with irresistible hooks and LaRoche's signature harmonies and mesmerizing vocals. Backed by many of Austin's top Musicians, “A Thousand Shades” takes the listener on a journey of love and heartbreak, with a silver lining of redemption.In September 2023, LaRoche will released his new 10 song Cd “Forevermore” Produced by Oscar winning songwriter John DeNicola. https://robertlarochemusic.com
Singles Going Around- Real Cool TimeSide AJames Burton- "Rock and Raunch"The Velvet Underground- "What Goes On"Elvis Presley- "Wearin' That Loved On Look"Led Zeppelin- "Gallows Pole"Sir Douglas Band- "Nitty Gritty"The Rolling Stones- "Stop Breaking Down"Sonny & Cher- "Because Your Mine"Neil Young- "C'mon Baby, Let's Go Downtown"Side BPlastic Ono Band- "Hold On John"James Burton- "Long Peach"T. Rex- Country Honey"Otis Redding- "Don't Mess With Cupid"Paul McCartney- "Eat At Home"Tony Joe White- "Woodpecker"Chuck Berry- "My Ding-A-Ling"Cream- "Doin That Scrapyard Thing"The MC5- "Kick Out The Jams"The Stooges- "Real Cool Time"
Episode 77 starts with a dive into Ringo's role as the original Beatle to bring Indian music to the band before we discuss breweries appropriating rockstars visages, teaching Scotty how to drink beer from a bottle, THC beverages, Cheech as the go-getter of the duo, when the Beatles were all by themselves, probably a little too much Jawbreaker talk, RB throwing a middle eight in to make a Beatles song better, Scotty coming out late with this a sleeper fave, and the questionable Ringo sung "What Goes On."As always, you can find Team Blotto Beatles on Instagram (@blottobeatles) and Twitter (@blottobeatles), by emailing us (blottobeatles@gmail.com), or on the web (blottobeatles.com). We want to hear from you!Please also take the time to rate and review us on Apple podcasts or wherever you get your podcasts.We have a shop! Grab some merch. You can always drunk dial us at 1.857.233.9793 to share your thoughts, feedback, confessions, and concerns and to be featured in an upcoming episode. Enjoying the show? Buy us a beer via the tip jar (don't forget to include a message telling us what we should drink with the money).You know we're making a list of it, see the canonical, argument-ending list of Beatles songs we are assembling here: https://www.blottobeatles.com/list & listen to it on Spotify here.Please remember to always enjoy Blotto Beatles responsibly.Peace and Love.Hosts: Becker and TommyExecutive Producer: Scotty C.Musical Supervisor: RB (@ryanobrooks)Associate Musical Supervision: Tim Clark (@nodisassemble)#PeteBestGetThatCheck
Singles Going Around- Steel Guitar EngagementFor this episode of the podcast; we mix it up a little.The Beatles- "What Goes On"The Byrds- "Satisfied Mind"Johnny Cash- "Mama You Been On My Mind"Bob Dylan- "All Along The Watchtower"The Monkees- "What Am I Doing Hanging 'Round"The International Submarine Band- "Do You Know How It Feels To Be Lonesome?"The Band- "Rockin' Chair"Creedence Clearwater Revival- "Don't Look Now"Flying Burrito Brothers- "Wheels"Willie Nelson- "Pick Up The Tempo"Leon Redbone- "Sweet Mama Hurry Home"The Monkees- "You Just May Be The One"The Byrds- "One Hundred Years From Now"J.J. Cale- "Clyde"The Beatles- "Rocky Racoon"The Rolling Stones- "Let It Bleed"*All selections from the original records.
WEEKLY WISDOM & INSIGHTS 12/20/23 SPIRITUALLY GUIDED TRANSFORMATION & EMPOWERMENT MAIN THEMES OF:
Hosts Jim DeRogatis and Greg Kot review Sly Stone's memoir and revisit an interview with Family Stone members Jerry Martini and Cynthia Robinson. They also review new albums from The Feelies and Robert Finley. Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:Sly and the Family Stone, "Everyday People," Stand!, Epic, 1969The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967Robert Finley, "Waste of Time," Black Bayou, Easy Eye, 2023Robert Finley, "What Goes Around (Comes Around)," Black Bayou, Easy Eye, 2023Robert Finley, "Nobody Wants To Be Lonely," Black Bayou, Easy Eye, 2023Robert Finley, "Gospel Blues," Black Bayou, Easy Eye, 2023The Feelies, "Oh! Sweet Nuthin'," Some Kinda Love: The Feelies Performing the Music of the Velvet Underground, Bar None, 2023The Feelies, "What Goes On," Some Kinda Love: The Feelies Performing the Music of the Velvet Underground, Bar None, 2023The Feelies, "All Tomorrow's Parties," Some Kinda Love: The Feelies Performing the Music of the Velvet Underground, Bar None, 2023The Feelies, "I'm Waiting For the Man," Some Kinda Love: The Feelies Performing the Music of the Velvet Underground, Bar None, 2023Sly and the Family Stone, "I Ain't Got Nobody (For Real)," Dance To The Music, Epic, 1968Sly and the Family Stone, "Advice," A Whole New Thing, Epic, 1967Sly and the Family Stone, "I Hate To Love Her," A Whole New Thing, Epic, 1967Ike and Tina Turner, "Bold Soul Sister," The Hunter, Blue Thumb, 1969Sly and the Family Stone, "Dance To The Music," Dance To The Music, Epic, 1968The Roots, "Star/Pointro," The Tipping Point, Geffen, 2004Sly and the Family Stone, "Thank You (Falettinme Be Mice Elf Agin)," Thank You (Falettinme Be Mice Elf Agin) (Single), Epic, 1969Bobby Freeman, "C'mon and Swim," C'mon and Swim (Single), Autumn, 1964Sly and the Family Stone, "Family Affair," There's A Riot Goin' On, Epic, 1971Sly and the Family Stone, "Hot Fun in the Summertime," Hot Fun in the Summertime (Single), Epic, 1969Sly and the Family Stone, "Thank You For Talking To Me Africa," There's A Riot Goin' On, Epic, 1971Sly and the Family Stone, "Brave and Strong," There's A Riot Goin' On, Epic, 1971Sly and the Family Stone, "You Can Make It If You Try (Live)," Stand!, Epic, 1969Sly and the Family Stone, "We Love All," Dance To The Music (2007 version), Epic, 1968Sly and the Family Stone, "Color Me True," Dance To The Music (Single), Epic, 1968Lou Reed, "Walk on the Wild Side," Transformer, RCA, 1972See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Singles Going Around- Operation Retrieve- Mono Beatles Volume One"Act Naturally" (T 2553)"Nowhere Man" (T 2553)We Can Work It Out" (T 2553)"Day Tripper" (T 2553)"I've Just Seen A Face" (T 2442)"It's Only Love" (T 2442)"Think For Yourself" (T 2442)"Michelle" (T 2442)"I Want To Tell You" (T 2576)"Got To Get You Into My Life" (T 2576)"Tomorrow Never Knows" (T 2576)"I'm Only Sleeping" (T 2553) *"Doctor Robert" (T 2553) *"And Your Bird Can Sing" (T 2553) *"You Won't See Me" (T 2442)"Wait" (T 2442)"Good Day Sunshine" (T 2576)"Getting Better" (MAS 2653)"When I'm Sixty Four" (MAS 2653)"Lovely Rita" (MAS 2653)"Good Morning, Good Morning" (MAS 2653)"What Goes On?" (T 2553)"Sgt Pepper's Lonely Heart Club Band (Reprise) (MAS 2653)"A Day In The Life" (MAS 2653)* These mono mixes from Yesterday and Today are different from those used on the mono mixes from Revolver.
Singles Going Around- Rag And BoneThe Beatles- "Getting Better" (SMAS 2653)The Yardbirds- "Smokestack Lightning" (LN 24246)Tommy James & The Shondells- "Gotta Get Back To You" (R 7071)The Raconteurs- "Hey Gyp (Dig The Slowness)" (TMR 600)Donovan- "Hurdy Gurdy Man" (BXN 26439)The Beach Boys- "Your So Good To Me" (T 2354)The Rolling Stones- "Mona" (LK 4605)Howlin Wolf- "You'll Be Mine" (DOL 929HG)AC/DC- "Dog Eat Dog" (E 80203)The Monkees- "Tomorrow's Gonna Be Another Day" (COM 101)The Detroit Cobras- "Stupidity" (TMR 372)Van Morrison- "Call Me Up In Dreamland" (RDV1 1884)Sonny & Cher- "The Letter" (ATCO 33-177)Neil Young & Crazy Horse- "Prisoners Of Rock & Roll" (GHS 24154)The Beatles- "What Goes On" (T 2553)Flat Duo Jets- "You Belong To Me" (TMR 059)Led Zepplin- "The Lemon Song" (ATL 8122796640)The White Stripes- "Catch Hell Blues" (TMR 500)The Rolling Stones- "I'm Free" (LON 9792)*All songs from records listed.
It's The Night Before the Open Championship, and the LLG gang is ready to Get Back to it. It's been a busy couple of weeks in pro golf, and The Things We Said Today include a discussion of the return of Jay Monahan to his job as the nominal head of the PGA Tour. But the Nowhere Man has yet to be seen in Merseyside this week.Duffer, OTP Lefty, and JScore touch on the performance of The Fools on the (Capitol) Hill sent in Jay's place, Jimmy Dunne and and Ron Price. Dick Blumenthal's main line of inquiry: Tell Me Why the deal had to be with the Saudis. The obvious answer, of course, is Money (That's What They Want). Jimmy and Ron had little to say about the terms of the deal before the deal, other than We Can Work it Out later. The DOJ will certainly have its say about What Goes On, as will the Taxman when it comes to dealing with the 501(c)(6) issues.As for the Open, as usual, everybody's talking about Little Lord McIlroy, who's fresh off his win at the Scottish Open. But I've Got a Feeling you know what the gang thinks of Rory's chances of winning. Baby You're a Rich Man, but you won't be a winner at Hoylake, Not a Second Time. He and his many media fanboys will just have to Wait until next year, just like they've been doing for 8+ years now.The End.
Train of Thought is a podcast hosted by Rob Tobias focusing on culture, music, interviews and society. RINGO STARR is the theme for this show. It features comments and some of Ringo's greatest hits. Songs include: BOYS, WHAT GOES ON, I WANNA BE YOUR MAN, ACT NATURALLY, YELLOW SUBMARINE, DON'T PASS ME BY, OCTOPUS'S GARDEN, WITH A LITTLE HELP FROM MY FRIENDS, IT DON'T COME EASY, PHOTOGRAPH, and I'M THE GREATEST. Comments, questions and suggestions for interviews send an email to rob@robtobias.com HOME PAGE: https://robtobias.com TRAIN OF THOUGHT podcast: https://soundcloud.com/robtobias ROB TOBIAS VIDEOS: https://www.youtube.com/robtobiasvideos BANDCAMP: https://robtobias.bandcamp.com/ REVERBNATION: https://reverbnation.com/robtobiasandthenorthwestexpress
Elsker The Beatles er tilbage med sit helt eget forbrugermagasin. I "What Goes On? - Januar ´23 edition" - anmelder medvært Søren Mathiesen og Niels Harild Beatles-relaterede udgivelser fra 2022. Bl.a. "Revolver" super deluxe-boxen, McCartneys 80 - single box, en EP med en frygtelig medley, Ringos EP3 - med Bossa Nova, og John Lennons Super Deluxe Edition af "Some Time In New York City"....... Nå nej. "What Goes On" er Danmarks klart bedste podcast-anmelder-magasin om The Beatles og med Søren Mathiesen på broen, kan du være sikker på at få det det gode råd, der styrer dig mod det rette Beatles-køb.
Beau Beery has been in the commercial real estate business in Florida since 1999 after he decided in his early 20s that having a successful career as a personal trainer was less likely to help him achieve his life goals. Beau has a Bachelor's degree in Marketing and a Master's in Real Estate from the University of Florida. He has also earned the Certified Commercial Investment Member (CCIM) designation in just a few short years working in commercial real estate. [00:01 - 11:25] Current Market Situation Beau shares about his current portfolio and deals Interest rates may be affected by current elections Hiring someone who hasn't learned the bad habits of the trade Anticipating higher interest rates in the coming year [11:26 - 17:10] What Goes On in a Typical Call Getting fined when you call someone on a “Do Not Call List” Register your business to the government and register for exemption Establishing rapport from the get go Prepare before every call [17:11 - 25:54] Looking at Rising Interest Rates Buyers have to pay higher equity Most brokers don't solve for cap rates but for cash on cash returns A lot of people prefer having 7-8% on their cash on cash [25:55 - 32:05] Buying Trends for Buyers Now A lot of new buyers ask sellers if they do seller financing There is a sudden spike in interest rates Investors should be cautious of their reputation [32:05 - 42:32] Spike in Insurance Premiums All properties are now considered postal Insurance premiums are rising in a very fast rate Liabilities on coverage on properties are skyrocketing Don't be a lazy buyer [42:33 - 43:43] Closing Segment If you are interested in my coaching and consulting program, please email me at shane@shanemelanson.com. I want to make sure to cater to those interested, so please use the word “coaching” on the body or subject line. You can also follow me on Linkedin and Twitter. If you want to go even deeper into the world of commercial real estate, head over to Shane Melanson, a roadmap to investing in commercial real estate! Get my book Club Syndication - How The Wealthy Invest Their Money. LEAVE A REVIEW + help someone invest in commercial real estate with confidence by sharing this episode or clicking here to listen to our previous episodes. Follow The Investing Podcast on all Streaming platforms. Deezer, Apple Podcasts, Google Podcasts, Spotify, or visit our YouTube Channel. Tweetable Quote: “An investor going into this,should be very cautious of their own reputation going into contract on something and thinking they can retrain later on as if they didn't know this was coming.” - Beau Beery
The world cup to end all world cups continues, with What Goes On, I Want to Tell You, All My Loving, and Hello Goodbye taking to the pitch. Which one is beautifully off-kilter, and which one was hijacked by a random Aussie TV talent show host? Most importantly, which one makes it through to the next round??
Episode one hundred and forty-two of A History of Rock Music in Five Hundred Songs looks at “God Only Knows" by the Beach Boys, and the creation of the Pet Sounds album. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Sunny" by Bobby Hebb. 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 There is no Mixcloud this week, because there were too many Beach Boys songs in the episode. I used many resources for this episode, most of which will be used in future Beach Boys episodes too. It's difficult to enumerate everything here, because I have been an active member of the Beach Boys fan community for twenty-four years, and have at times just used my accumulated knowledge for this. But the resources I list here are ones I've checked for specific things. Stephen McParland has published many, many books on the California surf and hot-rod music scenes, including several on both the Beach Boys and Gary Usher. His books can be found at https://payhip.com/CMusicBooks Andrew Doe's Bellagio 10452 site is an invaluable resource. Jon Stebbins' The Beach Boys FAQ is a good balance between accuracy and readability. And Philip Lambert's Inside the Music of Brian Wilson is an excellent, though sadly out of print, musicological analysis of Wilson's music from 1962 through 67. I have also referred to Brian Wilson's autobiography, I Am Brian Wilson, and to Mike Love's, Good Vibrations: My Life as a Beach Boy. For material specific to Pet Sounds I have used Kingsley Abbot's The Beach Boys' Pet Sounds: The Greatest Album of the Twentieth Century and Charles L Granata's I Just Wasn't Made For These Times: Brian Wilson and the Making of Pet Sounds. I also used the 126-page book The Making of Pet Sounds by David Leaf, which came as part of the The Pet Sounds Sessions box set, which also included the many alternate versions of songs from the album used here. Sadly both that box set and the 2016 updated reissue of it appear currently to be out of print, but either is well worth obtaining for anyone who is interested in how great records are made. Of the versions of Pet Sounds that are still in print, this double-CD version is the one I'd recommend. It has the original mono mix of the album, the more recent stereo remix, the instrumental backing tracks, and live versions of several songs. As a good starting point for the Beach Boys' music in general, I would recommend this budget-priced three-CD set, which has a surprisingly good selection of their material on it. The YouTube drum tutorial I excerpted a few seconds of to show a shuffle beat is here. Transcript We're still in the run of episodes that deal with the LA pop music scene -- though next week we're going to move away from LA, while still dealing with a lot of the people who would play a part in that scene. But today we're hitting something that requires a bit of explanation. Most artists covered in this podcast get one or at the most two episodes. Some get slightly more -- the major artists who are present for many revolutions in music, or who have particularly important careers, like Fats Domino or the Supremes. And then there are a few very major artists who get a lot more. The Beatles, for example, are going to get eight in total, plus there will be episodes on some of their solo careers. Elvis has had six, and will get one more wrap-up episode. This is the third Beach Boys episode, and there are going to be three more after this, because the Beach Boys were one of the most important acts of the decade. But normally, I limit major acts to one episode per calendar year of their career. This means that they will average at most one episode every ten episodes, so while for example the episodes on "Mystery Train" and "Heartbreak Hotel" came close together, there was then a reasonable gap before another Elvis episode. This is not possible for the Beach Boys, because this episode and the next two Beach Boys ones all take place over an incredibly compressed timeline. In May 1966, they released an album that has consistently been voted the best album ever in polls of critics, and which is certainly one of the most influential even if one does not believe there is such a thing as a "best album ever". In October 1966 they released one of the most important singles ever -- a record that is again often considered the single best pop single of all time, and which again was massively influential. And then in July 1967 they released the single that was intended to be the lead-off single from their album Smile, an album that didn't get released until decades later, and which became a legend of rock music that was arguably more influential by *not* being released than most records that are released manage to be. And these are all very different stories, stories that need to be told separately. This means that episode one hundred and forty-two, episode one hundred and forty-six, and episode one hundred and fifty-three are all going to be about the Beach Boys. There will be one final later episode about them, too, but the next few months are going to be very dominated by them, so I apologise in advance for that if that's not something you're interested in. Though it also means that with luck some of these episodes will be closer to the shorter length of podcast I prefer rather than the ninety-minute mammoths we've had recently. Though I'm afraid this is another long one. When we left the Beach Boys, we'd just heard that Glen Campbell had temporarily replaced Brian Wilson on the road, after Wilson's mental health had finally been unable to take the strain of touring while also being the group's record producer, principal songwriter, and leader. To thank Campbell, who at this point was not at all well known in his own right, though he was a respected session guitarist and had released a few singles, Brian had co-written and produced "Guess I'm Dumb" for him, a track which prefigured the musical style that Wilson was going to use for the next year or so: [Excerpt: Glen Campbell, "Guess I'm Dumb"] It's worth looking at "Guess I'm Dumb" in a little detail, as it points the way forward to a lot of Wilson's songwriting over the next year. Firstly, of course, there are the lyrical themes of insecurity and of what might even be descriptions of mental illness in the first verse -- "the way I act don't seem like me, I'm not on top like I used to be". The lyrics are by Russ Titelman, but it's reasonable to assume that as with many of his collaborations, Brian brought in the initial idea. There's also a noticeable change in the melodic style compared to Wilson's earlier melodies. Up to this point, Wilson has mostly been writing what get called "horizontal" melody lines -- ones with very little movement, and small movements, often centred on a single note or two. There are exceptions of course, and plenty of them, but a typical Brian Wilson melody up to this point is the kind of thing where even I can hit the notes more or less OK -- [sings] "Well, she got her daddy's car and she cruised through the hamburger stand now". It's not quite a monotone, but it's within a tight range, and you don't have to move far from one note to another. But "Guess I'm Dumb" is incorporating the influence of Roy Orbison, and more obviously of Burt Bacharach, and it's *ludicrously* vertical, with gigantic leaps all over the place, in places that are not obvious. It requires the kind of precision that only a singer like Campbell can attain, to make it sound at all natural: [Excerpt: Glen Campbell, "Guess I'm Dumb"] Bacharach's influence is also noticeable in the way that the chord changes are very different from those that Wilson was using before. Up to this point, when Wilson wrote unusual chord changes, it was mostly patterns like "The Warmth of the Sun", which is wildly inventive, but mostly uses very simple triads and sevenths. Now he was starting to do things like the line "I guess I'm dumb but I don't care", which is sort of a tumbling set of inversions of the same chord that goes from a triad with the fifth in the bass, to a major sixth, to a minor eleventh, to a minor seventh. Part of the reason that Brian could start using these more complex voicings was that he was also moving away from using just the standard guitar/bass/drums lineup, sometimes with keyboards and saxophone, which had been used on almost every Beach Boys track to this point. Instead, as well as the influence of Bacharach, Wilson was also being influenced by Jack Nitzsche's arrangements for Phil Spector's records, and in particular by the way Nitzsche would double instruments, and have, say, a harpsichord and a piano play the same line, to create a timbre that was different from either individual instrument. But where Nitzsche and Spector used the technique along with a lot of reverb and overdubbing to create a wall of sound which was oppressive and overwhelming, and which obliterated the sounds of the individual instruments, Wilson used the same instrumentalists, the Wrecking Crew, to create something far more delicate: [Excerpt: Glen Campbell, "Guess I'm Dumb (instrumental and backing vocals)"] Campbell does such a good job on "Guess I'm Dumb" that one has to wonder what would have happened if he'd remained with the Beach Boys. But Campbell had of course not been able to join the group permanently -- he had his own career to attend to, and that would soon take off in a big way, though he would keep playing on the Beach Boys' records for a while yet as a member of the Wrecking Crew. But Brian Wilson was still not well enough to tour. In fact, as he explained to the rest of the group, he never intended to tour again -- and he wouldn't be a regular live performer for another twelve years. At first the group were terrified -- they thought he was talking about quitting the group, or the group splitting up altogether. But Brian had a different plan. From that point on, there were two subtly different lineups of the group. In the studio, Brian would sing his parts as always, but the group would get a permanent replacement for him on tour -- someone who could replace him on stage. While the group was on tour, Brian would use the time to write songs and to record backing tracks. He'd already started using the Wrecking Crew to add a bit of additional musical colour to some of the group's records, but from this point on, he'd use them to record the whole track, maybe getting Carl to add a bit of guitar as well if he happened to be around, but otherwise just using the group to provide vocals. It's important to note that this *was* a big change. A lot of general music history sources will say things like "the Beach Boys never played on their own records", and this is taken as fact by people who haven't investigated further. In fact, the basic tracks for all their early hits were performed by the group themselves -- "Surfin'", "Surfin' Safari", "409", "Surfer Girl", "Little Deuce Coupe", "Don't Worry Baby" and many more were entirely performed by the Beach Boys, while others like "I Get Around" featured the group with a couple of additional musicians augmenting them. The idea that the group never played on their records comes entirely from their recordings from 1965 and 66, and even there often Carl would overdub a guitar part. And at this point, the Beach Boys were still playing on the majority of their recordings, even on sophisticated-sounding records like "She Knows Me Too Well", which is entirely a group performance other than Brian's friend, Russ Titelman, the co-writer of "Guess I'm Dumb", adding some percussion by hitting a microphone stand with a screwdriver: [Excerpt: The Beach Boys, "She Knows Me Too Well"] So the plan to replace the group's instrumental performances in the studio was actually a bigger change than it might seem. But an even bigger change was the live performances, which of course required the group bringing in a permanent live replacement for Brian. They'd already tried this once before, when he'd quit the road for a while and they'd brought Al Jardine back in, but David Marks quitting had forced him back on stage. Now they needed someone to take his place for good. They phoned up their friend Bruce Johnston to see if he knew anyone, and after suggesting a couple of names that didn't work out, he volunteered his own services, and as of this recording he's spent more than fifty years in the band (he quit for a few years in the mid-seventies, but came back). We've seen Johnston turn up several times already, most notably in the episode on "LSD-25", where he was one of the musicians on the track we looked at, but for those of you who don't remember those episodes, he was pretty much *everywhere* in California music in the late fifties and early sixties. He had been in a band at school with Phil Spector and Sandy Nelson, and another band with Jan and Dean, and he'd played on Nelson's "Teen Beat", produced by Art Laboe: [Excerpt: Sandy Nelson, "Teen Beat"] He'd been in the house band at those shows Laboe put on at El Monte stadium we talked about a couple of episodes back, he'd been a witness to John Dolphin's murder, he'd been a record producer for Bob Keane, where he'd written and produced songs for Ron Holden, the man who had introduced "Louie Louie" to Seattle: [Excerpt: Ron Holden, "Gee But I'm Lonesome"] He'd written "The Tender Touch" for Richard Berry's backing group The Pharaos, with Berry singing backing vocals on this one: [Excerpt: The Pharaos, "The Tender Touch"] He'd helped Bob Keane compile Ritchie Valens' first posthumous album, he'd played on "LSD-25" and "Moon Dawg" by the Gamblers: [Excerpt: The Gamblers, "Moon Dawg"] He'd arranged and produced the top ten hit “Those Oldies but Goodies (Remind Me of You)” for Little Caesar and the Romans: [Excerpt Little Caesar and the Romans, "Those Oldies but Goodies (Remind Me of You)"] Basically, wherever you looked in the LA music scene in the early sixties, there was Bruce Johnston somewhere in the background. But in particular, he was suitable for the Beach Boys because he had a lot of experience in making music that sounded more than a little like theirs. He'd made cheap surf records as the Bruce Johnston Surfing Band: [Excerpt: Bruce Johnston, "The Hamptons"] And with his long-time friend and creative partner Terry Melcher he had, as well as working on several Paul Revere and the Raiders records, also recorded hit Beach Boys soundalikes both as their own duo, Bruce and Terry: [Excerpt: Bruce and Terry, "Summer Means Fun"] and under the name of a real group that Melcher had signed, but who don't seem to have sung much on their own big hit, the Rip Chords: [Excerpt: The Rip Chords, "Hey Little Cobra"] Johnston fit in well with the band, though he wasn't a bass player before joining, and had to be taught the parts by Carl and Al. But he's probably the technically strongest musician in the band, and while he would later switch to playing keyboards on stage, he was quickly able to get up to speed on the bass well enough to play the parts that were needed. He also wasn't quite as strong a falsetto singer as Brian Wilson, as can be heard by listening to this live recording of the group singing "I Get Around" in 1966: [Excerpt: The Beach Boys, "I Get Around (live 1966)"] Johnston is actually an excellent singer -- and can still hit the high notes today. He sings the extremely high falsetto part on "Fun Fun Fun" at the end of every Beach Boys show. But his falsetto was thinner than Wilson's, and he also has a distinctive voice which can be picked out from the blend in a way that none of the other Beach Boys' voices could -- the Wilson brothers and Mike Love all have a strong family resemblance, and Al Jardine always sounded spookily close to them. This meant that increasingly, the band would rearrange the vocal parts on stage, with Carl or Al taking the part that Brian had taken in the studio. Which meant that if, say, Al sang Brian's high part, Carl would have to move up to sing the part that Al had been singing, and then Bruce would slot in singing the part Carl had sung in the studio. This is a bigger difference than it sounds, and it meant that there was now a need for someone to work out live arrangements that were different from the arrangements on the records -- someone had to reassign the vocal parts, and also work out how to play songs that had been performed by maybe eighteen session musicians playing French horns and accordions and vibraphones with a standard rock-band lineup without it sounding too different from the record. Carl Wilson, still only eighteen when Brian retired from the road, stepped into that role, and would become the de facto musical director of the Beach Boys on stage for most of the next thirty years, to the point that many of the group's contracts for live performances at this point specified that the promoter was getting "Carl Wilson and four other musicians". This was a major change to the group's dynamics. Up to this point, they had been a group with a leader -- Brian -- and a frontman -- Mike, and three other members. Now they were a more democratic group on stage, and more of a dictatorship in the studio. This was, as you can imagine, not a stable situation, and was one that would not last long. But at first, this plan seemed to go very, very well. The first album to come out of this new hybrid way of working, The Beach Boys Today!, was started before Brian retired from touring, and some of the songs on it were still mostly or solely performed by the group, but as we heard with "She Knows Me Too Well" earlier, the music was still more sophisticated than on previous records, and this can be heard on songs like "When I Grow Up to Be a Man", where the only session musician is the harmonica player, with everything else played by the group: [Excerpt: The Beach Boys, "When I Grow Up to Be a Man"] But the newer sophistication really shows up on songs like "Kiss Me Baby", where most of the instrumentation is provided by the Wrecking Crew -- though Carl and Brian both play on the track -- and so there are saxophones, vibraphones, French horn, cor anglais, and multiple layers of twelve-string guitar: [Excerpt: The Beach Boys, "Kiss Me Baby"] Today had several hit singles on it -- "Dance, Dance, Dance", "When I Grow Up to be a Man", and their cover version of Bobby Freeman's "Do You Wanna Dance?" all charted -- but the big hit song on the album actually didn't become a hit in that version. "Help Me Ronda" was a piece of album filler with a harmonica part played by Billy Lee Riley, and was one of Al Jardine's first lead vocals on a Beach Boys record -- he'd only previously sung lead on the song "Christmas Day" on their Christmas album: [Excerpt: The Beach Boys, "Help Me Ronda"] While the song was only intended as album filler, other people saw the commercial potential in the song. Bruce Johnston was at this time still signed to Columbia records as an artist, and wasn't yet singing on Beach Boys records, and he recorded a version of the song with Terry Melcher as a potential single: [Excerpt: Bruce and Terry, "Help Me Rhonda"] But on seeing the reaction to the song, Brian decided to rerecord it as a single. Unfortunately, Murry Wilson turned up to the session. Murry had been fired as the group's manager by his sons the previous year, though he still owned the publishing company that published their songs. In the meantime, he'd decided to show his family who the real talent behind the group was by taking on another group of teenagers and managing and producing them. The Sunrays had a couple of minor hits, like "I Live for the Sun": [Excerpt: The Sunrays, "I Live for the Sun"] But nothing made the US top forty, and by this point it was clear, though not in the way that Murry hoped, who the real talent behind the group *actually* was. But he turned up to the recording session, with his wife in tow, and started trying to produce it: [Excerpt: Beach Boys and Murry Wilson "Help Me Rhonda" sessions] It ended up with Brian physically trying to move his drunk father away from the control panel in the studio, and having a heartbreaking conversation with him, where the twenty-two-year-old who is recovering from a nervous breakdown only a few months earlier sounds calmer, healthier, and more mature than his forty-seven-year-old father: [Excerpt: Beach Boys and Murry Wilson, "Help Me Rhonda" sessions] Knowing that this was the family dynamic helps make the comedy filler track on the next album, "I'm Bugged at My Old Man", seem rather less of a joke than it otherwise would: [Excerpt: The Beach Boys, "I'm Bugged at My Old Man"] But with Murry out of the way, the group did eventually complete recording "Help Me Rhonda" (and for those of you reading this as a blog post rather than listening to the podcast, yes they did spell it two different ways for the two different versions), and it became the group's second number one hit: [Excerpt: The Beach Boys, "Help Me, Rhonda"] As well as Murry Wilson, though, another figure was in the control room then -- Loren Daro (who at the time went by his birth surname, but I'm going to refer to him throughout by the name he chose). You can hear, on the recording, Brian Wilson asking Daro if he could "turn him on" -- slang that was at that point not widespread enough for Wilson's parents to understand the meaning. Daro was an agent working for the William Morris Agency, and he was part of a circle of young, hip, people who were taking drugs, investigating mysticism, and exploring new spiritual ideas. His circle included the Byrds -- Daro, like Roger McGuinn, later became a follower of Subud and changed his name as a result -- as well as people like the songwriter and keyboard player Van Dyke Parks, who will become a big part of this story in subsequent episodes, and Stephen Stills, who will also be turning up again. Daro had introduced Brian to cannabis, in 1964, and in early 1965 he gave Brian acid for the first time -- one hundred and twenty-five micrograms of pure Owsley LSD-25. Now, we're going to be looking at acid culture quite a lot in the next few months, as we get through 1966 and 1967, and I'll have a lot more to say about it, but what I will say is that even the biggest proponents of psychedelic drug use tend not to suggest that it is a good idea to give large doses of LSD in an uncontrolled setting to young men recovering from a nervous breakdown. Daro later described Wilson's experience as "ego death" -- a topic we will come to in a future episode, and not considered entirely negative -- and "a beautiful thing". But he has also talked about how Wilson was so terrified by his hallucinations that he ran into the bedroom, locked the door, and hid his head under a pillow for two hours, which doesn't sound so beautiful to me. Apparently after those two hours, he came out of the bedroom, said "Well, that's enough of that", and was back to normal. After that first trip, Wilson wrote a piece of music inspired by his psychedelic experience. A piece which starts like this, with an orchestral introduction very different from anything else the group had released as a single: [Excerpt: The Beach Boys, "California Girls"] Of course, when Mike Love added the lyrics to the song, it became about far more earthly and sensual concerns: [Excerpt: The Beach Boys, "California Girls"] But leaving the lyrics aside for a second, it's interesting to look at "California Girls" musically to see what Wilson's idea of psychedelic music -- by which I mean specifically music inspired by the use of psychedelic drugs, since at this point there was no codified genre known as psychedelic music or psychedelia -- actually was. So, first, Wilson has said repeatedly that the song was specifically inspired by "Jesu, Joy of Man's Desiring" by Bach: [Excerpt: Bach, "Jesu, Joy of Man's Desiring"] And it's odd, because I see no real structural or musical resemblance between the two pieces that I can put my finger on, but at the same time I can totally see what he means. Normally at this point I'd say "this change here in this song relates to this change there in that song", but there's not much of that kind of thing here -- but I still. as soon as I read Wilson saying that for the first time, more than twenty years ago, thought "OK, that makes sense". There are a few similarities, though. Bach's piece is based around triplets, and they made Wilson think of a shuffle beat. If you remember *way* back in the second episode of the podcast, I talked about how one of the standard shuffle beats is to play triplets in four-four time. I'm going to excerpt a bit of recording from a YouTube drum tutorial (which I'll link in the liner notes) showing that kind of shuffle: [Excerpt: "3 Sweet Triplet Fills For Halftime Shuffles & Swung Grooves- Drum Lesson" , from https://www.youtube.com/watch?v=2CwlSaQZLkY ] Now, while Bach's piece is in waltz time, I hope you can hear how the DA-da-da DA-da-da in Bach's piece may have made Wilson think of that kind of shuffle rhythm. Bach's piece also has a lot of emphasis of the first, fifth, and sixth notes of the scale -- which is fairly common, and not something particularly distinctive about the piece -- and those are the notes that make up the bass riff that Wilson introduces early in the song: [Excerpt: The Beach Boys, "California Girls (track)"] That bass riff, of course, is a famous one. Those of you who were listening to the very earliest episodes of the podcast might remember it from the intros to many, many, Ink Spots records: [Excerpt: The Ink Spots, "We Three (My Echo, My Shadow, and Me)"] But the association of that bassline to most people's ears would be Western music, particularly the kind of music that was in Western films in the thirties and forties. You hear something similar in "The Trail of the Lonesome Pine", as performed by Laurel and Hardy in their 1937 film Way Out West: [Excerpt: Laurel and Hardy, "The Trail of the Lonesome Pine"] But it's most associated with the song "Tumbling Tumbleweeds", first recorded in 1934 by the Western group Sons of the Pioneers, but more famous in their 1946 rerecording, made after the Ink Spots' success, where the part becomes more prominent: [Excerpt: The Sons of the Pioneers, "Tumbling Tumbleweeds"] That song was a standard of the Western genre, and by 1965 had been covered by everyone from Gene Autry to the Supremes, Bob Wills to Johnnie Ray, and it would also end up covered by several musicians in the LA pop music scene over the next few years, including Michael Nesmith and Curt Boettcher, both people part of the same general scene as the Beach Boys. The other notable thing about "California Girls" is that it's one of the first times that Wilson was able to use multi-tracking to its full effect. The vocal parts were recorded on an eight-track machine, meaning that Wilson could triple-track both Mike Love's lead vocal and the group's backing vocals. With Johnston now in the group -- "California Girls" was his first recording session with them -- that meant that on the record there were eighteen voices singing, leading to some truly staggering harmonies: [Excerpt: The Beach Boys, "California Girls (Stack-O-Vocals)"] So, that's what the psychedelic experience meant to Brian Wilson, at least -- Bach, orchestral influences, using the recording studio to create thicker vocal harmony parts, and the old West. Keep that in the back of your mind for the present, but it'll be something to remember in eleven episodes' time. "California Girls" was, of course, another massive hit, reaching number three on the charts. And while some Beach Boys fans see the album it was included on, Summer Days... And Summer Nights!, as something of a step backward from the sophistication of Today!, this is a relative thing. It's very much of a part with the music on the earlier album, and has many wonderful moments, with songs like "Let Him Run Wild" among the group's very best. But it was their next studio album that would cement the group's artistic reputation, and which would regularly be acclaimed by polls of critics as the greatest album of all time -- a somewhat meaningless claim; even more than there is no "first" anything in music, there's no "best" anything. The impulse to make what became Pet Sounds came, as Wilson has always told the story, from hearing the Beatles album Rubber Soul. Now, we've not yet covered Rubber Soul -- we're going to look at that, and at the album that came after it, in three episodes' time -- but it is often regarded as a major artistic leap forward for the Beatles. The record Wilson heard, though, wasn't the same record that most people nowadays think of when they think of Rubber Soul. Since the mid-eighties, the CD versions of the Beatles albums have (with one exception, Magical Mystery Tour) followed the tracklistings of the original British albums, as the Beatles and George Martin intended. But in the sixties, Capitol Records were eager to make as much money out of the Beatles as they could. The Beatles' albums generally had fourteen songs on, and often didn't include their singles. Capitol thought that ten or twelve songs per album was plenty, and didn't have any aversion to putting singles on albums. They took the three British albums Help!, Rubber Soul, and Revolver, plus the non-album "Day Tripper"/"We Can Work It Out" single and Ken Thorne's orchestral score for the Help! film, and turned that into four American albums -- Help!, Rubber Soul, Yesterday and Today, and Revolver. In the case of Rubber Soul, that meant that they removed four tracks from the British album -- "Drive My Car", "Nowhere Man", "What Goes On" and "If I Needed Someone" -- and added two songs from the British version of Help!, "I've Just Seen a Face" and "It's Only Love". Now, I've seen some people claim that this made the American Rubber Soul more of a folk-rock album -- I may even have said that myself in the past -- but that's not really true. Indeed, "Nowhere Man" and "If I Needed Someone" are two of the Beatles' most overtly folk-rock tracks, and both clearly show the influence of the Byrds. But what it did do was remove several of the more electric songs from the album, and replace them with acoustic ones: [Excerpt: The Beatles, "I've Just Seen a Face"] This, completely inadvertently, gave the American Rubber Soul lineup a greater sense of cohesion than the British one. Wilson later said "I listened to Rubber Soul, and I said, 'How could they possibly make an album where the songs all sound like they come from the same place?'" At other times he's described his shock at hearing "a whole album of only good songs" and similar phrases. Because up to this point, Wilson had always included filler tracks on albums, as pretty much everyone did in the early sixties. In the American pop music market, up to the mid sixties, albums were compilations of singles plus whatever random tracks happened to be lying around. And so for example in late 1963 the Beach Boys had released two albums less than a month apart -- Surfer Girl and Little Deuce Coupe. Given that Brian Wilson wrote or co-wrote all the group's original material, it wasn't all that surprising that Little Deuce Coupe had to include four songs that had been released on previous albums, including two that were on Surfer Girl from the previous month. It was the only way the group could keep up with the demand for new product from a company that had no concept of popular music as art. Other Beach Boys albums had included padding such as generic surf instrumentals, comedy sketches like "Cassius" Love vs. "Sonny" Wilson, and in the case of The Beach Boys Today!, a track titled "Bull Session With the Big Daddy", consisting of two minutes of random chatter with the photographer Earl Leaf while they all ate burgers: [Excerpt: The Beach Boys and Earl Leaf, "Bull Session With the Big Daddy"] This is not to attack the Beach Boys. This was a simple response to the commercial pressures of the marketplace. Between October 1962 and November 1965, they released eleven albums. That's about an album every three months, as well as a few non-album singles. And on top of that Brian had also been writing songs during that time for Jan & Dean, the Honeys, the Survivors and others, and had collaborated with Gary Usher and Roger Christian on songs for Muscle Beach Party, one of American International Pictures' series of Beach Party films. It's unsurprising that not everything produced on this industrial scale was a masterpiece. Indeed, the album the Beach Boys released directly before Pet Sounds could be argued to be an entire filler album. Many biographies say that Beach Boys Party! was recorded to buy Brian time to make Pet Sounds, but the timelines don't really match up on closer investigation. Beach Boys Party! was released in November 1965, before Brian ever heard Rubber Soul, which came out later, and before he started writing the material that became Pet Sounds. Beach Boys Party! was a solution to a simple problem -- the group were meant to deliver three albums that year, and they didn't have three albums worth of material. Some shows had been recorded for a possible live album, but they'd released a live album in 1964 and hadn't really changed their setlist very much in the interim. So instead, they made a live-in-the-studio album, with the conceit that it was recorded at a party the group were holding. Rather than the lush Wrecking Crew instrumentation they'd been using in recent months, everything was played on acoustic guitars, plus some bongos provided by Wrecking Crew drummer Hal Blaine and some harmonica from Billy Hinsche of the boy band Dino, Desi, and Billy, whose sister Carl Wilson was shortly to marry. The album included jokes and false starts, and was overlaid with crowd noise, to give the impression that you were listening to an actual party where a few people were sitting round with guitars and having fun. The album consisted of songs that the group liked and could play without rehearsal -- novelty hits from a few years earlier like "Alley Oop" and "Hully Gully", a few Beatles songs, and old favourites like the Everly Brothers hit "Devoted to You" -- in a rather lovely version with two-part harmony by Mike and Brian, which sounds much better in a remixed version released later without the party-noise overdubs: [Excerpt: The Beach Boys, "Devoted to You (remix)"] But the song that defined the album, which became a massive hit, and which became an albatross around the band's neck about which some of them would complain for a long time to come, didn't even have one of the Beach Boys singing lead. As we discussed back in the episode on "Surf City", by this point Jan and Dean were recording their album "Folk 'n' Roll", their attempt at jumping on the folk-rock bandwagon, which included the truly awful "The Universal Coward", a right-wing answer song to "The Universal Soldier" released as a Jan Berry solo single: [Excerpt: Jan Berry, "The Universal Coward"] Dean Torrence was by this point getting sick of working with Berry, and was also deeply unimpressed with the album they were making, so he popped out of the studio for a while to go and visit his friends in the Beach Boys, who were recording nearby. He came in during the Party sessions, and everyone was suggesting songs to perform, and asked Dean to suggest something. He remembered an old doo-wop song that Jan and Dean had recorded a cover version of, and suggested that. The group had Dean sing lead, and ran through a sloppy version of it, where none of them could remember the words properly: [Excerpt: The Beach Boys, "Barbara Ann"] And rather incredibly, that became one of the biggest hits the group ever had, making number two on the Billboard chart (and number one on other industry charts like Cashbox), number three in the UK, and becoming a song that the group had to perform at almost every live show they ever did, together or separately, for at least the next fifty-seven years. But meanwhile, Brian had been working on other material. He had not yet had his idea for an album made up entirely of good songs, but he had been experimenting in the studio. He'd worked on a handful of tracks which had pointed in new directions. One was a single, "The Little Girl I Once Knew": [Excerpt: The Beach Boys, "The Little Girl I Once Knew"] John Lennon gave that record a very favourable review, saying "This is the greatest! Turn it up, turn it right up. It's GOT to be a hit. It's the greatest record I've heard for weeks. It's fantastic." But the record only made number twenty -- a perfectly respectable chart placing, but nowhere near as good as the group's recent run of hits -- in part because its stop-start nature meant that the record had "dead air" -- moments of silence -- which made DJs avoid playing it, because they believed that dead air, even only a second of it here and there, would make people tune to another station. Another track that Brian had been working on was an old folk song suggested by Alan Jardine. Jardine had always been something of a folkie, of the Kingston Trio variety, and he had suggested that the group might record the old song "The Wreck of the John B", which the Kingston Trio had recorded. The Trio's version in turn had been inspired by the Weavers' version of the song from 1950: [Excerpt: The Weavers, "The Wreck of the John B"] Brian had at first not been impressed, but Jardine had fiddled with the chord sequence slightly, adding in a minor chord to make the song slightly more interesting, and Brian had agreed to record the track, though he left the instrumental without vocals for several months: [Excerpt: The Beach Boys, "Sloop John B (instrumental)"] The track was eventually finished and released as a single, and unlike "The Little Girl I Once Knew" it was a big enough hit that it was included on the next album, though several people have said it doesn't fit. Lyrically, it definitely doesn't, but musically, it's very much of a piece with the other songs on what became Pet Sounds: [Excerpt: The Beach Boys, "Sloop John B"] But while Wilson was able to create music by himself, he wasn't confident about his ability as a lyricist. Now, he's not a bad lyricist by any means -- he's written several extremely good lyrics by himself -- but Brian Wilson is not a particularly articulate or verbal person, and he wanted someone who could write lyrics as crafted as his music, but which would express the ideas he was trying to convey. He didn't think he could do it himself, and for whatever reason he didn't want to work with Mike Love, who had co-written the majority of his recent songs, or with any of his other collaborators. He did write one song with Terry Sachen, the Beach Boys' road manager at the time, which dealt obliquely with those acid-induced concepts of "ego death": [Excerpt: The Beach Boys, "Hang on to Your Ego"] But while the group recorded that song, Mike Love objected vociferously to the lyrics. While Love did try cannabis a few times in the late sixties and early seventies, he's always been generally opposed to the use of illegal drugs, and certainly didn't want the group to be making records that promoted their use -- though I would personally argue that "Hang on to Your Ego" is at best deeply ambiguous about the prospect of ego death. Love rewrote some of the lyrics, changing the title to "I Know There's an Answer", though as with all such bowdlerisation efforts he inadvertently left in some of the drug references: [Excerpt: The Beach Boys, "I Know There's an Answer"] But Wilson wasn't going to rely on Sachen for all the lyrics. Instead he turned to Tony Asher. Asher was an advertising executive, who Wilson probably met through Loren Daro -- there is some confusion over the timeline of their meeting, with some sources saying they'd first met in 1963 and that Asher had introduced Wilson to Daro, but others saying that the introductions went the other way, and that Daro introduced Asher to Wilson in 1965. But Asher and Daro had been friends for a long time, and so Wilson and Asher were definitely orbiting in the same circles. The most common version of the story seems to be that Asher was working in Western Studios, where he was recording a jingle - the advertising agency had him writing jingles because he was an amateur songwriter, and as he later put it nobody else at the agency knew the difference between E flat and A flat. Wilson was also working in the studio complex, and Wilson dragged Asher in to listen to some of the demos he was recording -- at that time Wilson was in the habit of inviting anyone who was around to listen to his works in progress. Asher chatted with him for a while, and thought nothing of it, until he got a phone call at work a few weeks later from Brian Wilson, suggesting the two write together. Wilson was impressed with Asher, who he thought of as very verbal and very intelligent, but Asher was less impressed with Wilson. He has softened his statements in recent decades, but in the early seventies he would describe Wilson as "a genius musician but an amateur human being", and sharply criticise his taste in films and literature, and his relationship with his wife. This attitude seems at least in part to have been shared by a lot of the people that Wilson was meeting and becoming influenced by. One of the things that is very noticeable about Wilson is that he has no filters at all, and that makes his music some of the most honest music ever recorded. But that same honesty also meant that he could never be cool or hip. He was -- and remains -- enthusiastic about the things he likes, and he likes things that speak to the person he is, not things that fit some idea of what the in crowd like. And the person Brian Wilson is is a man born in 1942, brought up in a middle-class suburban white family in California, and his tastes are the tastes one would expect from that background. And those tastes were not the tastes of the hipsters and scenesters who were starting to become part of his circle at the time. And so there's a thinly-veiled contempt in the way a lot of those people talked about Wilson, particularly in the late sixties and early seventies. Wilson, meanwhile, was desperate for their approval, and trying hard to fit in, but not quite managing it. Again, Asher has softened his statements more recently, and I don't want to sound too harsh about Asher -- both men were in their twenties, and still trying to find their place in the world, and I wouldn't want to hold anyone's opinions from their twenties against them decades later. But that was the dynamic that existed between them. Asher saw himself as something of a sophisticate, and Wilson as something of a hick in contrast, but a hick who unlike him had created a string of massive hit records. And Asher did, always, respect Wilson's musical abilities. And Wilson in turn looked up to Asher, even while remaining the dominant partner, because he respected Asher's verbal facility. Asher took a two-week sabbatical from his job at the advertising agency, and during those two weeks, he and Wilson collaborated on eight songs that would make up the backbone of the album that would become Pet Sounds. The first song the two worked on was a track that had originally been titled "In My Childhood". Wilson had already recorded the backing track for this, including the sounds of bicycle horns and bells to evoke the feel of being a child: [Excerpt: The Beach Boys, "You Still Believe in Me (instrumental track)"] The two men wrote a new lyric for the song, based around a theme that appears in many of Wilson's songs -- the inadequate man who is loved by a woman who is infinitely superior to him, who doesn't understand why he's loved, but is astonished by it. The song became "You Still Believe in Me": [Excerpt: The Beach Boys, "You Still Believe in Me"] That song also featured an instrumental contribution of sorts by Asher. Even though the main backing track had been recorded before the two started working together, Wilson came up with an idea for an intro for the song, which would require a particular piano sound. To get that sound, Wilson held down the keys on a piano, while Asher leaned into the piano and plucked the strings manually. The result, with Wilson singing over the top, sounds utterly lovely: [Excerpt: The Beach Boys, "You Still Believe in Me"] Note that I said that Wilson and Asher came up with new lyrics together. There has been some slight dispute about the way songwriting credits were apportioned to the songs. Generally the credits said that Wilson wrote all the music, while Asher and Wilson wrote the lyrics together, so Asher got twenty-five percent of the songwriting royalties and Wilson seventy-five percent. Asher, though, has said that there are some songs for which he wrote the whole lyric by himself, and that he also made some contributions to the music on some songs -- though he has always said that the majority of the musical contribution was Wilson's, and that most of the time the general theme of the lyric, at least, was suggested by Wilson. For the most part, Asher hasn't had a problem with that credit split, but he has often seemed aggrieved -- and to my mind justifiably -- about the song "Wouldn't it Be Nice". Asher wrote the whole lyric for the song, though inspired by conversations with Wilson, but accepted his customary fifty percent of the lyrical credit. The result became one of the big hits from the album: [Excerpt: The Beach Boys, "Wouldn't It Be Nice?"] But -- at least according to Mike Love, in the studio he added a single line to the song: [Excerpt: The Beach Boys, "Wouldn't it Be Nice?"] When Love sued Brian Wilson in 1994, over the credits to thirty-five songs, he included "Wouldn't it Be Nice" in the list because of that contribution. Love now gets a third of the songwriting royalties, taken proportionally from the other two writers. Which means that he gets a third of Wilson's share and a third of Asher's share. So Brian Wilson gets half the money, for writing all the music, Mike Love gets a third of the money, for writing "Good night baby, sleep tight baby", and Tony Asher gets a sixth of the money -- half as much as Love -- for writing all the rest of the lyric. Again, this is not any one individual doing anything wrong – most of the songs in the lawsuit were ones where Love wrote the entire lyric, or a substantial chunk of it, and because the lawsuit covered a lot of songs the same formula was applied to borderline cases like “Wouldn't it Be Nice” as it was to clearcut ones like “California Girls”, where nobody disputes Love's authorship of the whole lyric. It's just the result of a series of reasonable decisions, each one of which makes sense in isolation, but which has left Asher earning significantly less from one of the most successful songs he ever wrote in his career than he should have earned. The songs that Asher co-wrote with Wilson were all very much of a piece, both musically and lyrically. Pet Sounds really works as a whole album better than it does individual tracks, and while some of the claims made about it -- that it's a concept album, for example -- are clearly false, it does have a unity to it, with ideas coming back in different forms. For example, musically, almost every new song on the album contains a key change down a minor third at some point -- not the kind of thing where the listener consciously notices that an idea has been repeated, but definitely the kind of thing that makes a whole album hold together. It also differs from earlier Beach Boys albums in that the majority of the lead vocals are by Brian Wilson. Previously, Mike Love had been the dominant voice on Beach Boys records, with Brian as second lead and the other members taking few or none. Now Love only took two main lead vocals, and was the secondary lead on three more. Brian, on the other hand, took six primary lead vocals and two partial leads. The later claims by some people that this was a Brian Wilson solo album in all but name are exaggerations -- the group members did perform on almost all of the tracks -- but it is definitely much more of a personal, individual statement than the earlier albums had been. The epitome of this was "I Just Wasn't Made For These Times", which Asher wrote the lyrics for but which was definitely Brian's idea, rather than Asher's. [Excerpt: The Beach Boys, "I Just Wasn't Made For These Times"] That track also featured the first use on a Beach Boys record of the electro-theremin, an electronic instrument invented by session musician Paul Tanner, a former trombone player with the Glenn Miller band, who had created it to approximate the sound of a Theremin while being easier to play: [Excerpt: The Beach Boys, "I Just Wasn't Made For These Times"] That sound would turn up on future Beach Boys records... But the song that became the most lasting result of the Wilson/Asher collaboration was actually one that is nowhere near as personal as many of the other songs on the record, that didn't contain a lot of the musical hallmarks that unify the album, and that didn't have Brian Wilson singing lead. Of all the songs on the album, "God Only Knows" is the one that has the most of Tony Asher's fingerprints on it. Asher has spoken in the past about how when he and Wilson were writing, Asher's touchstones were old standards like "Stella By Starlight" and "How Deep is the Ocean?", and "God Only Knows" easily fits into that category. It's a crafted song rather than a deep personal expression, but the kind of craft that one would find in writers like the Gershwins, every note and syllable perfectly chosen: [Excerpt: The Beach Boys, "God Only Knows"] One of the things that is often wrongly said about the song is that it's the first pop song to have the word "God" in the title. It isn't, and indeed it isn't even the first pop song to be called "God Only Knows", as there was a song of that name recorded by the doo-wop group the Capris in 1954: [Excerpt: The Capris, "God Only Knows"] But what's definitely true is that Wilson, even though he was interested in creating spiritual music, and was holding prayer sessions with his brother Carl before vocal takes, was reluctant to include the word in the song at first, fearing it would harm radio play. He was probably justified in his fears -- a couple of years earlier he'd produced a record called "Pray for Surf" by the Honeys, a girl-group featuring his wife: [Excerpt: The Honeys, "Pray For Surf"] That record hadn't been played on the radio, in part because it was considered to be trivialising religion. But Asher eventually persuaded Wilson that it would be OK, saying "What do you think we should do instead? Say 'heck only knows'?" Asher's lyric was far more ambiguous than it may seem -- while it's on one level a straightforward love song, Asher has always pointed out that the protagonist never says that he loves the object of the song, just that he'll make her *believe* that he loves her. Coupled with the second verse, which could easily be read as a threat of suicide if the object leaves the singer, it would be very, very, easy to make the song into something that sounds like it was from the point of view of a narcissistic, manipulative, abuser. That ambiguity is also there in the music, which never settles in a strong sense of key. The song starts out with an A chord, which you'd expect to lead to the song being in A, but when the horn comes in, you get a D# note, which isn't in that key, and then when the verse starts, it starts on an inversion of a D chord, before giving you enough clues that by the end of the verse you're fairly sure you're in the key of E, but it never really confirms that: [Excerpt: The Beach Boys, "God Only Knows (instrumental)"] So this is an unsettling, ambiguous, song in many ways. But that's not how it sounds, nor how Brian at least intended it to sound. So why doesn't it sound that way? In large part it's down to the choice of lead vocalist. If Mike Love had sung this song, it might have sounded almost aggressive. Brian *did* sing it in early attempts at the track, and he doesn't sound quite right either -- his vocal attitude is just... not right: [Excerpt: The Beach Boys, "God Only Knows (Brian Wilson vocal)"] But eventually Brian hit on getting his younger brother Carl to sing lead. At this point Carl had sung very few leads on record -- there has been some dispute about who sang what, exactly, because of the family resemblance which meant all the core band members could sound a little like each other, but it's generally considered that he had sung full leads on two album tracks -- "Pom Pom Play Girl" and "Girl Don't Tell Me" -- and partial leads on two other tracks, covers of "Louie Louie" and "Summertime Blues". At this point he wasn't really thought of as anything other than a backing vocalist, but his soft, gentle, performance on "God Only Knows" is one of the great performances: [Excerpt: The Beach Boys, "God Only Knows (vocals)"] The track was actually one of those that required a great deal of work in the studio to create the form which now seems inevitable. Early attempts at the recording included a quite awful saxophone solo: [Excerpt: The Beach Boys "God Only Knows (early version)"] And there were a lot of problems with the middle until session keyboard player Don Randi suggested the staccato break that would eventually be used: [Excerpt: The Beach Boys, "God Only Knows"] And similarly, the tag of the record was originally intended as a mass of harmony including all the Beach Boys, the Honeys, and Terry Melcher: [Excerpt: The Beach Boys, "God Only Knows (alternate version with a capella tag)"] Before Brian decided to strip it right back, and to have only three voices on the tag -- himself on the top and the bottom, and Bruce Johnston singing in the middle: [Excerpt: The Beach Boys, "God Only Knows"] When Pet Sounds came out, it was less successful in the US than hoped -- it became the first of the group's albums not to go gold on its release, and it only made number ten on the album charts. By any objective standards, this is still a success, but it was less successful than the record label had hoped, and was taken as a worrying sign. In the UK, though, it was a different matter. Up to this point, the Beach Boys had not had much commercial success in the UK, but recently Andrew Loog Oldham had become a fan, and had become the UK publisher of their original songs, and was interested in giving them the same kind of promotion that he'd given Phil Spector's records. Keith Moon of the Who was also a massive fan, and the Beach Boys had recently taken on Derek Taylor, with his strong British connections, as their publicist. Not only that, but Bruce Johnston's old friend Kim Fowley was now based in London and making waves there. So in May, in advance of a planned UK tour set for November that year, Bruce Johnston and Derek Taylor flew over to the UK to press the flesh and schmooze. Of all the group members, Johnston was the perfect choice to do this -- he's by far the most polished of them in terms of social interaction, and he was also the one who, other than Brian, had the least ambiguous feelings about the group's new direction, being wholeheartedly in favour of it. Johnston and Taylor met up with Keith Moon, Lennon and McCartney, and other pop luminaries, and played them the record. McCartney in particular was so impressed by Pet Sounds and especially "God Only Knows", that he wrote this, inspired by the song, and recorded it even before Pet Sounds' UK release at the end of June: [Excerpt: The Beatles, "Here, There, and Everywhere"] As a result of Johnston and Taylor's efforts, and the promotional work by Oldham and others, Pet Sounds reached number two on the UK album charts, and "God Only Knows" made number two on the singles charts. (In the US, it was the B-side to "Wouldn't it Be Nice", although it made the top forty on its own merits too). The Beach Boys displaced the Beatles in the readers' choice polls for best band in the NME in 1966, largely as a result of the album, and Melody Maker voted it joint best album of the year along with the Beatles' Revolver. The Beach Boys' commercial fortunes were slightly on the wane in the US, but they were becoming bigger than ever in the UK. But a big part of this was creating expectations around Brian Wilson in particular. Derek Taylor had picked up on a phrase that had been bandied around -- enough that Murry Wilson had used it to mock Brian in the awful "Help Me, Rhonda" sessions -- and was promoting it widely as a truism. Everyone was now agreed that Brian Wilson was a genius. And we'll see how that expectation plays out over the next few weeks.. [Excerpt: The Beach Boys, "Caroline, No"]
It is the time of year when we start to look forward to 2022, what is the year ahead going to look like. How are we going to plan for the most successful year yet in business. In this episode, I dive into how I plan for the year to reach my goals, this year I hit my 6 figure income goal and launched new products to allow my income to continue to grow and leverage my time, I knew this was how the year was going to go in December 2020 because I had planned for it. Here are the highlights: {2:47} Having A Vision Board {3:45} What Goes On a Vision Board {5:11} Measure of Success {5:40} How Much Money Do You Want To Make {7:04} What Do You Want To Learn? {10:13} Moving Toward Your Vision {10:58} Goal Bowl {12:37} Tracking The Money That Comes In Your Life {13:46} What Are You Going To Be Spending On {15:40} Celebrate Everything! Connect with Deasha at www.deashawaddup.com Join the Scaling With Deasha Facebook Group at www.deashawaddup.com/community
Regresamos al tercer disco de The Velvet Underground, lanzado en 1969 y que representó la definitiva suavización del sonido de la banda de Lou Reed. Ricardo Portmán nos cuenta la historia del álbum concebido como la anti-producción del grupo de NYC. Escucharemos Candy Says, What Goes On, Some Kinda Love, Pale Blue Eyes, Jesus, Beginning to See the Light, I’m Set Free, That’s the Story of My Life, The Murder Mystery y .After Hours Recuerden que nuestros programas los pueden escuchar también en nuestra web https://ecosdelvinilo.com/ y en la emisora Radio Free Rock los viernes a las 18:00.
TSR Ep. 7: Teachers Deserve More Love________________ Joining Fuze on this episode is Author and Educator Michelle Person from Just Like Me Presents. Together they discuss The Education System in America, What Goes On in the House Shall Stay in The House, Teachers getting paid more, Critical Race Theory, Why Charleston Hates Ohio, Why Math Sucks, Teaching Fails and Much More. Join the convo! Contact and follow Michelle: | Website : https://justlikemepresents.com Facebook: https://www.facebook.com/michelle.person.12 Podcast: https://podcasts.apple.com/us/podcast/re-woke/id1584215238 | The Sarcasm Remains episode 7 Soundtrack:| 1. Valerie - Amy Winehouse 2. The Greatest Love Of All - Whitney Houston 3. Me and My Crazy World - Lost Boyz 4. I Will Survive - Gloria Gaynor 5. Children's Story - Slick Rick 6. We Didn't Start The Fire - Billy Joel https://anchor.fm/fuze-b https://bluesteelpromotions.com/
I betragtning af, hvor stor en plads The Velvet Underground fylder i værternes hjerter, bevidsthed og generelle æstetik – ja, de har sågar sammen redigeret en antologi om bandet i 2003 – er det egentlig utroligt, at vi skulle helt frem til Rockhistorier nummer 154 før de fandt vejr gennem nåleøjet. Nå, men bedre sent end aldrig, som man plejer at sige, når man har overskredet endnu en deadline.The Velvet Underground udsendte i årene 1967 til 1970 i diverse konstellationer og under stort set konstante interne stridigheder fire album, der ikke gjorde større væsen af sig i samtiden, da deres konfronterende tone og nihilistiske attitude var helt ude af trit med hippiebevægelsens idealer. Gruppen blev først for alvor kanoniseret ved punkens fremkomst midt i 1970'erne, og har siden vist sig at være et af rockens mest stilskabende orkestre nogensinde. Måske kun overgået af The Beatles. Store ord, javel, men værket kan i den grad bære det. Og lidt til. Velkommen til virkeligheden.”Prominet Men” (1965”All Tomorrow's Parties (single version)” (1966)“I'm Waiting for The Man” (1967)“Venus In Furs” (1967)“Heroin” (1967)“White Light/White Heat” (1968)“I Heard Her Call My Name” (1968)“Stephanie Says” (1968)”Hey Mr. Rain (Version One)” (1968)”Candy Says” (1969)“What Goes On” (1969)“Pale Blue Eyes” (1969)“Foggy Notion” (1969)”Sweet Jane” (1970)”Rock and Roll” (1970)“New Age” (1970)
RUBBER SOUL é o sexto álbum dos Beatles e representa um amadurecimento na sonoridade da banda, formada por John Lennon, Paul McCartney, George Harrison e Ringo Starr. O RUBBER SOUL conta com as seguintes faixas: "Drive My Car", "Norwegian Wood (This Bird Has Flown)", "You Won't See Me", "Nowhere Man", "Think for Yourself", "The Word", "Michelle", "What Goes On", "Girl", "I'm Looking Through You", "In My Life", "Wait", "If I Needed Someone" e "Run for Your Life". Então, resolvermos tomar uma para falar sobre cada uma das faixas do RUBBER SOUL, dos BEATLES! ******************************************** SEJA MEMBRO DO CLUBE TUPFS E TENHA ACESSO A UMA SÉRIE DE VANTAGENS! Você pode escolher um dos planos abaixo: HEADBANGER (R$ 1,99 por mês) Acesso antecipado aos vídeos novos do canal, seu nome divulgado durante os vídeos em agradecimento e outros conteúdos exclusivos! Além disso, terá um selo de fidelidade ao lado do seu nome sempre que deixar um comentário e emojis exclusivos. ROCKSTAR (R$ 4,99 por mês) Além de todos os benefícios anteriores, você ganha acesso ao nosso grupo exclusivo no WhatsApp. Nele, você fará parte de uma incrível comunidade de aficcionados por música. Você também interage diretamente com os criadores, dá nota nas resenhas, deixa perguntas para as entrevistas e participa de várias outras maneiras da criação de conteúdo no canal. METAL GOD (R$ 7,99 por mês) Além de todos os benefícios anteriores e dar uma grande ajuda para a nossa criação de conteúdo, você pode ESCOLHER TEMA DE EPISÓDIO. Dentro da temática do canal, é claro. SEJA MEMBRO: https://www.youtube.com/channel/UCo1lgalkCBW9Uv3GyrzhhkA/join ******************************************** Nos siga nas redes sociais: Twitter: @iurimoreira / @rafael2099 Instagram: @iurimoreira / rafaelaraujo2099
Episode 28C-PTSD and Recovering from COVIDYou seriously do not want to get this virus.June 2, 2021Well, it now appears I am not just under the influence of COVID-19. I am clinically depressed. Isn't that just peachy? So, I thought it would be helpful to add some information about depression just in case the pandemic has also given you the blues. You may want to go back and listen to Episode 15: C-PTSD and Depression. There is some good stuff about depression in that podcast.Gary Gilmour wrote a nice piece for Psychology Today. He is Vice-President of Preclinical Research at COMPASS Pathways. Check it out.What Goes On in the Brain of a Person with Depression | Psychology TodayThe Psychiatrist-In-Chief in the Department of Psychiatry of Massachusetts General Research Institute, Maurizio Fava, MD has written on the rise of depression during the COVID-19 pandemic.Depression on the Rise During COVID-19 (massgeneral.org)The Mayo Clinic has posted an article on COVID – 19 and Your Mental Health. This is an article you may want to take seriously.COVID-19 and your mental health - Mayo ClinicArash Emamzadeh, administered the UCLA Loneliness Scale-3, a measure of loneliness, and the Patient Health Questionnaire-9 (PHQ-9), a screening tool for depression, to 1,013 people from 50 U.S. states. Here's what he learned. COVID-19 Pandemic: Loneliness, Depression, and Suicide | Psychology Today
”Elsker The Beatles” er på gaden igen. Denne gang med ”What Goes on?”, podcastens helt eget anmeldermagasin, med fokus på det seneste halve års Beatles-udgivelser. Vi går i dybden med ”John Lennon – Plastic Ono Band”- boxen, der satte en ny standard for hvad et box-sæt skal kunne. Vi diskuterer McCartneys udgivelser i foråret – endelig er der hjerter til McCartney iii. Og så hyldes RAM, der blev udsendt i en Half Speed Master-udgave i maj måned. Ringos ”Zoom In” zoomes der også ind på. George….KOM NU MED DEN ALL THINGS MUST PASS BOX!!! Det hele foregår i selskab med den kompetente, vidende og underholdende Søren Mathiesen, der er en af podcastens faste, dygtige kompagnoner. Her er episoden, hvor du kan komme op af stolen og diskutere på ”Elsker The Beatles” Facebook-side, for det er selvfølgelig subjektive holdninger der diskes op med. Du kan også bruge ”What Goes On” som en forbrugeroplysning inden du skal bruge penge på musik. For The Beatles junglen har mange vilde, snoede omveje. Mest af alt kan du lade dig underholde – for det er derfor ”Elsker The Beatles” findes. Enjoy!
Welcome to the Big Beatles Sort Out. Each episode we explore and score 5 songs drawn at random from the Beatles full recording catalogue. If you are enjoying this podcast please let us know at @Big_Sort on Twitter and Instagram, and please leave us a review! If you would like to support Garry's music, please consider buying his new EP 'Chapter And Multiverse' and listening to the single 'Gotta Have a Slow One' here on Spotify. Please listen out for Paul's other Podcasts, 'The Head Ballet' - all about novelty music, and 'Hark! 87th Precinct Podcast' - all about Ed McBain's seminal police procedural novel series. You can listen along to the songs featured in this episode on this handy Spotify playlist: Episode Playlist Keep up with the scoring charts, or start your own using the blank-master, with this handy google sheet: Big Sort Ranking Table This Week's Songs: Honey Pie, Love me Do, Octopus's Garden, Two Of Us, What Goes On.
The British Rubber Soul is for the birds! OK, that might be a little aggressive. The album's a masterpiece, but T.J. and Tony make a pretty compelling argument that nobody really misses "What Goes On," and that Dave Dexter's U.S. version for Capitol Records is just a superior collection. It's so fine. It's sunshine. It's PART TWO of our U.S. Rubber Soul deep dish. And along the way, we ponder: Where does journalist Maureen Cleave fit into the lineup: Is she the fifth Beatle... or THE THIRD? And where does Ed McMahon land? (Spoiler: the ninth Beatle.) Which iconic songs would the guys etch into their solo Eagles Mt. Rushmores? "Run For Your Life" may not age well, but we like to think our dumb Peter Cetera jokes will. YOU BE THE JUDGE. EPISODE LINKS: Check out our Pandora playlist! We want all your corrections, hot takes, conspiracy theories, and love notes! Come hang out with us on Facebook. Help spread the worrrrrrrrrrrrrd about our show: rate and review us on Apple Podcasts or wherever you listen!
While most of us like to think of ourselves as ‘likeable', we don't always see others in the same way. Though we may have many similarities, our differences often stand in the way of having an amicable relationship.When our differences are too extreme, then feelings of enmity can evolve and, even without trying we can have an ‘enemy' on our hands. This doesn't necessarily mean we are at war with them, just noticing our differences enough to put a barrier between us.There is an alternative. One where we follow our natural human tendency to want to relate and simply do away with enmity altogether. Our Vedic Meditation practice helps us with this as it takes us to our ultimate form of sameness, the Unified Field, where there is no difference to be found.Listen in or read the transcript below and become part of the solution.Episode Highlights:[00:40] The Easiest Thing on Earth[01:35] Ignoring the Laws of Quantum Mechanics[02:38] The Beginning of Difference[03:38] “Out There”[04:40] “I Wouldn't Behave That Way”[06:02] Enemies as Part of Our Storyline[07:09] Enemies Match Our Expectations[08:21] You Can't Kill an Enemy[09:37] You Can't Even Vaporize Them[11:10] Uncreating of Enmity[12:25] A Grumpy Bus Conductor[13:50] Spreaders of Happiness[15:09] A Ripple Effect[16:22] Reunification[17:28] Relatability is the Enemy of Enmity[18:44] It's Natural to Want to Relate[19:53] Interested in Sameness[21:29] Unifying Access to Knowledge[22:21] Sibling Rivalry Has Always Been a Thing[23:08] A Better, Transcendental Parental Model[24:21] The Weapon of Speech[25:20] Arranging Truths to Awaken Shared Experience[26:18] We Cannot Afford a Third World War[27:12] Green Forests Have Green Trees[28:15] 1% Critical Mass of Meditators[29:51] A Turning Point[31:06] Prepare in the Darkness to Celebrate the Dawn[33:01] We Need to Step Into Our Power of Wisdom [34:00] People Behaving Desperately[35:03] The Behaviour of Happy People[36:29] Playing the Role of the Offended One[37:59] Utter Indifference to Negativity[38:46] I Accept Your Consciousness State[40:01] This is What Goes On[40:58] Dogs Bark, Elephants Walk[42:24] Elephantine Consciousness[43:32] Cosmic Consciousness and the Cascades of Cause and Effect[44:40] Royal Invincible Grace[46:16] Making Enmity RedundantUseful Links: info@thomknoles.com https://thomknoles.com/https://www.instagram.com/thethomknoles/https://www.facebook.com/thethomknoleshttps://www.youtube.com/c/thomknoles
Best way to avoid an ex from reaching out & stealing your joy, is to BLOCK THEM. Yes, from Venmo too. Amanda doesn't care about your stock portfolio or that you own a business... just buy her beer and stfu. Antwan's anti-bodies are in tip top shape. Then our newest segment What Goes On? In The World (Exciting, I know!) Dr. Seuss cancelled? Long Island Doctor murders 5 humans, and Gov. Andrew Cuo-NO needs to kick rocks. SUBSCRIBE TO OUR YOUTUBE CHANNEL FOLLOW US ON SPOTIFY & APPLE PODCAST SHARE & FOLLOW US ON IG: The Podcast @whatgoeson_pod JonAnthony- @antwan9000 Amanda- @xmandarelliex Produced & Edited by: SturdyBoiProductions
"Elsker The Beatles" er klar med et nyt halvårligt format. Vi anmelder de seneste udgivelser fra John, Paul, George og Ringo samt relaterede. Der udkommer hele tiden nye ting fra Beatles-land. Genudgivelser, alternative mix, billed-plader og heldigvis også spritny musik. Her er podcast-episoden der giver dig overblik over hvad der er udkommet, og samtidig også kommer med anmeldelser af materialet. Der gives hjerter for de respektive udgivelser. Skalaen går fra et til seks hjerter. Der lægges ikke fingre i mellem, og i denne første udgave af "What Goes On" gives der i et tilfælde et enkelt hjerte. Der anmeldes: Paul McCartney: Flaming Pie Archive Collection Paul McCartney: McCartney (Half Speed Master) Paul McCartney: Lancering af McCartney III Paul McCartney: Interview med Sean Ono Lennnon John Lennon: GIMME SOME TRUTH. John & Yoko: Plastic Ono Band Kenneth Womack: John Lennon 1980 Kaj Sekkelund: Apostlens langhårede berømmelse Du er velkommen til at diskutere på podcastens Facebook-side: https://www.facebook.com/elskerthebeatles Du er også velkommen til at sende mail med inputs, inspark eller udbrud til elskerthebeatles@gmail.com
Under the gun for material to complete Rubber Soul, the Beatles dusted off an old Quarrymen-era tune, sprinkled a bit of Buck Owens on it, and gave Ringo his vocal turn with #207, "What Goes On." An earlier version was considered as a single to follow up "Please Please Me," but it found it's home as a nice bit of album filler in 1965. Featuring nice guitar and bass work, a solid vocal, and done in one take, it lands as not a bad song, not a great song, but good enough. #206, "A Taste of Honey," is the first time we get a sample of what John called Paul's "granny music $h!t." Everyone turns in a nice understated performance for a song that was sure to win over the parents of their target demographic, but is it too syrupy for its own good? And for a song with so many well known and unknown covers, how does it stack up? Joining us this week to discuss these songs is music writer Brett Milano (Boston Globe, OffBeat Magazine, Rhino Records), who entered the Fabs' orbit as lead writer and content creator for The Beatles Rock Band game. We talk about learning what a band should look, feel, and act like, take a peek behind the curtain at the creation of the Beatles Rock Band, including being in the same room as a copy of of mythical, mysterious, holy grail, "Carnival of Light." Elsewhere we touch on long lost tracks from Billie Dee Williams (the OG Lando Calrissian), finally touch on the Monkees, Jonathan and Julia shamelessly shill for beer again, and we introduce a brand new feature....BLOOPERS! Learn more about Brett at his website brettmilano.com. Pick up one of his great books anywhere you get books... Vinyl Junkies: Adventures in Record Collecting THE SOUND OF OUR TOWN: A History of Boston Rock & Roll 300 Songs for 300 Years: Songs That Have Immortalized New Orleans Be sure to follow along, leave your comments, and join in on the discussion on the rankings at Facebook (facebook.com/rankingthebeatles) and on Instagram @rankingthebeatles. Enjoying the show and want to show your support? Check out https://anchor.fm/rankingthebeatles/support! --- Send in a voice message: https://anchor.fm/rankingthebeatles/message Support this podcast: https://anchor.fm/rankingthebeatles/support
The Medical and Life Checkup Episode: An Accident With Repercussions, Bounce Back, Two Weeks, Open Inboxes That Never Close, What It's All Been, What Goes On, 100 Hours of Podcast, A Day Grabbed With Two Hands.r Just a little reflection on a post-accident depression and concern which I am now definitively out of.
Happy 80th Ringo Starr! Besides being known as The Beatles' drummer, he sang lead in 11 of their songs. In this episode, we flashback and listen to each. Theme Song: "Dance Track", composed by Jessica Ann CatenaSongs Mentioned: https://open.spotify.com/playlist/0RDjP1J56oaTJ0U7aInIRW?si=6019327fe07e4ddc"Boys" - The Shirelles (1960)"I Wanna Be Your Man" - The Rolling Stones (1963)"Matchbox" & "Honey Don't" - Carl Perkins (1956)"Act Naturally" - Buck Owens & Ringo Starr (1989)"With a Little Help From My Friends" - Joe Cocker (1968)"Boys" (1963), "I Wanna Be Your Man" (1963), "Matchbox" (1964), "Honey Don't" (1964), "If You've Got Trouble" (1965/1996), "Act Naturally" (1965), "What Goes On" (1965), "Yellow Submarine" (1966), "Sgt. Pepper's Lonely Hearts Club Band" (1967), "With a Little Help From My Friends" (1967), "Don't Pass Me By" (1968), "Good Night" (1968), "Octopus's Garden" (1969) - The Beatles
Happy 80th Ringo Starr! Besides being known as The Beatles' drummer, he sang lead in 11 of their songs. In this episode, we flashback and listen to each. Theme Song: "Dance Track", composed by Jessica Ann CatenaSongs Used: "Boys" - The Shirelles (1960)"I Wanna Be Your Man" - The Rolling Stones (1963)"Matchbox" & "Honey Don't" - Carl Perkins (1956)"Act Naturally" - Buck Owens & Ringo Starr (1989)"With a Little Help From My Friends" - Joe Cocker (1968)"Boys" (1963), "I Wanna Be Your Man" (1963), "Matchbox" (1964), "Honey Don't" (1964), "If You've Got Trouble" (1965/1996), "Act Naturally"(1965), "What Goes On" (1965), "Yellow Submarine" (1966), "Sgt. Pepper's Lonely Hearts Club Band" (1967), "With a Little Help From My Friends" (1967), "Don't Pass Me By" (1968), "Good Night" (1968), "Octopus's Garden" (1969) - The Beatles
The Beatles final recording sessions of 1965 produced Michelle and What Goes On. Their first of 1966 produced Tomorrow Never Knows. That's kinda incredible!
Welcome to the second ever episode of What Goes On, a podcast about life in the music industry. Through a series of interviews with some rather spectacular human beings, we want to provide you with an insight into what it means to live and work in the music industry. In today's episode, we are absolutely delighted to be joined by David Baker. David is a hugely talented session bass player who has worked with a dazzling array of artists including Ella Eyre and James Arthur. You can follow him on Instagram @thebakerloo https://www.instagram.com/thebakerloo/ We've fixed the watermark that plagued last week's episode, but we've got a brand new technical issue for you to enjoy this week. We don't have any video footage from 11:05 until 17:44, so the screen does just go black for little bit. Sorry about this, we should be free from major technical issues from now on. For those of you with limited time on your hands (or limited inclination to spend a whole hour watching this video), we've outlined some of the best places to dip in and out: Who are you and where do you come from? 0:57 An amusing anecdote about a child, an ice cream and a very expensive car 2:20 When did you first pick up an instrument and how did you end up playing bass? 4:07 The importance of having a good teacher. 6:54 When did you first play in a proper band? 8:00 The merits of persistence ft. a man named Mullarkey. 9:52 The strengths and limitations of music in the education system and thoughts on getting jobs as a musician. 12:40 Dave tells us about his first big gig. 16:00 How do you actually get gigs? 17:41 How do rehearsals work for touring musicians? 19:20 Does anything change over the course of a tour? 24:00 Is it hard not to drink too much on tour? 27:20 Steve reveals surprising knowledge pertaining to Dave Grohl's sausages. 29:35 That time Dave accidentally got high on stage. 32:11 The difficulties in adjusting from being on tour to being at home. 35:30 Have you got any side projects? 41:05 We finally have a talk about gear! 44:43 A chat about latency and the invasion of the Battenbergs. 49:00 What would you say to your younger self? 52:00 What would your younger self say to you? 57:18 Goodbye! 58:25 We hope you enjoy/enjoyed the video. Please feel free like and/or subscribe and, should you ever be in West London, we would delighted for you to drop in and say hi at either Monty's or Audio Kitchen (or both).
With the joyous inevitability normally reserved for the rising of a new dawn, another episode of What Goes On is upon us. For anyone who doesn't yetknow, What Goes On is a podcast about life in the music industry. Through a series of interviews with some rather spectacular human beings, we want to provide you with an insight into what it means to live and work in the music industry. For this week's episode, we are excited to be joined by the simply magnificent John J Presley. John is a Brighton-based touring bluesman with a spellbindingly unique style and an evocative, visceral voice. You can check out his work at https://www.johnjpresley.com/ and find his Instagram at https://www.instagram.com/johnjpresley/ We hope you enjoy/enjoyed the video. Please feel free like and/or subscribe and, should you ever be in West London, we would delighted for you to drop in and say hi at either Monty's or Audio Kitchen (or both).
We are delighted to announce that this, the fourth episode of What Goes On, has arrived on time and without any technical faults. Thanks for sticking with us, we knew this day would come eventually. In today's episode, we are delighted to be joined by the very model of a modern major stompbox manufacturer, Adrian Thorpe MBE. Known by the mononym 'Thorpy', Adrian is the brains behind ThorpyFX, a well-known maker of some of the finest guitar effects pedals the industry has to offer. Check out Thorpy's wares at: https://www.thorpyfx.com. Follow him on instagram at: https://www.instagram.com/thorpyfx/ What goes on is a podcast/video series about life in the music industry. Through a series of interviews with some rather spectacular human beings, we want to provide you with an insight into what it means to live and work in the music industry. Each of our guests have contributed their immense talents to this industry, and we are delighted to help share their stories, insights and words of wisdom. This is a long video, so -although we wouldn't recommend missing a second of it- we've outlined some of the best places to dip in and out: We get distracted by Podcast recording software 0:33 Who are you, where did you come from 2:00 Where did your passion for -and knowledge of- electronics come from? 6:50 Thorpy's first pedal build 10:50 We find out what electronics, fishing and bison hunting have in common 12:54 The merits of failure 16:55 The beginner's guide to eating an elephant (don't worry, none of us have ever harmed elephants) 20:06 How did ThorpyFX start? (and a very interesting conversation about pedal design) 22:42 Why do your pedals have holes in? 28:54 What does a day in the life of Thorpy look like? 35:30 A chat about the realities of running a business 38:10 SPRINGS!!! 45:05 Thorpy reveals the one negative thing about his pedals 47:06 The importance of presentation and customer experience 49:45 The difficulties in separating personal life from business life 1:02:00 Thorpy's journey with physical injuries and recovery 1:07:00 Apparently your body can fix itself by eating itself. Lovely 1:10:47 A brief chat about competition, friends and doing what you know 1:20:55 Designing The Dane (and how Thorpy met Danish Pete in the first place) 1:22:50 So Long, and Thanks for All the Fish 1:32:30 We hope you enjoy/enjoyed the video. Please feel free like and/or subscribe and, should you ever be in West London, we would delighted for you to drop in and say hi at either Monty's or Audio Kitchen (or both).
Hello ye good people of the internet and welcome to the sixth episode of What Goes On, a series of interviews with interesting people from all over the music industry. Today we are delighted to be joined by Justin Sandercoe, an online guitar teacher and the man behind Justin Guitar. This eponymously named YouTube channel has amassed over 1 million subscribers thanks to Justin's high quality instructional videos and has led to him being dubbed 'one of the most influential guitar teachers in history'. Check out the Justin Guitar youtube channel at https://www.youtube.com/user/JustinSa... and find his Instagram at https://www.instagram.com/justinguita... What goes on is a podcast/video series about life in the music industry. Through a series of interviews with some rather spectacular human beings, we want to provide you with an insight into what it means to live and work in the music industry. Each of our guests have contributed their immense talents to this industry, and we are delighted to help share their stories, insights and words of wisdom. We hope you enjoy/enjoyed the video. Please feel free like and/or subscribe and, should you ever be in West London, we would delighted for you to drop in and say hi at either Monty's Guitars or Audio Kitchen (or both).
Jubilations! The very first episode of What Goes On is here and amongst us, floating around in the digital ether. Through a series of interviews with some rather spectacular human beings, we want to provide you with an insight into what it means to live and work in the music industry. In today's episode, we sit down with Jay Schleusener, the bass tech for Kings of Leon. Apologies about the video stutter in places and the watermark at the top of the screen. Don't worry though, we've got these things fixed for future episodes. We understand that these videos are a little long, so we've outlined some of the best places to dip in and out: Intro: 0:00 Who are you and from whence have you come?: 2:16 A brief tangent involving a man named Nacho and some leather inserts: 3:00 How did you get into playing music?: 5:00 How did you get into being a tech anyway?: 8:25 An answer to above question and a great story about a fringed leather jacket: 12:35 The importance of trust, making connections and building relationships: 14:40 As a tech, how much influence do you have over the gear that your musicians use?: 17:00 The kinds of problems that techs encounter on the road: 21:25 Nobody likes a wet rig!: 23:30 Some amusing stories about guitars getting broken: 28:35 The emotional and physical rollercoaster that is going on tour: 32:30 The difficulties of moving between home and the road: 35:43 Substance abuse on the road: 43:05 What are your coping mechanisms for coming back from tour?: 47:00 A rude interruption: 49:27 Looking beyond teching and the need for an exit strategy: 49:22 What would you say to your younger self (and what would he say to you)?: 53:15 Goodbye and Outro: 54:40 Hope you enjoy/enjoyed the podcast. Please feel free like and/or subscribe and, should you ever be in West London, we would delighted for you to drop in and say hi at either Monty's or Audio Kitchen (or both)!
What Goes On is the first songwriting credit for Ringo and the only song to be credited as Lennon/McCartney/Starkey.
Sri Rao is a writer-director-producer based in New York City. He has created and sold numerous TV pilots in both network and cable television, spanning drama as well as comedy. Recent credits include dramas Alpha/Omega to BBC America, White House Affairs to NBC (with Craig Zadan & Neil Meron), Courtesan to Universal (with director Shekhar Kapur), The Black Widow to NBC, and comedy S.O.B. to ABC (with Kelly Ripa). His previous pilot sales include musical dramedy I Am Not Myself These Days to Bravo (with Darren Star) and drama U.N. to Fox. Sri began his career in New York’s indie film and theater scene. His first professional production as writer-director was the play, Precipice, which premiered at NY Performance Works before transferring to LA’s Greenway Court Theater. Sri then adapted Precipice into the pilot, Quarter Life, before going on to write and direct the indie film, Tuesday. His early work led to a career in television, beginning with the drama series, What Goes On, which Sri created for TeenNick. In addition to serving as Executive Producer/Showrunner, Sri wrote and directed most of the 10 episodes in the show’s first season. Moreover, Sri’s production company acted as the independent studio on the series, creating a 50,000-square-foot soundstage in Philadelphia to successfully leverage Pennsylvania’s film tax credit. Sri oversaw all aspects of production – from negotiating Union contracts to managing the production budget, payroll, production and post – all while guiding a writing staff of seven writers. On the motion picture side, Sri’s production company has produced two major Bollywood films for India’s largest and most well-respected studio, Yash Raj Films. The movies, New York and Badmaash Company, were filmed in the United States for a global market. Sri and his team managed an international cast and crew, including A-list Indian talent such as Irrfan Khan of Slumdog Millionaire and Life of Pi. In addition to his unique production experience, Sri has a keen eye for story and crafting characters, plot, and drama – as demonstrated by his stint as Head Writer for the primetime soap, General Hospital: Night Shift. Sri oversaw a writing staff of eight writers and under his direction, the show was nominated for 11 Soap Opera Spirit Awards, including Best Head Writer. In the unscripted arena, Sri directed and produced the docudrama pilot, U. of Fashion for MTV, as well as webisodes for TVLand’s High School Reunion. Born and raised in Pennsylvania, Sri is an honors graduate of The Wharton School of the University of PA. He is represented by CAA.
The Beatles were never an overly self-referential band. However, there are a few instances: All You Need is Love, I Am The Walrus, Glass Onion, perhaps What Goes On. However, once they were no longer band-mates. each of the four would reference the group, the individual members, and songs from the Fabs (even releasing a sequel or two) on any number of occasions. This week we look into some of the references, and build a playlist for those of you looking for a deeper dive.
Un día como hoy, pero de 1966, se lanzó en EU. el disco sencillo: Nowhere Man (cara a), What Goes On (cara b).
Un día como hoy, pero de 1966, se lanzó en EU. el disco sencillo: Nowhere Man (cara a), What Goes On (cara b).
In celebration of the incredible 50th-anniversary edition of The White Album, we are bringing back Cover to Cover for The Fab Four. Enjoying the show? Please support BFF.FM with a donation. Playlist 0′00″ I Want To Hold Your Hand by Al Green on Love Ritual (Hi Records) 2′53″ Can't Buy Me Love by Scary Pockets on Kitsch Funk 4′26″ A Hard Day's Night by The Supremes on A Bit of Liverpool 6′54″ I Feel Fine by Chet Atkins on Picks On The Beatles 8′20″ Ticket to Ride by Vanilla Fudge on Vanilla Fudge 11′41″ Day Tripper by Otis Redding on Complete 15′14″ We Can Work It Out by Stevie Wonder on Signed, Sealed, and Delivered (Motown) 18′15″ Eleanor Rigby by The Four Tops on Four Tops Now (Motown) 21′08″ Come Together by The Meters on Kickback (Warner Bros) 24′32″ Strawberry Fields Forever by Richie Havens on 20th Century Masters 27′07″ Norwegian Wood by Waylon Jenning on Nashville Rebel (Sony) 30′40″ Fixing A Hole by The Wood Brothers on Up Above My Head (Indirecto) 33′19″ With A Little Help From My Friends by Steve Cropper on Dedicated 38′11″ Jealous Guy by Hurray For The Riff Raff on My Dearest Darkest Neighbor (This is American Music) 41′37″ Let Me Roll It by Lake Street Dive on Fun Machine 44′18″ All Things (Must) Pass by Billy Preston on Encouraging Words (Apple) 48′09″ Cold Turkey by The Soft Boys on A Can of Bees (Yep Roc) 51′54″ Instant Karma by Midnight Oil on King of the Mountain (Midnight Oil) 54′29″ Working Class Hero by Green Day on Instant Karma: The Amnesty International Campaign to Save Darfur (Warner Bros.) 60′02″ Happiness is a Warm Gun by The Breeders on Pod (Rough Trade) 64′19″ Mother Nature's Son by John Denver on Best Of 68′01″ Michelle by Ben Harper on This Bird Has Flown (Concord) 74′39″ Run For Your Life by Thee Headcoatees on The Kids Are All Square 77′16″ Help by The Damned on Damned Damned Damned (MCA Records) 80′04″ I'm Looking Through You by Mark Heard on Second Hand 84′43″ And Your Bird Can Sing by The Jam on Sound Affects (Polydor) 89′16″ She's Leaving Home by Billy Bragg on Reaching to the Converted (Cooking Vinyl) 94′40″ Got To Get You Into My Life by Daniel Johnston on 1990 99′14″ What Goes On by Sufjan Stevens on This Bird Has Flown (Concord) 103′44″ Sgt Pepper's Lonely Hearts Club Band by Jimi Hendrix on Atlanta Pop Festival (Sony) 107′12″ Taxman by Junior Parker on Funny How Time Slips Away (LRC Ltd.) 111′32″ In My Life by Johnny Cash on American VI: Ain't No Grave (American) 113′00″ Because by Elliott Smith on American Beauty (Geffen) 117′38″ Medley: Sun King / Mean Mister Mustard ... by Booker T. & The M.G.'s on McLemore Avenue (Stax)
Episode 35 of The Teaching Space Podcast is all about how to use a to-do list PROPERLY! Introduction We all know I like to geek out on productivity apps - this is not one of those episodes! Well, not entirely. In today’s show we are focusing on how to use a to-do list properly, regardless of the method you use. OK there might be a bit of app talk, but I will keep it to a minimum. Let’s get the app talk out the way first… Do you Need an App? No. Pen and paper works fine. But if you want an app, then there are lots of amazing ones on the market. App advantages: The ability to re-order your list without re-writing it. Cross-platform accessibility and portability. Backups. Task or Project Manager? If you ARE going down the digital route: do you need a task management or project management app? To understand your needs, analyse the work you need to organise. At a guess: your work is probably project-based rather than task based. Example: if you have a pile of marking to do, the process has multiple tasks (each paper is a task). That means you have a project to complete. Which would suggest you need to go down the project management tool route. However, you might find a task manager gives you enough flexibility if you set it up to suit your needs. Test them out - see what you like. What Goes On the List? Everything. I repeat, everything. One of the main ways people fail at using a to-do list is they have tasks stored in multiple places. Examples: your head, your email inbox, sticky notes… One of the main benefits of using a list is that you have everything in one place. Get things out of your head and inbox and put them on the list. Once you have a clear idea on everything you need to do, you can start prioritising, planning and get organised. But What About My Calendar? Think of your calendar as your to-do list’s partner. Everything that has a scheduled time should go on your calendar (meetings and appointments). There is no need to put them on your to-do list, as long as you look at your calendar and your list when you plan your day. Consider allocating time to complete your tasks on your calendar. Why Can’t I Use my Email Inbox as a To Do List? SO MANY REASONS: You are not in control of incoming items - if you inbox is your to-do list, anyone can add to it at any time. It's hard to see what the actual "to-do" item is without opening the email and spending time reading it. People rarely give their emails descriptive subjects. Your inbox is no longer an effective inbox - treating your email like a to-do list makes an inefficient to-do list, but it also creates an inefficient email inbox. Have a look at this: Inbox Zero blog post. Ideas and Recommendations: If you are using pen and paper, use a yellow legal pad. It will be easy to spot on your desk. Re-write it daily. Review your to-do list every day - either first thing in the morning or last thing at night. Put EVERYTHING on it (I know I have said this before but it is so important it bears repeating!) Digital Tools I Like: Workflowy Wunderlist Trello Asana A non-digital option is bullet journalling. Summary Pick your tool. Everything goes in it except for events which are on your calendar. Do not use your email inbox as a to-do list. Create a to-do list and calendar checking routine daily. Wrap Up If you enjoyed the episode, then please consider leaving a positive review on iTunes. This helps more teachers and trainers find the podcast when they search. Thank you.
Studio version of the song. A 'New Face in Hell' and how you (maybe) shouldn't trust the government. Also, the song's relationship to What Goes On in folk tradition. There's probably a curse word. Contact: pgtfsg@gmail.com. The Annotated Fall lies here: http://annotatedfall.doomby.com/
Où l’on constate que c’est dans les pots les plus bizarres que l’on fait les soupes les plus étranges. Références du morceau : Venus In Furs, The Velvet Underground (composition Lou Reed), album The Velvet Undergound and Nico (1967). Quelques liens vers des morceaux incontournables du Velvet Underground : - All Tomorrow’s Parties, album The Velvet Underground and Nico (1967)- I’m Waiting for the Man, album The Velvet Underground and Nico (1967)- Heroin, album The Velvet Underground and Nico (1967)- Some Kinda Love, live album The Complete Matrix Tapes (2015), version studio sur l’album The Velvet Underground (1969)- What Goes On, live album The Complete Matrix Tapes (2015), version studio sur l’album The Velvet Underground (1969)- Sweet Jane, album The Velvet Underground (1969).
This week, Steve, Allan and Ken begin the first in a series of programs discussing how well the Beatles are preserving their legacy, both as a group and as solo artists, evaluating the releases of John Lennon and Ringo Starr. Plus we bring you up-to-date on the latest Beatles news from around the globe including our throughts on the "What Goes On" demo being sold on eBay and Ken reviews another Paul McCartney concert. Be sure to let us know what you think about this episode of the show or any other episode. You can send your comments directly to our email address thingswesaidtodayradioshow@gmail.com, join our "Things We Said Today Beatles Fans" Facebook page, tweet us at @thingswesaidfab or catch us each on Facebook and give us your thoughts. And we thank you for listening. Don't forget, you can stream the show from our very own YouTube page. Subscribe to our show on our iTunes page and please write a review. Be sure to check our Podbean page and on iTunes regularly for our latest shows, which usually appear each week. And we're now available through the Tune In Radio app. Be sure to subscribe to one of our providers to get first word on when a new show is available. And thanks for your support. Our download numbers have been rising each week and it's because of you! So we thank you very much for supporting us.
This week, your TWST hosts Ken Michaels, Allan Kozinn and Steve Marinucci discuss three Beatles-related films that didn't star them, but were about them -- "Backbeat," "I Wanna Hold Your Hand" and "The Rutles." Also on this week's agenda: Ken reviews seeing Paul McCartney and we also have a report on the early version of "What Goes On" coming up for auction. Be sure to let us know what you think about this episode of the show or any other episode. You can send your comments directly to our email address thingswesaidtodayradioshow@gmail.com, join our "Things We Said Today Beatles Fans" Facebook page, tweet us at @thingswesaidfab or catch us each on Facebook and give us your thoughts. And we thank you for listening. Don't forget, you can stream the show from our very own YouTube page. Subscribe to our show on our iTunes page and please write a review. Be sure to check our Podbean page and on iTunes regularly for our latest shows, which usually appear each week. And we're now available through the Tune In Radio app. Be sure to subscribe to one of our providers to get first word on when a new show is available. And thanks for your support. Our download numbers have been rising and it's because of you! So we thank you very much for supporting us.
The Sighs were an excellent power pop/rock band in the early 90s with a ton of promise. They released a stellar debut album, What Goes On, in 1992 that was produced by the great Ed Stasium and were starting to get some traction, but ultimately fell victim to almost every pitfall on the "shoulda been" checklist - label was sold, no marketing, poor distribution, internal label politics, etc. Frontman Robert LaRoche has continued to soldier on undaunted, despite it never being easy. Today, he's primarily a sideman for singer Patricia Vonne and does some solo stuff on the side, as well as other odd jobs when necessary. But, these are good days for him and Sighs fans as they just released their 3rd album last week, Wait On Another Day, which deserves to be heard. Robert gives great interview - self-aware, funny stories and talented. Also, we talk to one of our listeners in Houston who presents an idea on how to provide some relief for victims of Hurricane Harvey. https://open.spotify.com/user/129134325/playlist/7cZZiwboEVMB1ObhaPb5vM http://www.thesighsmusic.com/ http://robertlarochemusic.com/
Hey, WAIT! WHAT GOES ON here? George sings Paul? Paul sings Ringo? Ringo sings John? And John sings Paul & George? As you'll here on this edition, each of our heroes will sing a song normally sung by another Beatle. PLUS, a Beatles cover song, a Beatles tribute song, a Beatles/Monkees mash-up, a Beatles commercial, an isolated vocal...and MORE! Yeah! Yeah! Yeah!
Ringo asks the musical question "What Goes On?" See acast.com/privacy for privacy and opt-out information.
Sri Rao is a writer-director-producer based in New York City. He has created and sold numerous TV pilots in both network and cable television, spanning drama as well as comedy. Recent credits include dramas Alpha/Omega to BBC America, White House Affairs to NBC (with Craig Zadan & Neil Meron), Courtesan to Universal (with director Shekhar Kapur), The Black Widow to NBC, and comedy S.O.B. to ABC (with Kelly Ripa). His previous pilot sales include musical dramedy I Am Not Myself These Days to Bravo (with Darren Star) and drama U.N. to Fox. Sri began his career in New York’s indie film and theater scene. His first professional production as writer-director was the play, Precipice, which premiered at NY Performance Works before transferring to LA’s Greenway Court Theater. Sri then adapted Precipice into the pilot, Quarter Life, before going on to write and direct the indie film, Tuesday. His early work led to a career in television, beginning with the drama series, What Goes On, which Sri created for TeenNick. In addition to serving as Executive Producer/Showrunner, Sri wrote and directed most of the 10 episodes in the show’s first season. Moreover, Sri’s production company acted as the independent studio on the series, creating a 50,000-square-foot soundstage in Philadelphia to successfully leverage Pennsylvania’s film tax credit. Sri oversaw all aspects of production – from negotiating Union contracts to managing the production budget, payroll, production and post – all while guiding a writing staff of seven writers. On the motion picture side, Sri’s production company has produced two major Bollywood films for India’s largest and most well-respected studio, Yash Raj Films. The movies, New York and Badmaash Company, were filmed in the United States for a global market. Sri and his team managed an international cast and crew, including A-list Indian talent such as Irrfan Khan of Slumdog Millionaire and Life of Pi. In addition to his unique production experience, Sri has a keen eye for story and crafting characters, plot, and drama – as demonstrated by his stint as Head Writer for the primetime soap, General Hospital: Night Shift. Sri oversaw a writing staff of eight writers and under his direction, the show was nominated for 11 Soap Opera Spirit Awards, including Best Head Writer. In the unscripted arena, Sri directed and produced the docudrama pilot, U. of Fashion for MTV, as well as webisodes for TVLand’s High School Reunion. Born and raised in Pennsylvania, Sri is an honors graduate of The Wharton School of the University of PA. He is represented by CAA. JJ Flizanes is an Empowerment Strategist. She is the Director of Invisible Fitness, an Amazon best-selling author of Fit 2 Love: How to Get Physically, Emotionally, and Spiritually Fit to Attract the Love of Your Life, and author of Knack Absolute Abs: Routines for a Fit and Firm Core. She was named Best Personal Trainer in Los Angeles for 2007 by Elite Traveler Magazine. JJ vividly reminds us that the word ‘fitness’ is not just about the state of one’s physical body, but also the factors which determine a person’s overall well being. And, for JJ, the key components in all these areas are ‘invisible’ — balanced support structures of nutrition, emotional centeredness and health. A favorite of journalists and the media for her depth of knowledge and vibrant personality, JJ, a contributing expert for Get Active Magazine, has also been featured in many national magazines, including Shape, Fitness, Muscle and Fitness HERS, Elegant Bride, and Women’s Health as well as appeared on NBC, CBS, Fox 11 and KTLA. She is also a video expert for About.com and regular contributor for The Daily Love. JJ launched her professional career in 1996 as the Foundations Director for the New York Sports Club, where she designed curriculum and in-house certification for new and previously uncertified fitness trainers. She has also been certified by the American Council on Exercise (ACE), International Sports Science Association (ISSA), and the Resistance Training Specialist Program (RTS). With a focus on biomechanics, JJ has lectured for The Learning Annex and as a featured speaker for New York Times Bestselling Author of The Millionaire Mind, T. Harv Ecker’s Peak Potentials seminars, as well as corporate clients, including Pacific Gas and Electric, Hanson Engineering, and Jostens, Inc. She is the Wellness Expert for KFC International, the Health and Fitness Expert for the National Association of Entrepreneur Moms, and a Fitness Expert for Nourishing Wellness Medical Center. She has been working in the health and wellness industry for 15 years, as a fitness trainer with a knack for helping her clients become more self-aware and self-empowered through her ability to quickly identify and pinpoint problem areas, and then create simple solutions involving exercise, nutrition and mindset changes. She is the Host of the new iTunes Podcast Show Fit 2 Love: Physical, Emotional and Spiritual Fitness for the Happy Life You Deserve which is six day a week video and audio show. What sets JJ apart from her Celebrity Fitness counterparts is the holistic approach to getting results. Over the last fourteen years she has studied, used and applied Positive Psychology, Neuro-Linguistic Programming (NLP), Eye Movement Desensitization and Reprocessing (EMDR), Emotional Freedom Technique (EFT), Law of Attraction, Quantum Physics, Non Violent Communication, Imago Therapy, and Hypnotherapy. JJ Flizanes has proven that she’s not only an expert in matters of the body and fitness—she’s an insightful and provocative author who delivers a timely message about matters of the heart.
Sri Rao is a writer-director-producer based in New York City. He has created and sold numerous TV pilots in both network and cable television, spanning drama as well as comedy. Recent credits include dramas Alpha/Omega to BBC America, White House Affairs to NBC (with Craig Zadan & Neil Meron), Courtesan to Universal (with director Shekhar Kapur), The Black Widow to NBC, and comedy S.O.B. to ABC (with Kelly Ripa). His previous pilot sales include musical dramedy I Am Not Myself These Days to Bravo (with Darren Star) and drama U.N. to Fox. Sri began his career in New York’s indie film and theater scene. His first professional production as writer-director was the play, Precipice, which premiered at NY Performance Works before transferring to LA’s Greenway Court Theater. Sri then adapted Precipice into the pilot, Quarter Life, before going on to write and direct the indie film, Tuesday. His early work led to a career in television, beginning with the drama series, What Goes On, which Sri created for TeenNick. In addition to serving as Executive Producer/Showrunner, Sri wrote and directed most of the 10 episodes in the show’s first season. Moreover, Sri’s production company acted as the independent studio on the series, creating a 50,000-square-foot soundstage in Philadelphia to successfully leverage Pennsylvania’s film tax credit. Sri oversaw all aspects of production – from negotiating Union contracts to managing the production budget, payroll, production and post – all while guiding a writing staff of seven writers. On the motion picture side, Sri’s production company has produced two major Bollywood films for India’s largest and most well-respected studio, Yash Raj Films. The movies, New York and Badmaash Company, were filmed in the United States for a global market. Sri and his team managed an international cast and crew, including A-list Indian talent such as Irrfan Khan of Slumdog Millionaire and Life of Pi. In addition to his unique production experience, Sri has a keen eye for story and crafting characters, plot, and drama – as demonstrated by his stint as Head Writer for the primetime soap, General Hospital: Night Shift. Sri oversaw a writing staff of eight writers and under his direction, the show was nominated for 11 Soap Opera Spirit Awards, including Best Head Writer. In the unscripted arena, Sri directed and produced the docudrama pilot, U. of Fashion for MTV, as well as webisodes for TVLand’s High School Reunion. Born and raised in Pennsylvania, Sri is an honors graduate of The Wharton School of the University of PA. He is represented by CAA. JJ Flizanes is an Empowerment Strategist. She is the Director of Invisible Fitness, an Amazon best-selling author of Fit 2 Love: How to Get Physically, Emotionally, and Spiritually Fit to Attract the Love of Your Life, and author of Knack Absolute Abs: Routines for a Fit and Firm Core. She was named Best Personal Trainer in Los Angeles for 2007 by Elite Traveler Magazine. JJ vividly reminds us that the word ‘fitness’ is not just about the state of one’s physical body, but also the factors which determine a person’s overall well being. And, for JJ, the key components in all these areas are ‘invisible’ — balanced support structures of nutrition, emotional centeredness and health. A favorite of journalists and the media for her depth of knowledge and vibrant personality, JJ, a contributing expert for Get Active Magazine, has also been featured in many national magazines, including Shape, Fitness, Muscle and Fitness HERS, Elegant Bride, and Women’s Health as well as appeared on NBC, CBS, Fox 11 and KTLA. She is also a video expert for About.com and regular contributor for The Daily Love. JJ launched her professional career in 1996 as the Foundations Director for the New York Sports Club, where she designed curriculum and in-house certification for new and previously uncertified fitness trainers. She has also been certified by the American Council on Exercise (ACE), International Sports Science Association (ISSA), and the Resistance Training Specialist Program (RTS). With a focus on biomechanics, JJ has lectured for The Learning Annexand as a featured speaker for New York Times Bestselling Author of The Millionaire Mind, T. Harv Ecker’s Peak Potentials seminars, as well as corporate clients, including Pacific Gas and Electric, Hanson Engineering, and Jostens, Inc. She is the Wellness Expert for KFC International, the Health and Fitness Expert for the National Association of Entrepreneur Moms, and a Fitness Expert for Nourishing Wellness Medical Center. She has been working in the health and wellness industry for 15 years, as a fitness trainer with a knack for helping her clients become more self-aware and self-empowered through her ability to quickly identify and pinpoint problem areas, and then create simple solutions involving exercise, nutrition and mindset changes. She is the Host of the new iTunes Podcast Show Fit 2 Love: Physical, Emotional and Spiritual Fitness for the Happy Life You Deserve which is six day a week video and audio show. What sets JJ apart from her Celebrity Fitness counterparts is the holistic approach to getting results. Over the last fourteen years she has studied, used and applied Positive Psychology, Neuro-Linguistic Programming (NLP), Eye Movement Desensitization and Reprocessing (EMDR), Emotional Freedom Technique (EFT), Law of Attraction, Quantum Physics, Non Violent Communication, Imago Therapy, and Hypnotherapy. JJ Flizanes has proven that she’s not only an expert in matters of the body and fitness—she’s an insightful and provocative author who delivers a timely message about matters of the heart. Fit 2 Love: How to Get Physically, Emotionally and Spiritually Fit to Attract the Love of Your Life will be released in its second edition with Balboa Press in January of 2015.
It's Beatles time again for episode 27 of My Favorite Album, as our semi-monthly exploration of the Fab Four's catalogue lands on 1965's "Rubber Soul", with Californian born Nashville hit songwriter and soulful singer James House stepping into the portable pod booth. Along the way, they break down classic tracks "Norwegian Wood", "You Won't See Me", "What Goes On", "The Word", "Nowhere Man" and "In My Life" and chat about James's visit to Abbey Road studios, the sentimentality of John Lennon, the efficiency of the album's song construction and Sean Connery's contribution to the Beatles mythos. My Favorite Album is a podcast unpacking the great works of pop music. Each episode features a different songwriter or musician discussing their favorite album of all time - their history with it, the making of the album, individual songs and the album's influence on their own music.Jeremy Dylan is a filmmaker from Sydney, Australia who has worked in the music industry since 2007. He directed the the feature music documentary Jim Lauderdale: The King of Broken Hearts (out now!) and the feature film Benjamin Sniddlegrass and the Cauldron of Penguins, in addition to many commercials and music videos. If you've got any feedback or suggestions, drop us a line at myfavoritealbumpodcast@gmail.com
GUESTS: LISA WOOD and AARON DURAN, Greg Is Out, What Goes On, Shenanigans, Literal Ball Talk, Hilarity Times 1000
Thee Corey of What Goes On joins us again to talk 90's music, create the SUPER REMAKE of Twins and Junior, plus: Ozzfest, Snot Free Mic, Dave Matthews Memories, Junior 2: The Twinning, Guilty Pleasure Movies, The Falling Down Show, No Love, Actually, Chris Farley Dates, Nailing Names, J.Lo the Chill Bro, 311 Deep Cuts Music from this episode: Blasto Podcast Theme: “Blast Off” by the Monks —- Follow us on Facebook! Check out David's ePamphlet A List of Animals I Believe I Could Defeat in Single Combat, Organized by Phylum! Check out Corey's Zine What Goes On Follow David on twitter @DavidBlasto Follow Liisa on twitter @LiisaBlasto
Welcome back to the Conspiracy, where we strive to spread the principles of individual liberty and peaceful interaction. In this special program, we give you a show with one unified theme: that the state is the biggest, most destructive religion in the history of the world. We look at the inauguration of the current President of the US and compare the rituals and beliefs backing the state (in all its forms) to the rituals and beliefs backing various religions. We also look at what happens to those who become apostates to the religion of the state. Ritualism, the state, belief in its beneficence, and its power to destroy non-believers -- they are all covered here, with music by the Psychedelic Furs "Forever Now", The Golden Palominos "The Animal Speaks", Derek Lyn Plastic "Run with Me", The Sons of Hercules "Reason to Live" and "Snake People", The Future of the Left "The Hope that House Built", Midnight Oil "What Goes On", Asian Dub Foundation "Target Practice", The Ramones "Sheena Is a Punk Rocker" and The Horrors "Sheena Is a Parasite"!!!!! YEAH! Be Seeing You! Visit www.libertyconspiracy.com !!
A startlingly good production for you here, all. It's our analysis of claims made by people who want the government to force people to give "equal pay" to men and women at the workplace. We look at the claims and at the ethics of getting the government involved in the so-called solution, and we also look at whether the accusations of unequal pay are actually correct, and upon what they are based... Listen... The meme is rising. Including some choice, delicious music by Midnight Oil "What Goes On", Shriekback "Glory Bumps", Gary Milhouse "At Peace" (see him play in Bath, England!), The Grassy Knoll "Unbelievable Truth" (observe how they use the first note of Hendrix's version of "Purple Haze"!), Sonic Youth "Bull in The Heather", The Catherine Wheel "Black Metallic", DMZ "Watch for Me Girl"!, Wild Cherry "Play That Funky Music", Girls Against Boys "In Like Flynn" (as in Erroll Flynn, baby...) DIG! Be Seeing You! ROCK ON. Keep fighting for liberty!
There IS Rhyme & Reason for What Goes On in Our Every Day Lives! The Laws of the Universe revealed demonstrate this. Wendy Kay brings on her life and business partner, Kenny Brandon, to discuss the implications of the laws and how, once you’re aware of them, life can go smoother, simpler and more like the ways you want Your … Read more about this episode...
01. The Hypnotic (feat. D'Angelo) 02. You Got Me (feat. Jill Scott) 03. Tracie Spencer - It's All About You (remix) 04. Why (What's Goin On?) 05. Millie Pulled A Pistol On Santa 06. Proceed (Live At The Supper Club) 07. Datskat 08. Silent Treatment (Street Mix) 09. Silent Treatment (Kelo's Mix) 10. Silent Treatment (Black Thought's 87 You & Yours Mix) 11. Rising Down (feat. Mos Def) 12. Clones (feat. Dice Raw & M.A.R.S.) 13. Distortion To Static (Black Thought Mix) 14. Distortion To Static (At Ease Microphone Check Mix) 15. Lazy Afternoon 16. Soulive & Black Thought - Clap! 17. Walking Large - Listen To This 18. Nonchalant - Take it There (remix) 19. The 'Notic 20. The Lesson, Part 1 21. Ital (The Universal Side) (feat. Q-Tip) 22. U.N.I.Verse At War feat Common 23. Step Into The Relm 24. ? vs. Rahzel 25. What Goes On, Part 7 26. Stay Cool 27. Proceed II (feat. Roy Ayers) 28. Still Out There 29. What They Do 29. Act Too (The Love Of My Life) (feat. Common) 30. No Alibi 31. I'm Out Deah 32. Complexity (feat. Jill Scott)
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For 13 weeks, GH's cable spin off told powerful, multi-generational tales of love, hope and mortality, all primarily set in the soap's historic hospital. The series was truly a Valentine to long term fans of GH and beautifully explained to newer fans why iconic veterans like Tristan Rogers (Robert), Finola Hughes (Anna) and Antonio Sabato Jr. (Jagger) are so beloved. While making GH: Night Shift a success was a collaborative effort, it was one novice soap opera writing's vision of telling stories featuring the characters he grew up loving, as well as introducing an Indian doctor and telling a gay love story, that set Night Shift apart. That writer was Sri Rao.On today's episode of the Daytime Confidential podcast Luke and Jamey have a conversation with Rao, A Wharton Business School graduate who gave up his high-powered career in Manhattan, to follow his true passion for being a writer and director. Rao offers a refreshingly unjaded perspective about everything from the use of veterans in daytime to the politics behind gay storytelling.Rao shares the process he and his writing team embarked upon in giving larger-than-life superhero Robert Scorpio an all-too-real Achilles Heel in the form of cancer. He reveals how supportive ABC Daytime/SOAPnet head honcho Brian Frons was in allowing him the freedom to tell his stories and talks about the other projects his Sri Rao and Company are working on, including a teen drama series inspired by his boyhood love for My So Called Life called What Goes On and the Bollywood thriller New York. Rao also answers the question fans of Night Shift are dying to know: Would he ever consider bringing his passion and prowess over to daytime?
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