Podcasts about when love

When Love is a Hustle: Healing the Fixer Identity, with Dr Natalie Cawley #93   If you've ever over-functioned in a romantic relationship hoping to feel enough, this episode is for you. My guest is Dr Natalie Cawley, psychotherapist, counselling psychologist and author of Just About Coping: A real-life drama from the psychotherapist's chair. Natalie shares openly about her own challenges with over-giving in her personal relationships, showing that we're ALL prone to struggles – even therapists! We get into the *real* reason you keep over-giving, and how to finally stop it. Listen out for my own cringey/I-have-so-much-compassion-for-my-younger-self moment with an emotionally unavailable partner. This conversation feels like a warm, honest hug, with a gentle kick in the ash.    Links:   Natalie Cawley's website & book   Natalie on Instagram   Mandy on Instagram  

When Love is Found June 15, 2025 Worship Service Groveport UMC, Groveport Ohio To support the ministry of the church, please click here: https://groveportumc.org/give/

When Love is Tough | Matthew 5:43-48Dr. Chuck Herring

When Love's No Becomes Yes! by NBCC Podcast

Originally Recorded: January 19th, 2025   The Cage Crew is Back with Another Valentine's Day Episode. This time with Megan taking the Hosting Reins. When Love is in the air, there's no need to Russian to things. The Crew is gonna take their time and explain their Feelings for the dub (among other things) of 'Alya Sometimes Hides Her Feelings In Russian'. Will Noah finally be let out of the Cage?   Our theme music was composed by Gabriel Pulcinelli / Ponpoko in the Distance. You can find more of their work at https://ponpokointhedistance.com/ and at @gabrpulcinelli on Instagram, Twitter, TikTok, and Facebook.   AUDIO PLATFORMS: Spotify: https://open.spotify.com/show/47LMCAgEW0BAOy9BnKYmLv Apple Podcast: https://podcasts.apple.com/ca/podcast/dub-talk/id1514880122   Like what we do? Support us on Patreon! https://www.patreon.com/dubtalkpodcast   Or consider buying us a Ko-fi! https://ko-fi.com/dubtalk   Host: @queenira.bsky.social   Panelists: @lilacanimerevue.bsky.social @animepalooza.bsky.social @noahclue.bsky.social   Editor: @jamstar529.bsky.social   Music: "Ichiban Kagayaku Hoshi (The Brightest Star)" by Sumire Uesaka "Gakuen Tengoku" (学園天国) by Sumire Uesaka (ep 1) "Kawaikute Gomen" (可愛くてごめん) by Sumire Uesaka (ep 2) "Omoide ga Ippai" (想い出がいっぱい) by Sumire Uesaka (ep 3) "Hare Hare Yukai" (ハレ晴レユカイ) by Sumire Uesaka (ep 4) "Chiisana Koi no Uta" (小さな恋のうた) by Sumire Uesaka (ep 5) "Himitsu no Kotoba" (秘密の言葉) by Sumire Uesaka x KAF (ep 6) "Love Story wa Totsuzen ni" (ラブ・ストーリーは突然に) by Sumire Uesaka (ep 7) "CHE.R.RY" by Sumire Uesaka (ep 8) "World is Mine" (ワールドイズマイン) by Sumire Uesaka (ep 9) "Koi no Uta" (こいのうた) by Sumire Uesaka (ep 10) "Kimagure Romantic" (気まぐれロマンティック) by Sumire Uesaka (ep 11) "Hanamoyoi" (ハナモヨイ) by Sumire Uesaka (ep 12)

Watch along with co-hosts Movie Miss and Drive-in Dave in this Commentary Track episode on the NON-turkey The Muppet Christmas Carol (1992) from our former Patreon. Starring Michael Caine and the Muppets. *SPOILERS DUH!* At the time this episode was recorded, you can WATCH THE MUPPET CHRISTMAS CAROL HERE: pay streaming on multiple platforms, and the restored full length version with the previouslty cut song "When Love is Gone" is on Disney+. We're also on YouTube, Apple, Goodpods, Pandora, Amazon & Audible and ko-fi.com/letstalkturkeys Be part of our fun bad movie conversations (We Want To Interact With You and Hear Your Thoughts!) by following both our facebook discussion group and our official page Let's Talk Turkeys, on Instagram at letstalkturkeys (all one word), email us directly at letstalkturkeys@yahoo.com, we're on X (Twitter) @gobblepodcast and check us out on Wordpress at ⁠https://letstalkturkeys150469722.wordpress.com/ Find Movie Miss on IG at movie_miss

When Love is at the Center

In this heartwarming episode of No Dumb Questions, I'm thrilled to welcome Jocelyn Chung, a graphic designer, creator, and newly-published children's book author, to the podcast! We instantly connected during my last visit to Taiwan, and today we're diving into her debut book, “When Love is More Than Words”, a story that beautifully captures how love transcends language, especially within Asian families—a theme that deeply resonates with me, having grown up with my grandparents and extended family. Jocelyn shares the inspiration behind her book, how her upbringing in a Taiwanese-American household influenced her storytelling, and the creative journey from designer to author. We also explore the challenges she faced as a first-time author and the cultural values she hopes to pass on through her work. Whether you love children's books or simply believe in the power of love beyond words, this episode is a must-listen! Become an ABG Bestie to get new audio episodes ad-free, monthly “Dear ABG” AMA sessions, discounts on merch, and shout-outs in our episodes. https://abg.supercast.com/  __________________________________________ Host: Melody Cheng Editor: Victoria Cheng __________________________________________ P A R T N E R S • BetterHelp: Get 10% off your first month with code “ABG” at betterhelp.com/ABG __________________________________________ C O N N E C T W I T H U S • Subscribe and Follow us @asianbossgirl on Apple Podcasts/Spotify/Amazon Music/YouTube/Instagram/Twitter/Facebook • Listener Survey: Let us know your thoughts on the podcast here • Email: hello@asianbossgirl.com __________________________________________ S U P P O R T U S • Merch: asianbossgirl.myshopify.com • Donate: anchor.fm/asianbossgirl/support • More about us at asianbossgirl.com Learn more about your ad choices. Visit megaphone.fm/adchoices

When Love is Wrong

When Love is Wrong

When Love is Wrong

"Grow Spiritually" is a monthly guided devotional, offered for use with your family or on your own. May's theme is When Love is Hard.

"Grow Spiritually" is a monthly guided devotional, offered for use with your family or on your own.  May's theme is When Love is Hard.

“When Love transforms our heart, our actions align with the truth of our being and we remember that which we already are.”— Felicia Murrell When the storm is swirling, a lighthouse serves as a light guiding us safely to shore - for Felicia, that lighthouse is Love.  She shares with us in today's episode what Love truly is, and how it calls us to know who we are as beings made in the image of Love.  Felicia guides us into understanding how God sees us through eyes of Love, welcoming and accepting us fully for who we are.Buy Felicia's book, And: The Restorative Power of Love in an Either/Or World HEREAbout FeliciaFelicia Murrell is an author based in Woodbury, MN. She is a spiritual companion, speaker, certified master life coach and former ordained pastor with over twenty years of church leadership experience. She also serves the publishing industry as a freelance copy editor. With a deep understanding of what it means to be human, Felicia is dedicated to empowering individuals to embrace who they already are and who Love is inviting them to be.Connect with us!Sign up to receive a little Gospel in your inbox every Monday Morning with our weekly devotional.Check out our website for various resources - including devotionals, journaling prompts, and even curriculumGet some Lady Preacher Podcast swag!Connect with us on Instagram and Facebook

Uma viagem pelo amor e suas belezas, tragédias e a busca do humano por respostas sobre esse tão forte sentimento. ---------- Esse episódio é não só uma regravação do original de mais de dez anos atrás, mas, também, uma nova pesquisa, roteiro e, definitivamente, uma construção mais madura sobre esse tema tão complexo. ---------Bibliografia “EROS - Greek God of Love (Roman Cupid, Amor).” Theoi.com, 2017, www.theoi.com/Ouranios/Eros.html. Accessed 30 Nov. 2023. Fábio Augusto Caló. “Amor: Os 3 Tipos de Amores Dos Gregos.” Psicólogos Em Brasília - DF E Psicólogos Online, 28 Sept. 2019, inpaonline.com.br/tipos-de-amor/. Accessed 19 Jan. 2024. Fuks, Rebeca. “O Banquete de Platão: Resumo E Interpretação Da Obra.” Cultura Genial, Cultura Genial, 15 Oct. 2018, www.culturagenial.com/livro-o-banquete/. Accessed 1 Jan. 2024. gazettejohnbaglione. “When Love and Science Double Date.” Harvard Gazette, Harvard Gazette, 13 Feb. 2018, news.harvard.edu/gazette/story/2018/02/scientists-find-a-few-surprises-in-their-study-of-love/. Accessed 21 Jan. 2024. Paulo Rezzutti. “Rainha Após a Morte: A Trágica História de Inês de Castro E D. Pedro I de Portugal.” Aventuras Na História, Aventuras na História, 24 Oct. 2023, aventurasnahistoria.uol.com.br/noticias/paulo-rezzutti/rainha-depois-de-morta-a-tragica-historia-de-ines-de-castro-e-d-pedro-i-rei-de-portugal.phtml. Accessed 31 Jan. 2024. Whipps, Heather, and Remy Melina. “The 6 Most Tragic Love Stories in History.” Livescience.com, Live Science, 13 Dec. 2011, www.livescience.com/16922-history-tragic-love-stories.html. Accessed 20 Jan. 2024 --- Send in a voice message: https://podcasters.spotify.com/pod/show/escribacafe/message

Merry Christmas and Pod Bless Us, Everyone! Rounding out what ended up being a year of no-bummers, we knew there would only be one choice for our Christmastide Commentary: The Muppet Christmas Carol. Sit down with your favorite brand of eggnog or cocoa (or bourbon), pop in your trusty tape (or open Disny+) and hang for the next 90 minutes of holiday cheer. You'll also be able to revel in Frank's continued phobia of the Ghost of Christmas Past. LISTENER'S NOTE: we're watching the *full* version of the movie which includes the "When Love is Gone" song. A lot of DVDs and older Blu Rays don't include this song, but if the version you're watching indicates the "full" version of the film you're good. It's available on Disney+ under the Special Features for the movie. This version has the audio track of the movie if you don't want to watch along. Stay safe, hug your loved ones, and enjoy!

Merry Christmas and Pod Bless Us, Everyone! Rounding out what ended up being a year of no-bummers, we knew there would only be one choice for our Christmastide Commentary: The Muppet Christmas Carol. Sit down with your favorite brand of eggnog or cocoa (or bourbon), pop in your trusty tape (or open Disny+) and hang for the next 90 minutes of holiday cheer. You'll also be able to revel in Frank's continued phobia of the Ghost of Christmas Past. LISTENER'S NOTE: we're watching the *full* version of the movie which includes the "When Love is Gone" song. A lot of DVDs and older Blu Rays don't include this song, but if the version you're watching indicates the "full" version of the film you're good. It's available on Disney+ under the Special Features for the movie. Stay safe, hug your loved ones, and enjoy!

We're kicking off the holiday season with a classic adaptation of an even more classic story: 1992's The Muppet Christmas Carol! Join in as we discuss the post-Henson history of the Muppets, a weird-looking Ghost of Christmas Past, Paul Williams's great songs (except one), and Ignorance and Want. Plus: Why is "When Love is Gone" only in some versions of the movie? Did Scrooge get dumped on Christmas? Why hasn't Disney relaunched The Muppet Show? And, most importantly, is Belle a Fezziwig? #BellyWig Make sure to rate, review, and subscribe! Next week: The Christmas Shoes (2002) --- Send in a voice message: https://podcasters.spotify.com/pod/show/we-love-the-love/message

Is it me or is getting cold around here? We gather ghosts of past, present, and future to determine whether The Muppet Christmas Carol really is one of the greatest Christmas movies of all time!What festive surprises lie in store? What are our favourite songs? And should When Love is Gone ever have been cut?#MuppetChristmasCarol #TheMuppets #JimHenson #Kermit #Gonzo #WhenLoveIsGone #MichaelCaine Hosted on Acast. See acast.com/privacy for more information.

When Love is Gone - Sarvajeet When love is gone, Our hearts sink deep, Into a cold ocean bed, Feelings disperse in winter winds. Weary silence sits in once-fun-filled rooms, Pets run away and become wild, Stars that sparked our nights darken and dim. Regrets sneak into a colourless world, Our cozy house crumbles to dust, Birds visiting our garden, do not sing. Our words become knives, Emptiness fills spaces between the sheets, We are deaf to each other's heartbeats. Trees choose sides, split vertically in two, We depart with suitcases, packed long ago, Our story spins backwards into time. Soulmates become strangers, Swallowing our souls, Our psyches seared with a thousand scars, Leaving behind a trail of heartless hearts. Connect with Unpen on Social Media One Link : https://campsite.bio/tounpen Podcast Page https://podcasters.spotify.com/pod/show/unpen Instagram : https://www.instagram.com/2unpen/ Facebook Page: https://www.facebook.com/IndianPoetry/ Twitter : https://twitter.com/2unpen Contact Sarvajeet on sarvajeetchandra@gmail.com #LostLove  #Heartbreak  #MovingOn #BrokenHearts  #Soulmates #NewBeginnings  #LettingGo  #Relationships #LoveLost #TimeHeals #Separation #PainfulMemories #EndOfLove  #BreakupBlues #LoveAndLoss    #sadpoetry #Heartbrokenstatus #loveisgone #loveisdead #sadlovestory    #reflectionspoetry    #poemsoftheday     #indianpoetrylovers #heartbroken #heartbroke #heartbreaks #heartbrokensong #heartbrokenpoetry

Dr. Steven Lawson preaches this sermon from 1 John chapter 2, verses 15-17. He begins by stating that he wants to approach the text from a different angle, focusing on the idea of "When Love is Wrong." The passage speaks about not loving the world or the things in the world, as the love of the world is not aligned with the love of God. He emphasizes the importance of loving what God loves and hating what God hates. Christians are called to love God, Jesus, the Bible, the truth, and people, while also hating sin and rejecting unrighteousness.He further explains that holiness begins in the heart and mind. He quotes Jesus in the Sermon on the Mount, highlighting that true religion starts with our affections and where our love is directed, and that the focus of Christianity is to love the Lord with all our heart, soul, mind, and strength. It is the innermost being, the heart, that God looks upon.He also explains that the command in verse 15 is a prohibition against loving the world. He clarifies that "world" here refers to the evil world system governed by Satan, with its godless ideologies and philosophies. This includes areas such as media, politics, education, and business, all influenced by ungodly standards. The preacher outlines the importance of not being ensnared by this world system and instead staying aligned with God's truth.He concludes with a call to review and be reminded of this familiar passage, emphasizing the necessity of an obsession for sanctification and obedience to God's command not to love the world. The preacher encourages listeners to prioritize their hearts and be faithful in pursuing godliness and holiness. This sermon was preached at Grace Community Church in California by Dr. Steven Lawson. Date Preached: January 9th, 2022. Passage: 1 JOHN 2:15–17 For more information about this sermon, please visit Grace Community Church or click ⁠here⁠. Our Best Recommended Study Bibles: ESV MacArthur Study Bible: https://amzn.to/48oS2qV CSB Study Bible: https://amzn.to/48bR414 NASB MacArthur Study Bible: https://amzn.to/472llOE Our Best Premium Study Bibles: ESV MacArthur Study Bible with Premium Leather: https://amzn.to/477cP10 Spurgeon Study Bible: https://amzn.to/3RN6nIh Hand-picked Must-Read Books for Every Christian: Ashamed of the Gospel: When the Church Becomes Like the World (3rd Edition): https://amzn.to/470VU0e Gospel According to Jesus: https://amzn.to/3RuefwT The Holiness of God: https://amzn.to/3Rpex8e Saved Without a Doubt: Being Sure of Your Salvation: https://amzn.to/3tmNcLU Hand-picked Must-Read Books for every Pastor/Elder: Called to Lead: 26 Leadership Lessons from the Life of the Apostle Paul: https://amzn.to/3RLyp6X Pastoral Ministry: How to Shepherd Biblically: https://amzn.to/41nFNsn Preaching: How to Preach Biblically: https://amzn.to/3tmOIxv Expository Exultation: Christian Preaching as Worship: https://amzn.to/3RMiNQG Copyright Notice: All the copyright for this sermon belong to Grace Community Church. --- Support this podcast: https://podcasters.spotify.com/pod/show/expositorysermons/support

We know about Allies, but what about mentors? What about love interests? In this episode, Maverick and Avalon discuss how these unique types of allies draw from - or detract from - the storyline. Highlights:7:04 Can mentors be flawed?15:16 The Love Interest17:53 The Hunger Games Example20:51 When Love is Deceitful24:03 Mentor & Love as Stock Characters26:32 Making Death Meaningful

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Colabora Con Biblioteca Del Metal: En Twitter - https://twitter.com/Anarkometal72 Y Donanos Unas Propinas En BAT. Para Seguir Con El Proyecto De la Biblioteca Mas Grande Del Metal. Muchisimas Gracias. La Tienda De Biblioteca Del Metal: Encontraras, Ropa, Accesorios,Decoracion, Ect... Todo Relacionado Al Podcats Biblioteca Del Metal Y Al Mundo Del Heavy Metal. Descubrela!!!!!! Ideal Para Llevarte O Regalar Productos Del Podcats De Ivoox. (Por Tiempo Limitado) https://teespring.com/es/stores/biblioteca-del-metal-1 Def Leppard es una banda británica de rock originaria de Sheffield, Reino Unido, que dio inicio a su carrera a finales de los años setenta, alcanzando gran éxito mundial en la década de los ochenta, acercando al heavy metal a las emisoras de radio y al gran público en general, gracias a una mezcla rara de hard rock melódico con un gran trabajo vocal. Junto a otras bandas como Bon Jovi, Van Halen, Mötley Crüe, Scorpions, Metallica, Guns N' Roses, Iron Maiden, etcétera, es reconocida como una de las bandas de heavy metal superventas de los años 1980.​Junto a grupos como Iron Maiden o Saxon fueron una de las bandas de cabecera de la New Wave of British Heavy Metal. Def Leppard ha vendido más de 100 millones de álbumes en todo el mundo, y dos de sus producciones han alcanzado la certificación de Diamante de la RIAA (Pyromania e Hysteria). De esta forma, se convirtieron junto a The Beatles, Pink Floyd, Van Halen y Led Zeppelin en uno de los cinco grupos de rock con dos álbumes de estudio originales con ventas por más de 10 millones de copias solo en los Estados Unidos y más de 20 en todo el mundo. La banda ocupa el número 31 del ranking de VH1 Los 100 mejores artistas de Hard Rock y el puesto número 70 en Los 100 artistas más grandes de todos los tiempos.​​ Su mayor éxito es la canción "Pour Some Sugar on Me", considerada por la cadena Vh1 la segunda mejor canción de los años 1980.​Sus conocidos e influyentes álbumes de estudio Pyromania e Hysteria han sido incluidos por la revista Rolling Stone en su lista de los 500 mejores álbumes de todos los tiempos según Rolling Stone. La propia revista Rolling Stone ha situado a Hysteria en la primera posición en su lista de los 50 mejores discos de glam metal de la historia.​ Han sido incluidos en el prestigioso Salón de la Fama del Rock and Roll en 2019. En el año 1977, el bajista Rick Savage, el guitarrista Pete Willis y el baterista Tony Kenning, todos ellos estudiantes de la escuela Tapton, de Sheffield, (Reino Unido), se unieron para formar una banda de rock a la que denominarían Atomic Mass. Inmediatamente, se uniría a ellos quien sería su vocalista, Joe Elliott, quien originalmente audicionó para ser el guitarrista de la agrupación.​ Durante su juventud, Savage fue considerado como un joven talento en el fútbol. Inclusive, fue seducido para unirse al Sheffield United, a pesar de ser fanático del equipo rival, el Sheffield Wednesday. Sin embargo, jugó unos años en el United, pero luego, elegiría tomar el camino de la música.Conformada la banda, adoptarían el nombre de Deaf Leopard (Leopardo Sordo) inspirados en una antigua idea de Elliott, pero luego, tomarían la sugerencia de Tony Kenning de modificarlo ligeramente a Def Leppard, con el fin de evitar que los conectaran con bandas de punk rock.​ Mientras perfeccionaban su sonido, ensayando en una fábrica de cucharas, la banda decidiría contratar a otro guitarrista, Steve Clark, en enero de 1978. Acto seguido, Kenning se retiraría, a finales del mismo año, justo antes de que entraran al estudio para grabar su primer Extended Play, sería reemplazado por Frank Noon, quien solamente estaría junto a la banda para la grabación de lo que se convertiría en el famoso Def Leppard EP.​ Las ventas de dicho EP se elevarían, gracias a la difusión del tema Getcha Rocks Off que daría el Dj de la BBC Radio John Peel, considerado en ese momento, como una autoridad en el punk rock y de la música new wave. Finalmente, en noviembre de 1978, se uniría a la banda, el baterista Rick Allen, que en ese entonces sólo contaba con 15 años de edad. En el transcurso del año 1979 la banda iría ganando una fiel fanaticada entre el público metalero del Reino Unido, y serían considerados como los líderes iniciales del movimiento denominado como New Wave Of British Heavy Metal, cediendo, con el paso del tiempo, ese puesto en favor de Iron Maiden. Esta popularidad emergente resultaría en un contrato discográfico con el sello Phonogram/Vertigo.​ Su álbum debut, On Through the Night, saldría al mercado el 14 de marzo de 1980. A pesar del éxito de su EP anterior y el éxito comercial de On Through The Night, los fanáticos de la banda rechazarían la clara intención del grupo de ingresar en el mercado estadounidense. Esto quedaría en evidencia en temas como Hello America. Tal sería el rechazo de los fanáticos británicos, que en el Festival de Reading el público daría la bienvenida a la banda arrojándole desechos al escenario.​​​ La banda capta la atención del productor Robert John “Mutt" Lange quien trabajaba con AC/DC. Este accedería a producir el segundo trabajo discográfico denominado como High 'N' Dry, el cual fue editado en 1981. Lange logró potenciar de muy buena manera las características de cada uno de los miembros de la agrupación. Este trabajo consiguió ventas más pobres que su predecesor, pero el vídeo de la canción Bringin’ On The Heartbreak fue uno de los primeros videos de heavy metal de 1982 emitidos en la cadena de televisión MTV. Esto le otorgó a la banda mucho reconocimiento en los Estados Unidos.​ Phil Collen, guitarrista de la banda glam rock llamada Girl, reemplaza a Pete Willis, quien fue despedido el 11 de julio de 1982 por problemas de alcoholismo. Esto ocurrió durante la grabación de su trabajo Pyromania, el cual saldría al mercado el 20 de enero de 1983. Este disco también fue producido por "Mutt" Lange. El primer sencillo Photograph convirtió a Def Leppard en una banda reconocida mundialmente. Además dominaron los charts estadounidenses durante seis semanas. Pyromania vendió más de 20 millones de discos en todo el mundo, incluidos más de 10 solo en los EE. UU. siendo certificado como Álbum de Diamante en ese país, y llevándolo al estatus de clásico de heavy metal.​ Por desgracia, el baterista Rick Allen pierde un brazo en un accidente automovilístico en el día de año nuevo de 1985, quedando la banda fuera de la escena musical hasta 1987.​ A finales de agosto de 1987 lanzan al mercado el álbum Hysteria, en el cual Rick Allen toca con un solo brazo una batería-caja de ritmos adaptada especialmente para su discapacidad. De este álbum, seis de sus siete singles alcanzan el top 20 estadounidense. Dicho álbum, junto con Thriller y Bad de Michael Jackson, y Born in the U.S.A. de Bruce Springsteen son los únicos álbumes que han logrado tener siete temas dentro del US Hot 100 Singles de los EE. UU. Hysteria ha vendido más de 20 millones de copias en todo el mundo.​ El 22 de agosto se lanza en el Reino Unido el primer sencillo denominado Animal, el cual llega al lugar 6 dentro del Top 10. El día 29 del mismo mes se lanza el álbum y debuta en el Reino Unido en el número 1, dando el éxito final al grupo en su tierra natal. Sorprendentemente en EE. UU., donde ya gozaban de una grandísima popularidad, no alcanza inmediatamente esta posición, alcanzando al principio el número 4. En relación con el lento ascenso en tierras estadounidenses, el 5 de septiembre el primer sencillo en EE. UU., Women, llega hasta el número 80. El 1 de octubre la banda comienza el tour en Glens Fall, Nueva York, donde se introduce el famoso escenario In The Round.​ El 3 de octubre se lanza en el Reino Unido el tema Pour Some Sugar On Me el cual llega hasta el puesto 18. El 5 de diciembre en Reino Unido aparece el tercer sencillo, Hysteria, que alcanza el puesto 26. El 26 de diciembre se lanza el sencillo Animal en los EE. UU. Se trata del primero de los seis singles del álbum que alcanzarán el Top 20. En este caso este tema alcanza el puesto 19 en la lista estadounidense.​ El 26 de marzo se lanza en EE. UU. el primer Top ten, Hysteria, alcanzando el número 10. El 16 de abril el tema Armageddon It llega al número 20 en el Reino Unido. El 5 de julio se lanza el video Historia que contiene todos los clips hasta la fecha desde los '80. Tiene también como un video conmemorativo de los 18 años del grupo. El 23 de julio se lanza Pour Some Sugar On Me, en EE. UU. y alcanza el puesto No. 2 tras Hold On To The Night de Richard Marx, siendo certificado con oro al alcanzar más de un millón de ventas en ese país. Al mismo tiempo, Hysteria lidera el US Album Chart (lista de álbumes en los Estados Unidos) después de 49 semanas. Es la primera vez que una banda de rock vende más de 5 millones de copias de dos álbumes consecutivos en los EE. UU. El 30 de julio la balada Love Bites llega al 11 en el Reino Unido. El 8 de diciembre se lanza el quinto sencillo en los EE. UU., Love Bites, que llega al 1 en la lista US Hot 100 Singles Chart e Hysteria alcanza el rango supremo de los US Album Charts. A finales de octubre finaliza el tour de 225 días, y la banda ingresa al estudio para grabar un nuevo disco con la promesa de que en 18 meses estará listo. De esta forma, pretenden evitar demorarse nuevamente otros cuatro años en editar un nuevo disco. El 8 de enero de 1991, su guitarrista líder Steve Clark, muere debido a la fatal combinación de medicamentos con alcohol.​ Posteriormente a esta época, y tras superar la muerte de Clark, sale a la venta en 1992 el álbum Adrenalize, nuevamente de gran éxito, (llegó al número 1 en EE. UU.) aunque de menor impacto comparado con su antecesor y esta vez con Vivian Campbell (ex Dio y Whitesnake) como guitarrista, en reemplazo del fallecido Clark. El disco ha vendido alrededor de 8 millones de copias a nivel mundial. A partir de ese momento, con la aparición del grunge, Def Leppard pierde la aceptación masiva que gozaba en los años 80's. En 1992 actúan en el Concierto en Tributo a Freddie Mercury, en el cual se rinde homenaje al fallecido vocalista de la agrupación inglesa Queen, de la que se han declarado fanáticos en muchas ocasiones los músicos de Def Leppard.​ La banda vuelve a la cima saliendo de gira y logrando un gran reconocimiento en su ciudad natal, Sheffield, Reino Unido, donde tocaron con entradas agotadas en el estado de Don Valley en junio de 1993. También para ese año el grupo lanza un nuevo trabajo, Retro Active, que contiene caras B remezcladas, y 2 nuevos temas Two Steps Behind (originalmente incluida como parte de la banda sonora de la película Last Action Hero de Arnold Schwarzenegger) y Miss You In A Heartbeat que logran ser hits en los Estados Unidos y Canadá. En este álbum evitan salir de gira y después de unas pequeñas vacaciones, la banda va a España a grabar su próximo trabajo. Con el séptimo álbum casi listo, lanzan un CD de Grandes éxitos llamado Vault, que contiene un nuevo tema llamado When Love & Hate Collide. El 5 de octubre de 1995, la ciudad natal de Def Leppard, Sheffield, les brinda un homenaje presentando una placa en su honor y abriendo el National Centre For Popular Music con material de la banda. Días después la banda logra un récord mundial tocando 3 shows en 3 continentes diferentes en sólo un día: Tánger, Marruecos, en (África); Londres, Reino Unido, en (Europa) y Vancouver, Canadá, (Norteamérica).​ En 1996, editan Slang, un álbum que marca una nueva dirección musical, con un sonido muy diferente a todo lo anterior, con gran influencia grunge, un sonido noventero más fresco y menos sobreproducido respecto a los discos anteriores. Comienzan un tour en Asia y se embarcan en una gira mundial llegando a Sudamérica por primera vez. Aunque Slang tuvo excelentes críticas de la prensa, no fue un éxito comercial. Las bajas ventas del disco fueron un aviso para la banda de que los fanáticos querían de vuelta el sonido característico de Def Leppard.​ A sabiendas de las solicitudes de su público para su noveno trabajo, Def Leppard retorna al sonido más roquero que supo tener en Pyromania e Hysteria. En 1999, lanzan el disco Euphoria, volviendo al sonido que los hizo conocidos y además contando con la colaboración nuevamente de Mutt Lange, que participa como co-compositor en tres de las 13 canciones del álbum. Para el verano de 1999 la banda sale nuevamente de gira en los Estados Unidos. Finalmente, en septiembre de 2000, Def Leppard es presentado por el guitarrista de Queen, Brian May, en una ceremonia homenajeando su inclusión en Rock Walk de Hollywood, California, EE. UU. Todos los miembros dejaron sus manos estampadas en cemento, junto con Lauren la hija de Rick Allen, y un espacio especial destinado a Steve Clark. El décimo disco de su carrera, se tituló X y salió al mercado en agosto de 2002. Se trata de un álbum bastante comercial en el que han trabajado con varios de los mejores productores del mundo y que mezcla el estilo de Slang con el de Adrenalize y Euphoria. Al igual que el anterior Euphoria, ha existido el grave problema de que la discográfica no ha prestado prácticamente apoyo a la banda, resultando una promoción pésima que ha influido gravemente en las ventas. A pesar de esto la agrupación realizó una exitosa gira promocional. En octubre de 2004, su discográfica ha lanzado al mercado Best Of Def Leppard, un álbum sencillo con 17 temas a modo de actualización del recopilatorio Vault que salió en 1995 y un CD Doble con 34 canciones, edición que salió para el resto del mundo (en Estados Unidos y Norteamérica, salió en 2005 Rock of Ages The Definitive Collection). En 2005 solo para Norteamérica, salió al mercado Rock of Ages The Definitive Collection, acompañado este disco de una gira compartida con Bryan Adams solo por Estados Unidos, también tuvieron presentaciones en Canadá y después de 8 años regresaron a México. A mediados del año 2006 Def Leppard saca al mercado un álbum de versiones de artistas de los años 60 y 70 que influyeron a la banda, y que se ha llamado Yeah!, con temas de David Bowie, Roxy Music, The Kinks, entre otros, que tenían grabado desde hace más de dos años y que por diversos motivos no pudieron lanzar anteriormente. En el verano de 2006 salen de gira compartiendo escenario con Journey, haciendo presentaciones en EE. UU., algunos conciertos en Europa y cerrando su gira en Puerto Rico. En julio de 2007, lanzan una edición especial de Hysteria remasterizada en dos CD, para conmemorar los 20 años de su salida al mercado. Lleva por título "Hysteria the Luxe Edición" que incluye, además, las caras B, versiones extendidas y canciones en vivo. Para el verano de 2007, salen de gira nuevamente, acompañados por Styx, Reo Speedwagon y Cheap Trick, al mismo tiempo fueron preparando su nuevo disco, Songs from the Sparkle Lounge. Para 2008 sale el Álbum "Songs from the Sparkle Lounge" y la banda realiza un tour junto con la banda Whitesnake, donde recorren parte de Europa y el Reino Unido en junio.​ Su nuevo álbum Songs From The Sparkle Lounge, retorna a un sonido más roquero. El primer sencillo del disco es "Nine Lives", incluye la participación del cantautor country Tim McGraw. El segundo sencillo " C'mon C'mon" fue la canción con la que se promocionó la Temporada 2008 de la NHL. La banda con este último disco ha tenido bastante mejor apoyo mediático que sus antecesores de esta década, esto es ayudado, entre otras cosas, con la aparición con tres temas para el popular videojuego Guitar Hero III. Tuvieron también a finales de 2008 una participación especial con Taylor Swift, en el programa CMT Crossroads que junta estrellas de música country con estrellas de rock o pop, interpretaron a dueto Photograph, When Love and Hate Collide, Hysteria y Pour Some Sugar on Me, así como algunas canciones de Taylor Swift.​ Para 2009, Bret Michaels, vocalista de Poison, anunció un tour en conjunto con Def Leppard y Cheap Trick, el cual empezó en junio y contempló 40 conciertos sólo para Estados Unidos. El 12 de junio de 2010 comenzaron su gira dando un concierto en el O2 de Dublín junto a Whitesnake y Journey.​ El 30 de octubre de 2015, la banda presenta su nuevo álbum de estudio titulado Def Leppard, que supone un cambio de discográfica y una búsqueda de su sonido característico. Tras un éxito notable de sus dos sencillos ("Let's Go" y "Dangerous"), el álbum alcanzó el puesto No. 10 en las listas generales y el primero en las de rock.​ En una entrevista, Joe Elliott afirmó que el disco se titularía Def Leppard porque es precisamente a lo que suena, a Def Leppard. El guitarrista Phil Collen afirmó que es el mejor trabajo desde Hysteria. El grupo se mostró orgulloso de las similitudes presentes en el álbum con Queen y Led Zeppelin.​ Por primera vez la banda experimenta con el sonido funk en la canción "Man Enough" (con un estilo similar a la canción "Another One Bites the Dust" de Queen). En la balada "We Belong" los cinco integrantes de la agrupación cantan en una misma canción por primera vez en su carrera. El disco generó una muy buena recepción en los fanáticos de la banda de Sheffield, siendo un poco más discreta por parte de la crítica, aunque mejorando las valoraciones de sus predecesores.​ Pagina Oficial: https://www.defleppard.com/Escucha este episodio completo y accede a todo el contenido exclusivo de Biblioteca Del Metal - (Recopilation). Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/308558

to return Home to the Name to the Silence to our Love  We received mandatory evacuation orders yesterday and had to be off the island by 7pm eastern. I picked the kids up from school, and we quickly threw stuff in stuff and loaded it up, before driving smooth across the state through green pastures and towards calmer waters (and my sister, Syl). I write this from a bed in a cute airbnb in Lake Worth, Florida, the same one I booked last year for the same reason. It's becoming something like a tradition. Gia gets to spend her 13th birthday NOT in school (school is closed for the next couple of days), and Max is playing by the pool. Mom is sipping coffee. And I'm recording, writing, editing, Loving... You. All signs point Home. They point Here. No matter where Here appears to be, you can relax... more.   Nik   p.s. How do you 'treat' a hurricane spiritually? Many would say, 'it isn't there', or, 'it's an illusion'. But you have to take it a step further. The ocean isn't either, or earth, or you, or me. Only Love is here. And all of this is done in Silence, as Silence.  To claim your free gift, leave a review on Apple Podcasts, screenshot it and send it to me at nikki@curlynikki.com!  Join us on Patreon to support the show, and tune into and participate in live video Q&As with me!  Support the show ************************* "Bawa Muhatyaddeen: Yes. I am very old in years. My teacher would not be dwelling within the world. At any moment, in any eventuality that it is needed, the appropriate reply will be given, whenever I ask. It would be very, very difficult for everyone to obtain such a teacher as this. One must have the benevolence of God to receive this. As for my speaking, I cannot speak. The one who wishes to speak must be the one who speaks. If it is wished to speak of God, then it is God who must speak. If it is wished to speak of the prophets, it is the prophets themselves who must speak. If it is Gabriel (A.S.) who must be spoken of, then it is Gabriel (A.S.), himself, who must speak. And if they do speak, we must have the wisdom to understand what they say. If Jesus (A.S.) is to be spoken of, it is Jesus (A.S.) who must speak; if it is Moses (A.S.) who is spoken of, it is Moses (A.S.) who must come and speak. Then if there is any fault in what is said, if there is any mistake, then the fault relates to them. Also if there is any gain in it, it is theirs. ...It all relates to them. It is their responsibility. If the Prophet Muhammad (Sal.) is to be spoken of, it is he, himself, who must speak. Whether it be Adam, Noah, David, or Abraham, peace be upon them all, they themselves must come and speak. Each one, whoever it be, must come and speak of himself. The words come like sound passing through a microphone. I have nothing to do with it; I am nothing. This is the way each of them speaks and tells his story. I do not want the praise or the blame. We must complete the duty that we have come to perform. This is the way. If you do it like this, it is correct. "God will not give you a message.  For God to give u a message,.,God has to be far away from you.  God is closer than your breath.  How can he give you a message? -Gurudev H.H.SriSri Ravi Shankar "The source of all comfort, is silence. The source of all discomfort, is a single thought." -Pat Nolan "The eternal father spoke only one word and he spoke it in an eternal silence. And that isn't silent; we hear it." - Father Keating "It is the Divine Presence that gives value to life. This Presence is the source of all peace, all joy, all security. Find this Presence in yourself and all your difficulties will disappear." - Mirra Alfassa "You may have everything that the world can offer, but if you don't have peace, serenity, silence, ecstasy, you will still remain poor." -Osho "Apart from Love, everything passes away. The way to heaven is in your heart. Open and lift the wings of Love! When Love's wings are strong, you need no ladder." -Rumi @shams of tabrez "Do you not see? Love is driving your whole life. Stay on the ride. Trust the driver." - @JaiyaJohn via IG 

How do you feel when you're on a journey with someone who has already been there before?With someone that knows the way?With someone who is The Way?You trust.You smile.You relax your shoulders,and enjoy the view.If you stay where your feet are,you'll arrive.I Love you,Niknikki@curlynikki.comSupport the show!▶▶https://www.patreon.com/goodmornings_______________________Today's Quotes: "When Love leads the way, the Soul enjoys comfort."-Rumi "There is only one day left, always starting over: it is given to us at dawn and taken away from us at dusk."-Jean-Paul Sartre Quotes. "In learning you will teach, in teaching you will learn."-Phil Collins"We teach best what we most need to learn."-Richard BachExcerpt read from Eva Bell Werber's Journey With the Master Support the show

Hello everyone welcome back for the next installment of Digity's podcast. Thank all of you that listen I Appreciate you all. So I ripped this off last night, and I'm giving you what I have, so here it is hope you all enjoy. Tell all your friends, family, Co-workers etc. I will hit you up with something new soon thanks  Track I.D  1) When Love is Over - Leo Wood, Villem & Mcleod  2) Overlong - Brainwork  3) Handcracked  - RoyGreen & Protone  4) Ain't no Reason - Conrad Subs  5) Too Damn Loud - Conrad Subs  6) On the M.I.C - Zero T  7) Lift Music - Minor Forms & Kublai  9) The Keep - Ed:It 10) Room Switch - Octo Pi 11) Slow Hand - Crystal Clear  12) Darkest Magic - Body Model 13) Woke - Crystal Clear 14) Your Style - Dub Head 15) Resist Not - Dj Rusty 16) Headshot - Break  17) Feeling - Basshunterz 18) Oi Rudeboy (Dunk Remix) - Conrad Subs  19) Box Clever (Ft. SP:MC) - Break  20) Billion Dollar Gravy (Ft. Liane Carroll) (Watch the Ride Remix) - London Elektricity 21) Roll Thru - Minor Forms  22) Five Nines - ED:IT 23) Another Life - Break  24) Talk and Dead - Serial Killerz 

When LOVE is vibrating in our bodies, we are fulfilled and satisfied - and from that place, our bodies create VIBRANT JOY and HEALTH. Our very cells crave the vibration of love.   Here's the problem: We THINK that that feeling comes from what he says or what he does or maybe more accurately, what he doesn't say or do. But science shows us that's wrong.    The good news is, all your feelings come from YOU.    You think a thought and your body is like the most accurate of pharmacies: it will mix up the EXACT cocktail you ask for.   In fact, NOBODY can make you feel anything but you. YOU are 100% in charge of how often you do or don't feel love. But if you're like most of my clients, you don't create love nearly as much as you want it.   And in my upcoming workshop, Make Magic in Your Marriage, I'm going to teach you how to create a LOT MORE OF IT. Love is the most magical of all human emotions and you and your marriage has likely been surviving on very little of it. Let's remedy that. It's not nearly as hard as you think.   Join us: https://www.ediewadsworthcoaching.com/marriageoptin   *******************************************   ★ SUBSCRIBE ♡ TO THE YOUTUBE CHANNEL (https://youtube.com/c/EdieWadsworthlifementoring)    ★ SUBSCRIBE ♡ TO THE PODCAST (https://podcasts.apple.com/us/podcast/the-life-mentoring-school-podcast/id1472947590)    Also follow me at:   ►http://instagram.com/ediewadsworth  ►http://facebook.com/Dr.EdieWadsworth  ►http://lifeingraceblog.com

A new MP3 sermon from OnePassion Ministries is now available on SermonAudio with the following details: Title: When Love is Real Subtitle: The Bible Study Speaker: Dr. Steven J. Lawson Broadcaster: OnePassion Ministries Event: Bible Study Date: 3/30/2023 Bible: 1 John 4:19-21 Length: 64 min.

RVers LOVE This One-Stop Campground In 700 LocationsWe sat down with Jim Wheeler, Director of Hospitality & RV Operations at Love's Travel Stops to talk about the different ways Love's supports RVers. With nearly 700 locations across 42 states, Love's is the nation's leading travel stop network. And now they've begun building their own RV sites for campers. With five to fifteen RV parking spots per location, campers can stay overnight or for up to a week, using the Love's app for seamless reservations and check-ins. Every space in the RV Stop has full hookups, including WiFi, and a personal or communal dump station. Plus, because the travel stops are right next door, campers are always just a few steps away from access to food, water, fuel, ice, and more – all for less than $37/night, on average.  In this episode, we get into:  ●      A brief history of how Love's grew from one gas station and country store in 1964 to the travel-stop empire it is today●      How travelers can save $0.10/gallon on gas at Love's Travel Stops through May 31, 2023 – completely for free ●      When Love's built their first RV Stop – and how many spaces will be available for campers by the end of the year●      Where you can find the most deluxe Love's RV Stop – and which fast-growing, family-friendly sport you can play while you stay there●      What inexpensive, old-school tactic Love's uses to make their RV facilities better and better for real campersTo learn more about the hundreds of Love's Travel Stops across the country, visit https://www.loves.com/. And to see a map of the 30 newly launched Love's RV Stops (with more on the way this year), visit https://www.lovesrvstops.com. Each listing shows the available RV parking spaces, and a list of RV-specific amenities like propane availability, how many private showers they have, and what dump facilities each location has on-site. Click here to watch the full video interview.

What do, a very sad and angry "nice" guy who falls in love, and a introverted widow who is guided through her grief by a series of letters, have in common? This week on THE MOVIE CONNECTION: KC Watched: "PUNCH-DRUNK LOVE" (4:53) (Directed by, Paul Thomas Anderson. Starring, Adam Sandler, Emily Watson, Philip Seymour Hoffman...) Jacob Watched: "P.S. I LOVE YOU" ( 43:15) (Directed by, Richard LaGravenese. Starring, Hilary Swank. Starring, Gerard Butler, Hilary Swank, Jeffrey Dean Morgan...) Talking points include: When Love isn't the answer. Good cry movies. The problematic premise of "P.S. I love you." and more!! Send us an email to let us know how we're doing: movieconnectionpodcast@gmail.com Follow us on Instagram Rate and Review on Apple Podcasts Check out more reviews from Jacob on Letterboxd Cover art by Austin Hillebrecht, Letters by KC Schwartz

Join Jada as she answers your questions on dating and relationships. Resources mentioned:When Love's In View by Dr. Conway & Jada Edwardshttps://one-community-shop.myshopify.com/collections/books/products/when-love-s-in-viewBefore Love's In View by Dr. Conway Edwardshttps://one-community-shop.myshopify.com/collections/dr-conway-edwards/products/before-love-s-in-viewWatch the Flags by Dr. Conway Edwardshttps://one-community-shop.myshopify.com/products/watch-the-flagWatch the Flags  - A Video Masterclass for Singles with Dr. Conway and Jada Edwardshttps://one-community-shop.myshopify.com/products/pre-sale-watch-the-flags-video-masterclass?pr_prod_strat=use_description&pr_rec_id=03a398ee0&pr_rec_pid=6890443407445&pr_ref_pid=6809614188629&pr_seq=uniformUndercover Women by Dr. Conway & Jada Edwardshttps://one-community-shop.myshopify.com/collections/jada-edwards/products/undercover-woman

Dr. Laurie discusses what to do "When Love is not Enough." You'll also hear answers to listener submitted questions, and get Dr. Laurie's take on "Sex in the News".

Happy holidays! We celebrate the 30th anniversary of The Muppet Christmas Carol. Disney has recently restored the previously deleted song, "When Love is Gone", back into the film. We go through this restored version of the film nd discuss this holiday classic. Music from https://filmmusic.io "Glitter Blast" by Kevin MacLeod (https://incompetech.com) License: CC BY (http://creativecommons.org/licenses/by/4.0/) Other sounds: The Muppets Celebrate Jim Henson Sesame Street Scrubs https://abortionfunds.org/ https://www.aclu.org/ Reproductive rights are human rights

There's (a little more than) One More Sleep 'Til Christmas, and with a Thankful Heart, it's time for Verbal Diorama to give some festive love to The Muppet Christmas Carol, so It Feels Like Christmas, finally!Starring Kermit, Miss Piggy, Statler and Waldorf, The Great Gonzo as Charles Dickens, Rizzo the Rat as himself, and the inimitable Michael Caine in his career-defining role as Ebenezer Scrooge, The Muppet Christmas Carol is not only one of the greatest adaptations of Dickens' A Christmas Carol, but also one of the greatest Christmas movies ever made, and this year it celebrates its 30th anniversary with a remastered version on Disney+, complete with the "lost" song "When Love is Gone".But out of over 150 adaptations of A Christmas Carol over the decades, how is the Muppet version so faithful to the source material, and why does it continue to endure? It's a story of loss, grief and redemption, and that's just the behind-the-scenes of this movie.The YouTube video by dress historian Abby Cox I refer to in this episode is hereI would love to hear your thoughts on The Muppet Christmas Carol !GET IN TOUCH.... Twitter @verbaldiorama Instagram @verbaldiorama Facebook @verbaldiorama Letterboxd @verbaldiorama Email verbaldiorama [at] gmail [dot] com Website verbaldiorama.comSUPPORT VERBAL DIORAMA....Give this podcast a five-star Rate & Review Join the Patreon Thank you to all the patrons Simon E, Sade, Claudia, Simon B, Laurel, Derek, Vern, Kristin, Cat, Andy, Mike, Griff, Luke, Emily, Michael, Scott, Brendan, Ian, Lisa, Sam, Will, Jack, Dave, Chris, Stuart, Sunni, Drew, Nicholas, Zo, Kev, Pete, Heather, Danny, Aly, Tyler and BRAND-NEW PATRON Jonathan.BRAND-NEW Merch STORE!! T-shirts inspired by The Mummy (1999) with more collections to come!EPISODE THANKS TO....Most excellent patrons:Laurel for her patron thoughts. You can find her @TheMidnightMyth on Twitter and her podcast The Midnight Myth on all your podcast apps.Mike and Andy for their patron thoughts. You can find them @geeksaladradio/@gundam_guyver on Twitter and their podcast Geek Salad on all your podcast apps.Pete for his patron thoughts. You can find him @TheRealPEEEETE on Twitter and his podcast Middle Class Film Class on all your podcast apps.and Nicholas, Ian and Brendan for their Patron comments, too!Twitter...

IT FEELS LIKE CHRISTMAS We did it. We finally flipping did it. Our 2022 Christmas special is the often requested winter classic: The Muppet Christmas Carol. There's so many songs that this is now our longest episode ever: "Scrooge", "One More Sleep 'Til Christmas", "Marley and Marley", "When Love is Gone", "It Feels Like Christmas", "Christmas Scat", "Bless Us All", "Thankful Heart" and finally "When Love is Found". Alex needs a sleeping nightcap for Christmas morning, Ben has seen little Stellan Skarsgard and Dietrich is officially an old man. Follow us on Twitter: @TSFTMpod Like, share and subscribe me better, man Please consider leaving us a 5 star review wherever you listen to your podcasts (Apple Podcasts/iTunes, Spotify etc). It means a great deal to us and makes it easier for other potential listeners to find us. Want to support us further? You can do this on Patreon from £1 ($1.50) a month: https://Patreon.com/TSFTM or via our merch store: https://TeePublic.com/user/TSFTM Thank you! Timestamps: 00:01:13 - What Have We Been Watching 00:05:14 - History (And Christmas Top 5) 00:10:10 - Movie Discussion 00:16:59 - Facts and Production 00:21:35 - Paul Williams, the songwriter 00:23:19 - "Scrooge" Discussion 00:26:34 - "One More Sleep 'Til Christmas" Discussion 00:30:37 - "Marley and Marley" Discussion 00:34:33 - "When Love is Gone" Discussion 00:42:40 - "It Feels Like Christmas" Discussion 00:47:45 - "Christmas Scat" and "Bless Us All" Discussion 00:53:00 - "Thankful Heart" Discussion 00:57:34 - "When Love is Found" Discussion 01:03:15 - Best Song?

This week, Oz and his special guest host Jeremyah aka The Fluent One pour up to talk about Deontay Wilder's road back, the difference between accountability and punishment, prayers for YK Osiris and what Drink Champs' Kanye interview teaches us about the responsibility of podcasters in the culture. Plus, the Pod Wars have begun again....your listener letters and the Top 3 STFUs. Pour Up! Song of the Week: ZAYN feat. Syd- "When Love's Around"

Visit Amazon's Diana Bellerose Page My mother's book of poems https://amzn.to/3eoy8Sp Spotify Dianna Bellerose Music  iTunes Dianna Bellerose Music   Visit my website and download a free mini webinar http://www.diannabellerose.com "When Love overcomes the unnecessary hate and differences  than we will see Light"- Dianna Bellerose The Light Within. available on Amazon, B&N and everywhere where books are sold.

Visit Amazon's Diana Bellerose Page My mother's book of poems https://amzn.to/3eoy8Sp Spotify Dianna Bellerose Music  iTunes Dianna Bellerose Music   Visit my website and download a free mini webinar http://www.diannabellerose.com "When Love overcomes the unnecessary hate and differences  than we will see Light"- Dianna Bellerose The Light Within. available on Amazon, B&N and everywhere where books are sold.

You'll hear the words, 'for better or for worse' at most wedding ceremonies, but to be honest, in those early days, most of us imagine a lifetime of better. So what happens when we encounter the worse? Several years into their marriage, Maurice and Ruth Griffin had their wedding vows seriously tested. Those difficult times resulted in the book, When Love is Angry: A Memoir from the Other Side of Mental Illness. In this episode of Bleeding Daylight, Maurice talks about the pain, frustration and misunderstandings that turned his life upside down, as well as the triumph and restoration that followed.     https://www.amazon.com/When-Love-Angry-Memoir-Illness/dp/195481822X/  https://jenasbbq.com  https://instagram.com/officialjenasbbq  https://facebook.com/jenasbbq 

Love is forever a mystery to those that do not let her in. To those with thick skins and walls built up, high enough to suffocate themselves with their own air, love is fickle and too weak. They see another soul as an obstacle, in the way of the plans they have made. When Love suddenly puts another soul in their path, they think she is mocking them. “I will show Love!” They say, as though Love is yet another obstacle course to climb over and afterwards to gloat at how strong they have been, in no recognition of the fact that Love is here for their freedom.Something mysterious happens when two souls collide. If you or I predicted, prior to the collision, of the possibilities of the chemical reactions, if we were both even the Sadhus who could read minds, we would be wrong. In between karma and free will, the collision of these souls create a reflection of a random kind of divinity, a separate entity, based on the original two sources. One plus one equals one. Nothing is taken away nor divided. All stays as one. All becomes the unified one.Stories about perfection has been told about Love but she laughs at human's idealistic nature because she is anything but perfect. Lies have been told about Love's happily ever afters but she laughs at their lack of vocabulary because she looks for expansion and not happiness.Those that begin to shave off the excess skin, now becoming dry and hard to achieve by hand; those that begin to hammer down the walls they have built to keep Love away, they find themselves in a mess. The hard skin once removed leaves blotches of uneven holes in one's flesh. The hammering scatters dust and broken bricks all over their environment, making them cough and forcing them to squint.For those with no thick skin nor high walls to begin with, Love is ready for them but she hardly finds such souls wandering around. For on Earth, many have been left to fend in the world without Love. If something were to happen, they are quick to betray Love and turn away.For those who see Love as merely a beautiful piece of clothing to dress over or a piece of jewellery to be embellished on their bodies, they are fooled. For in such circumstances, Love sees through their tricks and she does not even visit the temples they have built and adorned.But for those who value depth over distance, Love visits their messy homes and patchy bodies. Love comes near them and asks over and over if she really matters to them. In amongst their growing pains, Love never leaves their side.So my dear, do not worry about holding space, do not worry about being ready, do not worry about your consistency of your capacity for Love, do not worry about balancing your time with his, do not worry about sustaining the both of you.Start taking down the walls you had built. Start scratching away the old scabs of skin. Every once in awhile, let him hammer down some of the walls and peel away the hardy skin. Stay curious about the entity that grows from the two of you.Love herself is curious for the growth of this child. She doesn't know how the child will evolve but every time you choose Love, you give this child a chance to grow. Many have given up on the children of Love, turning their backs, the children starve for Love until they all disappear into the abyss.This is the birth of Love and she will never leave your side. She is watching her child, smiling at her child, silently nudging at her child whilst it goes through its growing pains.Let's give this child a chance my dear. Let's see how the child will show up and grow up in this world.Contemplations:Have you welcomed Love in your home lately? This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit winphyo.substack.com

How do you feel when you're on a journey with someone who has already been there before?With someone that knows the way?With someone who is The Way?You trust. You smile. You relax your shoulders, and enjoy the view.If you stay where your feet are, you'll arrive. I Love you, Niknikki@curlynikki.comBonus content every week:▶▶https://www.patreon.com/goodmorningsGo(o)d Mornings merch:▶▶https://www.patreon.com/goodmornings_______________________Today's Quotes:  "When Love leads the way, the Soul enjoys comfort."-Rumi  "There is only one day left, always starting over: it is given to us at dawn and taken away from us at dusk."-Jean-Paul Sartre Quotes.  "In learning you will teach, in teaching you will learn."-Phil Collins"We teach best what we most need to learn."-Richard BachExcerpt read from Eva Bell Werber's Journey With the Master Support the show

Have you ever encountered an obstacle in your marriage that you thought you could not overcome? Have you ever been forced to spiritually surrender a situation to God so a brighter future could materialize? Have you ever considered that being right was causing you to be unkind in your relationships? In a dynamic, transparent, and courageous conversation, Ruth and Maurice Griffin open up about their marriage and faith journey that led them to write a book, “When Love is Angry: A Memoir from the Other Side of Mental Illness” about their coping with Ruth's mental illness and their faith leading them to heal their marriage. Come listen to Maurice and Ruth, both entrepreneurs with four grown children, and how they transformed themselves, their marriage, and their lives. They share encouragement for how “listening for the details” in a relationship can pull you out of a rut, resentment, and damaging patterns that can linger for years. After getting to the point of not even talking, they co-authored a book about their journey that ultimately redefined their next steps in their faith and put their marriage back together at a higher level which they both admit they never thought was possible. Check out this down-to-earth, real conversation about facing mental illness, focusing on God as the source of healing and letting go of having to fix or control your circumstances or spouse. Their book, “When Love is Angry: A Memoir from the Other Side of Mental Illness” is available here. Find out more about Maurices' homemade barbeque sauce here. Ruh heads a full-service vanity press that offers publishing, graphic design, and writing services. Find out how Ruth lifts up new authors with her publishing services here. She also is a cohost of Authors Up, a streaming radio show that provides a platform for new, established, and aspiring authors. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/boundlesslove/message Support this podcast: https://anchor.fm/boundlesslove/support

When Love is Sad

Link to my Good Friday Sermon, When Love and Wrath Collide http://www.kongsvingerchurch.org/serm... Support Fighting for the Faith Join Our Crew: http://www.piratechristian.com/join-o... Patreon: https://www.patreon.com/PirateChristian Merchandise: https://www.moteefe.com/store/pirate-... Fighting for the Faith Radio Program: http://fightingforthefaith.com Social Media Facebook: https://www.facebook.com/piratechristian Twitter: https://twitter.com/piratechristian Instagram: https://www.instagram.com/piratechris... Video Sermons https://www.youtube.com/channel/UC3F7... Sermons http://www.kongsvingerchurch.org/sermons Sunday Schools http://www.kongsvingerchurch.org/bibl... Bible Software Used in this Video: https://www.accordancebible.com Video Editing Software: https://adobe.ly/2W9lyNa Video Recording Software: https://www.ecamm.com Scripture quotations are from The ESV® Bible (The Holy Bible, English Standard Version®), copyright © 2001 by Crossway, a publishing ministry of Good News Publishers. Used by permission. All rights reserved.

Title: When Love for Christ Grows Cold Speaker: Dr. David Harrell Event: Sunday Service Date: Apr 03 2022 Bible: Revelation 2:1-7

Believers Voice of Victory Audio Broadcast for Tuesday 3/8/2022. Love works every time! Watch Kenneth Copeland and Professor Greg Stephens on Believer's Voice of Victory as they discuss how precious faith works by Love in every person's life. When Love is at the forefront of everything you do, you'll access every promise of God and live a life of success!

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"]

On this episode, I sat down with an amazing couple Ruth & Maurice Griffin to discuss their new book, When Love is Angry which shares personal experiences on loving a spouse who battles with mental illness. This week's Thriver Nuggets is all about Dr. Gary Chapman's 5 Love Languages. Ruth & Maurice Griffin's Contact: Facebook: Ruth E Griffin IG: Ruth Elena Griffin Facebook: Jena's BBQ IG: Official Jena's BBQ website: www.ruthegriffin.com website #2: www.studiogriffin.net

Love is the Greatest Healing force in your life. Love never fails, never fades out, becomes obsolete or comes to an end. Love never stops loving! Love is a safe place of shelter, for it never stops believing the best for others. Love never takes failure as defeat, for it never gives up. God is Love.His Passionate Love makes you completely whole. His Endless Love lives in you, because He is living in you. Now you are healed because you are in fellowship and one with Him Who is your Healer.He paid the price for your complete wholeness showing His Love for you. There's nothing more powerful than His Love for you. Love that always brings healing and wholeness. When Love is present, healing is present, because healing flows through Love.

When Love is Hard to Hear