Podcasts about woodstock festival

On this MADM, Woodstock Mayor Jeff Dodson shares what happened when the original Woodstock Festival came calling after their town began the Woodstock Music Festival. Listen & share. Sponsor: Bankston Motor Homes BankstonMotorHomes.com

Ein Jahr vor seinem Tod interpretierte Jimi Hendrix dieses Lied beim Woodstock-Festival und schrieb sich auch damit in die amerikanische Musikgeschichte ein.

Heute vor 55 Jahren fand das Rockmusik-Festival Altamont Free Concert in Kalifornien statt. Bei der Veranstaltung, die als Gegenstück zum Woodstock-Festival initiiert wurde, kamen mehrere Menschen ums Leben.

On this episode of Vinyl Verdict, Bell, Jamie and Adam listen to Jamie's first pick for season 3, Joe Cocker's "Mad Dogs and Englishmen". Released in 1970, it was the accompanying album to the film of the same name, chronicling his brisk tour of the U.S. Hailing from Sheffield, England, Joe Cocker had just two years prior made a name for himself with his cover of the Beatles' "With a Little Help From My Friends" and his subsequent appearance at the Woodstock Festival in 1969. After being surprised by his record label with a tour, Joe assembled a band of friends in less than a week. The band consisted of 22 people - three drummers, a horn section, a choir, two guitarists, a bass play, a piano player and two percussionists. Will the boys be Feelin' Alright, or will they Drown In Their Own Tears? Come along and find out!

Vor 55 Jahren fand in Bethel das legendäre Woodstock-Festival statt. Unter dem Motto "Drei Tage voller Frieden und Musik" traten dort Größen wie Jimi Hendrix, Janis Joplin, The Who und Santana auf. Im Publikum: Ein Junge, der von zuhause ausgerissen war. Mittlerweile lebt Bob Shippy in Niedersachen und erinnert sich im Kulturspiegel an Woodstock.

On part 2 of this special edition, featuring the 55th anniversary of Woodstock, we're joined once again, with the drummer of a band that performed at the iconic festival - Adolfo "Fito" de la Parra of Canned Heat.  Also the mastermind who produced the sound for 500,000 people at the event - Bill Hanley, "The Father of Festival Sound,"  joined by IES' Steve Almas.  You'll also hear the sounds of the Woodstock Festival by The Who, Creedence Clearwater Revival, The Band, Canned Heat and Blood, Sweat & Tears.  The most iconic music festival of the 20th Century (and also for a quarter of this century)!  Be sure to listen to Part 1 on Episode 180 and our 50th Woodstock Anniversary show on Episode 68!! Brought to you by your authority on the latest (and greatest) in rock 'n' roll - Classic Artists Today!!!

Join @thebuzzknight on this episode with iconic photographer Elliott Landy, known for photographing The Woodstock Festival 55 years ago. Elliott is also known for many great album cover photos including Bob Dylan and The Band. If you have questions or comments, write buzz@buzzknightmedia.com Connect with Buzz on Twitter @TheBuzzKnight and Instagram @takinawalkpodcast. Like this show? Leave us a review here. ReviewSupport the show: https://takinawalk.com/See omnystudio.com/listener for privacy information.

Joel Rosenman, who conceived and co-created the Woodstock Festival in 1969, joins John Landecker to reminisce about the first Woodstock Festival and other memories from it.

James Lansing, Everhart Museum Curator, speaking about the exhibition, "Peace, Love & Music," running from August 15 to December 27, 2024. The opening of the show coincides with the 55th anniversary of the Woodstock Festival in 1969, and there will be a reception on August 15 outside the museum in Nay Aug Park in Scranton from 5:30 to 8:00 pm--The Flower Power Happy Hour. For more information: www.everhart-museum.org/

Thom Francis welcomes another married couple to the stage - local poets, artists, and authors Julie Lomoe and Robb Smith, who both shared their work at 2024 Word Fest Open Mic at the Sand Lake Center for the Arts on April 27, 2024. Julie Lomoe has published two mysteries, both inspired by her personal and professional experience - "Mood Swing: The Bipolar Murders" and "Eldercide." "Hope Dawns Eternal" is her first venture into paranormal fantasy fiction and the first of a series featuring soap opera characters Jonah McQuarry and Abby Hastings. She graduated from Barnard College, received an MFA from Columbia University and an MA in Art Therapy from New York University. Her art has exhibited at the Museum of Modern Art, The Brooklyn Museum, the 1969 Woodstock Festival, and many Manhattan galleries. In 1979 she moved with her family from Manhattan to upstate New York, where she became a creative arts therapist at the now-defunct Hudson River Psychiatric Center. Her full-time immersion in the world of the institutionalized mentally ill inspired her to turn to fiction as a creative outlet. Julie has published poetry as well as articles on home care, mental health, aging, and women's issues. Robb Smith is a writer concentrating on fiction. Robb is the author of more than a dozen published books on photography. He's a non-theist, humanist pagan, which has influenced his science fiction novel in progress. At the Word Fest Open Mic, Julie read from her newly self-published chapbook, "Proof of Process: Poems from my Slush Pile," a poem in the persona of Donald Trump. Her husband, Robb read a series of Haiku that he began writing for National Poetry Month.

Happy Canada Day!!! On the July 1 edition of Music History Today, one of the greatest voices in soul music passes away, there's a debut from the Walkman, as well as the Band, a classic Beatles song, and a rap classic. Plus, happy birthday to Debbie Harry, Fred Schneider, and Missy Elliot. For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts from ALL MUSIC HISTORY TODAY  PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday  On this date:In 1956, Elvis Presley sang his song Hound Dog to a basset hound on the Steve Allen TV Show because Steve didn't want to risk showing Elvis swiveling his hips on camera. In 1969, Sam Phillips sold Sun Records Studio. In 1969, John Lennon and Yoko Ono were injured in an auto accident.  In 1975, Ringo Starr divorced his wife Maureen.  In 1978, Aerosmith, Ted Nugent, & Van Halen played at the Texxas Jam concert in Dallas. In 1979, Sony sold the first Walkman. In 1990, country music singer Hank Williams, Jr. married model Mary Jane Thomas.  In 1998, entertainer Barbara Streisand married actor James Brolin.  In 2000, Trent Reznor overdosed on heroin. He recovered & went to rehab. In 2005, the group Dance Gavin Dance formed. In 2006, The Bethel Woods Center for the Arts, which was built on the site of the original Woodstock Festival, opened. In 2006, singer Jennifer Peterson-Hind of Hi-5 married musician Tom Korbee. In 2007, a tribute concert to Princess Diana was held at Wembley Stadium.  In 2008, Travie McCoy of Gym Class Heroes beat up a fan who called him the N word at the end of their Warped Tour concert in St. Louis. In 2008, the Motley Crue festival Crue Fest started, with supporting acts Papa Roach & Buckcherry. In 2009, Michael Jackson became the first artist to sell over 1 million singles downloads in one week. He had passed away only 6 days earlier, which is what led to the sales surge. In 2011, Selena Gomez starred in the movie Monte Carlo. In 2011, guitarist James Hince married model Kate Moss. In 2013, singer Avril Lavigne married Chad Kroeger of Nickelback.  In classical music: In 1933, the Strauss opera Arabella opened in Germany. In 1960, the cantata Carmen Baseliense from Benjamin Britten premiered. In 1996, opera legend Placido Domingo became the artistic director of the Washington Opera. In theater, it's closing day on Broadway as:  In 1967, the musical Funny Girl closed on Broadway. In 1972, the musicals Hair & Stephen Sondheim's Follies both closed on Broadway. In 1973, the Broadway musical Jesus Christ Superstar closed.  In 1978, the musical The Act closed on Broadway. In 1984, the musical Baby closed on Broadway. In 1995, the musical Kiss of the Spider Woman closed on Broadway. --- Send in a voice message: https://podcasters.spotify.com/pod/show/musichistorytodaypodcast/message Support this podcast: https://podcasters.spotify.com/pod/show/musichistorytodaypodcast/support

Janis Joplin war eine der prägendsten Stimmen des Rock und Blues. Mit 18 begann sie in texanischen Clubs zu singen, bevor sie nach San Francisco zog und sich “Big Brother and the Holding Company” anschloss. Ihr Durchbruch kam 1967 beim Monterey Pop Festival, was ihren Status als Musikikone festigte. Auf ihrem Weg zur Solokarriere gründete Janis die Kozmic Blues Band und später die Full Tilt Boogie Band. Ihr Auftritt beim Woodstock-Festival 1969 und das Album "I Got Dem Ol' Kozmic Blues Again Mama!" zeigten ihre tiefe, bluesige Seite. Trotz ihres Erfolgs kämpfte sie mit Drogenabhängigkeit und inneren Dämonen. Janis Joplin starb tragischerweise am 4. Oktober 1970 an einer Überdosis Heroin, kurz vor der Fertigstellung ihres Albums "Pearl", das posthum ein großer Erfolg wurde. "Historische Heldinnen" lässt mithilfe von Künstlicher Intelligenz wichtige Frauen der Weltgeschichte auf ihr eigenes Leben zurückblicken. Selbstbewusst erzählen sie uns von ihrem Mut und ihrer Durchsetzungskraft.Viertausendhertz 2024 Hosted on Acast. See acast.com/privacy for more information.

Es war lange vor dem Woodstock-Festival in Amerika: Im Jahre 1964 fand auf Burg Waldeck im Hunsrück das erste Open-Air-Festival Deutschlands statt. Es war der Startpunkt großer musikalischer Karrieren. Liedermacher*innen der ersten Stunde Joana und Black Lechleiter sind beim 60. Jubiläum dabei und wollen laut für die Demokratie einstehen.

Durch seinen markanten Schrei in „With A Little Help From My Friends“ wurde Joe Cocker beim Woodstock-Festival 1969 zur lebenden Rocklegende.

The Museum at Bethel Woods has been voted in the top 3 of USA TODAY's 10 Best Readers'Choice travel awards in the category of Best Music Museum. Museum Director and Senior Curator Neal Hitch calls it an honor and feels pride in working at such a prestigious location in conversation with host Mike Sakell. Hitch also outlines the current national ‘Living History” project collecting oral histories from those who attended the Woodstock Festival.

Camping at the Woodstock festival site, now occupied by Bethel Woods Center for the Arts in New York State, becomes available for the nonprofit's 2024 summer concert season. | Frommer's

Carl Andre, einer der großen Vertreter der Minimal Art, ist im Alter von 88 Jahren in New York gestorben. Und in Nashville, Tennessee starb mit 76 Jahren die US – amerikanische Singer – Songwriterin Melanie, deren Ruhm vor allem auf einem legendären Auftritt beim Woodstock – Festival 1969 gründete.

Happy New Year! This is the last episode of 2023. Thank you for being with me and my guests all year – I am so grateful and blessed to have a platform to bring you behind the scenes of a variety of creative entrepreneurs from all over the world who are willing to be vulnerable and share their challenge to victory stories to give you hope and inspiration. Their stories illuminate the realities of being that passionate entrepreneur who is resilient, driven, and a visionary. You will find in all the stories, each of my creatives knew intuitively what was best for them especially in the face of uncertainty and what others may have wanted. They took a sharp right turn from what they were doing to follow their joy – that inner nudge – redirecting  them on another path unplanned yet much more in alignment with who they were meant to be. With that, my last guest of 2023 is a beautiful example of this scenario. Carlene Thissen, an original hippie girl from the 60s, is an author and a singer/songwriter who expresses her artistry through singing, guitar, and piano but her career didn't follow that path for a while, which you will hear how she made her sharp right turn to follow her joy and intuition. Carlene says the best three days of her life were spent at the world famous 1969 Woodstock Music Festival.  Today, she offers you an immersive experience of that story in her multimedia program.  Her autobiographical song, “Back There Again,” this Woodstock hippie girl, “…cut her hair and got a career, and lost herself for 30 odd years,” is the journey of when she detoured from her creative roots. Carlene says a series of God-driven (intuitive) events led her back to her true calling. I know you will love her story as much as I did. Wishing you an outstanding 2024!   Link in Show: If you enjoyed the episode and podcast, I'd appreciate a review on Apple & Spotify. Let's connect on IG @marla_diann.  Enrolling (6) spots for Tuscany, Italy Women's Retreat May 18-23, 2024. Go to https://marladiann.com/tuscany/ for all the details and registration. 6 days/5 nights in gorgeous Tuscany!  Download my free three handouts for creatives www.marladiann.com/free

Canned Heat emerged in 1966 and was founded by blues historians and record collectors Alan “Blind Owl” Wilson and Bob “The Bear” Hite. Hite took the name “Canned Heat” from a 1928 recording by Tommy Johnson. They were joined by Henry “The Sunflower” Vestine, another ardent record collector who was a former member of Frank Zappa's Mothers of Invention. Rounding out the band in 1967 were Larry “The Mole” Taylor on bass, an experienced session musician who had played with Jerry Lee Lewis and The Monkees and Adolfo “Fito” de la Parra on drums who had played in two of the biggest Latin American bands of the day. The band attained three worldwide hits, “On The Road Again”, “Let's Work Together” in 1970 and “Going Up The Country” in 1969: all of which became rock anthems. They secured their niche in the pages of rock ‘n roll history with their performances at the 1967 Monterey Pop Festival (along with Jimi Hendrix, Janis Joplin and The Who) and the headlining slot at the original Woodstock Festival in 1969. The band collaborated with John Mayall and Little Richard and later with blues icon, John Lee Hooker. In September 1970, the band was shattered by the suicide of Alan Wilson. His death sparked reconstruction within the group and member changes have continued throughout the past five decades. In 1981, vocalist, Bob Hite collapsed and died of a heart attack and in 1997, Henry Vestine died in Paris, France following the final gig of a European tour. In 2019, original bass player, Larry “The Mole” Taylor passed away with cancer. Despite these untimely deaths, Canned Heat has somehow survived. They have played more festivals, biker gatherings and charity events than any other band in the world. They and/or their music have been featured on television and in films. Now, more than fifty years later and with forty albums to their credit, Canned Heat is still going strong. They have been anchored throughout the past fifty-five years by the steady hand of drummer/band leader and historian, Adolfo “Fito” de la Parra. Fito's book, “LIVING THE BLUES” tells the complete and outrageous Canned Heat story of “Music, Drugs, Death, Sex and Survival” along with over 100 captivating pictures from their past and is available through the band's merchandise page. FIto de la Parra joins us this week to share tales of his incredible journey. I hope you enjoy the story of Canned Heat. If you have any comments, feedback or suggestions for future guests please don't hesitate to get in touch with me through my website https:www.abreathoffreshair.com.au

Episode 170 of A History of Rock Music in Five Hundred Songs looks at "Astral Weeks", the early solo career of Van Morrison, and the death of Bert Berns.  Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-minute bonus episode available, on "Stoned Soul Picnic" by Laura Nyro. 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/ Errata At one point I, ridiculously, misspeak the name of Charles Mingus' classic album. Black Saint and the Sinner Lady is not about dinner ladies. Also, I say Warren Smith Jr is on "Slim Slow Slider" when I meant to say Richard Davis (Smith is credited in some sources, but I only hear acoustic guitar, bass, and soprano sax on the finished track). Resources As usual, I've created Mixcloud playlists, with full versions of all the songs excerpted in this episode. As there are so many Van Morrison songs in this episode, the Mixcloud is split into three parts, one, two, and three. The information about Bert Berns comes from Here Comes the Night: The Dark Soul of Bert Berns and the Dirty Business of Rhythm and Blues by Joel Selvin. I've used several biographies of Van Morrison. Van Morrison: Into the Music by Ritchie Yorke is so sycophantic towards Morrison that the word “hagiography” would be, if anything, an understatement. Van Morrison: No Surrender by Johnny Rogan, on the other hand, is the kind of book that talks in the introduction about how the author has had to avoid discussing certain topics because of legal threats from the subject. Howard deWitt's Van Morrison: Astral Weeks to Stardom is over-thorough in the way some self-published books are, while Clinton Heylin's Can You Feel the Silence? is probably the best single volume on the artist. Information on Woodstock comes from Small Town Talk by Barney Hoskyns. Ryan Walsh's Astral Weeks: A Secret History of 1968 is about more than Astral Weeks, but does cover Morrison's period in and around Boston in more detail than anything else. The album Astral Weeks is worth hearing in its entirety. Not all of the music on The Authorized Bang Collection is as listenable, but it's the most complete collection available of everything Morrison recorded for Bang. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we start, a quick warning -- this episode contains discussion of organised crime activity, and of sudden death. It also contains excerpts of songs which hint at attraction to underage girls and discuss terminal illness. If those subjects might upset you, you might want to read the transcript rather than listen to the episode. Anyway, on with the show. Van Morrison could have been the co-writer of "Piece of My Heart". Bert Berns was one of the great collaborators in the music business, and almost every hit he ever had was co-written, and he was always on the lookout for new collaborators, and in 1967 he was once again working with Van Morrison, who he'd worked with a couple of years earlier when Morrison was still the lead singer of Them. Towards the beginning of 1967 he had come up with a chorus, but no verse. He had the hook, "Take another little piece of my heart" -- Berns was writing a lot of songs with "heart" in the title at the time -- and wanted Morrison to come up with a verse to go with it. Van Morrison declined. He wasn't interested in writing pop songs, or in collaborating with other writers, and so Berns turned to one of his regular collaborators, Jerry Ragavoy, and it was Ragavoy who added the verses to one of the biggest successes of Berns' career: [Excerpt: Erma Franklin, "Piece of My Heart"] The story of how Van Morrison came to make the album that's often considered his masterpiece is intimately tied up with the story we've been telling in the background for several episodes now, the story of Atlantic Records' sale to Warners, and the story of Bert Berns' departure from Atlantic. For that reason, some parts of the story I'm about to tell will be familiar to those of you who've been paying close attention to the earlier episodes, but as always I'm going to take you from there to somewhere we've never been before. In 1962, Bert Berns was a moderately successful songwriter, who had written or co-written songs for many artists, especially for artists on Atlantic Records. He'd written songs for Atlantic artists like LaVern Baker, and when Atlantic's top pop producers Leiber and Stoller started to distance themselves from the label in the early sixties, he had moved into production as well, writing and producing Solomon Burke's big hit "Cry to Me": [Excerpt: Solomon Burke, "Cry to Me"] He was the producer and writer or co-writer of most of Burke's hits from that point forward, but at first he was still a freelance producer, and also produced records for Scepter Records, like the Isley Brothers' version of "Twist and Shout", another song he'd co-written, that one with Phil Medley. And as a jobbing songwriter, of course his songs were picked up by other producers, so Leiber and Stoller produced a version of his song "Tell Him" for the Exciters on United Artists: [Excerpt: The Exciters, "Tell Him"] Berns did freelance work for Leiber and Stoller as well as the other people he was working for. For example, when their former protege Phil Spector released his hit version of "Zip-a-Dee-Do-Dah", they got Berns to come up with a knockoff arrangement of "How Much is that Doggie in the Window?", released as by Baby Jane and the Rockabyes, with a production credit "Produced by Leiber and Stoller, directed by Bert Berns": [Excerpt: Baby Jane and the Rockabyes, "How Much is that Doggie in the Window?"] And when Leiber and Stoller stopped producing work for United Artists, Berns took over some of the artists they'd been producing for the label, like Marv Johnson, as well as producing his own new artists, like Garnet Mimms and the Enchanters, who had been discovered by Berns' friend Jerry Ragovoy, with whom he co-wrote their "Cry Baby": [Excerpt: Garnet Mimms and the Enchanters, "Cry Baby"] Berns was an inveterate collaborator. He was one of the few people to get co-writing credits with Leiber and Stoller, and he would collaborate seemingly with everyone who spoke to him for five minutes. He would also routinely reuse material, cutting the same songs time and again with different artists, knowing that a song must be a hit for *someone*. One of his closest collaborators was Jerry Wexler, who also became one of his best friends, even though one of their earliest interactions had been when Wexler had supervised Phil Spector's production of Berns' "Twist and Shout" for the Top Notes, a record that Berns had thought had butchered the song. Berns was, in his deepest bones, a record man. Listening to the records that Berns made, there's a strong continuity in everything he does. There's a love there of simplicity -- almost none of his records have more than three chords. He loved Latin sounds and rhythms -- a love he shared with other people working in Brill Building R&B at the time, like Leiber and Stoller and Spector -- and great voices in emotional distress. There's a reason that the records he produced for Solomon Burke were the first R&B records to be labelled "soul". Berns was one of those people for whom feel and commercial success are inextricable. He was an artist -- the records he made were powerfully expressive -- but he was an artist for whom the biggest validation was *getting a hit*. Only a small proportion of the records he made became hits, but enough did that in the early sixties he was a name that could be spoken of in the same breath as Leiber and Stoller, Spector, and Bacharach and David. And Atlantic needed a record man. The only people producing hits for the label at this point were Leiber and Stoller, and they were in the process of stopping doing freelance work and setting up their own label, Red Bird, as we talked about in the episode on the Shangri-Las. And anyway, they wanted more money than they were getting, and Jerry Wexler was never very keen on producers wanting money that could have gone to the record label. Wexler decided to sign Bert Berns up as a staff producer for Atlantic towards the end of 1963, and by May 1964 it was paying off. Atlantic hadn't been having hits, and now Berns had four tracks he wrote and produced for Atlantic on the Hot One Hundred, of which the highest charting was "My Girl Sloopy" by the Vibrations: [Excerpt: The Vibrations, "My Girl Sloopy"] Even higher on the charts though was the Beatles' version of "Twist and Shout". That record, indeed, had been successful enough in the UK that Berns had already made exploratory trips to the UK and produced records for Dick Rowe at Decca, a partnership we heard about in the episode on "Here Comes the Night". Berns had made partnerships there which would have vast repercussions for the music industry in both countries, and one of them was with the arranger Mike Leander, who was the uncredited arranger for the Drifters session for "Under the Boardwalk", a song written by Artie Resnick and Kenny Young and produced by Berns, recorded the day after the group's lead singer Rudy Lewis died of an overdose: [Excerpt: The Drifters, "Under the Boardwalk"] Berns was making hits on a regular basis by mid-1964, and the income from the label's new success allowed Jerry Wexler and the Ertegun brothers to buy out their other partners -- Ahmet Ertegun's old dentist, who had put up some of the initial money, and Miriam Bienstock, the ex-wife of their initial partner Herb Abramson, who'd got Abramson's share in the company after the divorce, and who was now married to Freddie Bienstock of Hill and Range publishing. Wexler and the Erteguns now owned the whole label. Berns also made regular trips to the UK to keep up his work with British musicians, and in one of those trips, as we heard in the episode on "Here Comes the Night", he produced several tracks for the group Them, including that track, written by Berns: [Excerpt: Them, "Here Comes the Night"] And a song written by the group's lead singer Van Morrison, "Gloria": [Excerpt: Them, "Gloria"] But Berns hadn't done much other work with them, because he had a new project. Part of the reason that Wexler and the Erteguns had gained total control of Atlantic was because, in a move pushed primarily by Wexler, they were looking at selling it. They'd already tried to merge with Leiber and Stoller's Red Bird Records, but lost the opportunity after a disastrous meeting, but they were in negotiations with several other labels, negotiations which would take another couple of years to bear fruit. But they weren't planning on getting out of the record business altogether. Whatever deal they made, they'd remain with Atlantic, but they were also planning on starting another label. Bert Berns had seen how successful Leiber and Stoller were with Red Bird, and wanted something similar. Wexler and the Erteguns didn't want to lose their one hit-maker, so they came up with an offer that would benefit all of them. Berns' publishing contract had just ended, so they would set up a new publishing company, WEB IV, named after the initials Wexler, Ertegun, and Berns, and the fact that there were four of them. Berns would own fifty percent of that, and the other three would own the other half. And they were going to start up a new label, with seventeen thousand dollars of the Atlantic partners' money. That label would be called Bang -- for Bert, Ahmet, Neshui, and Gerald -- and would be a separate company from Atlantic, so not affected by any sale. Berns would continue as a staff producer for Atlantic for now, but he'd have "his own" label, which he'd have a proper share in, and whether he was making hits for Atlantic or Bang, his partners would have a share of the profits. The first two records on Bang were "Shake and Jerk" by Billy Lamont, a track that they licensed from elsewhere and which didn't do much, and a more interesting track co-written by Berns. Bob Feldman, Richard Gottehrer, and Jerry Goldstein were Brill Building songwriters who had become known for writing "My Boyfriend's Back", a hit for the Angels, a couple of years earlier: [Excerpt: The Angels, "My Boyfriend's Back"] With the British invasion, the three of them had decided to create their own foreign beat group. As they couldn't do British accents, they pretended to be Australian, and as the Strangeloves -- named after the Stanley Kubrick film Dr  Strangelove -- they released one flop single. They cut another single, a version of "Bo Diddley", but the label they released their initial record through didn't want it. They then took the record to Atlantic, where Jerry Wexler said that they weren't interested in releasing some white men singing "Bo Diddley". But Ahmet Ertegun suggested they bring the track to Bert Berns to see what he thought. Berns pointed out that if they changed the lyrics and melody, but kept the same backing track, they could claim the copyright in the resulting song themselves. He worked with them on a new lyric, inspired by the novel Candy, a satirical pornographic novel co-written by Terry Southern, who had also co-written the screenplay to Dr Strangelove. Berns supervised some guitar overdubs, and the result went to number eleven: [Excerpt: The Strangeloves, "I Want Candy"] Berns had two other songs on the hot one hundred when that charted, too -- Them's version of "Here Comes the Night", and the version of Van McCoy's song "Baby I'm Yours" he'd produced for Barbara Lewis. Three records on the charts on three different labels. But despite the sheer number of charting records he'd had, he'd never had a number one, until the Strangeloves went on tour. Before the tour they'd cut a version of "My Girl Sloopy" for their album -- Berns always liked to reuse material -- and they started performing the song on the tour. The Dave Clark Five, who they were supporting, told them it sounded like a hit and they were going to do their own version when they got home. Feldman, Gottehrer, and Goldstein decided *they* might as well have the hit with it as anyone else. Rather than put it out as a Strangeloves record -- their own record was still rising up the charts, and there's no reason to be your own competition -- they decided to get a group of teenage musicians who supported them on the last date of the tour to sing new vocals to the backing track from the Strangeloves album. The group had been called Rick and the Raiders, but they argued so much that the Strangeloves nicknamed them the Hatfields and the McCoys, and when their version of "My Girl Sloopy", retitled "Hang on Sloopy", came out, it was under the band name The McCoys: [Excerpt: The McCoys, "Hang on Sloopy"] Berns was becoming a major success, and with major success in the New York music industry in the 1960s came Mafia involvement. We've talked a fair bit about Morris Levy's connection with the mob in many previous episodes, but mob influence was utterly pervasive throughout the New York part of the industry, and so for example Richard Gottehrer of the Strangeloves used to call Sonny Franzese of the Colombo crime family "Uncle John", they were so close. Franzese was big in the record business too, even after his conviction for bank robbery. Berns, unlike many of the other people in the industry, had no scruples at all about hanging out with Mafiosi. indeed his best friend in the mid sixties was Tommy Eboli, a member of the Genovese crime family who had been in the mob since the twenties, starting out working for "Lucky" Luciano. Berns was not himself a violent man, as far as anyone can tell, but he liked the glamour of hanging out with organised crime figures, and they liked hanging out with someone who was making so many hit records. And so while Leiber and Stoller, for example, ended up selling Red Bird Records to George Goldner for a single dollar in order to get away from the Mafiosi who were slowly muscling in on the label, Berns had no problems at all in keeping his own label going. Indeed, he would soon be doing so without the involvement of Atlantic Records. Berns' final work for Atlantic was in June 1966, when he cut a song he had co-written with Jeff Barry for the Drifters, inspired by the woman who would soon become Atlantic's biggest star: [Excerpt: The Drifters, "Aretha"] The way Berns told the story in public, there was no real bad blood between him, Wexler, and the Erteguns -- he'd just decided to go his own way, and he said “I will always be grateful to them for the help they've given me in getting Bang started,” The way Berns' wife would later tell the story, Jerry Wexler had suggested that rather than Berns owning fifty percent of Web IV, they should start to split everything four ways, and she had been horrified by this suggestion, kicked up a stink about it, and Wexler had then said that either Berns needed to buy the other three out, or quit and give them everything, and demanded Berns pay them three hundred thousand dollars. According to other people, Berns decided he wanted one hundred percent control of Web IV, and raised a breach of contract lawsuit against Atlantic, over the usual royalty non-payments that were endemic in the industry at that point. When Atlantic decided to fight the lawsuit rather than settle, Berns' mob friends got involved and threatened to break the legs of Wexler's fourteen-year-old daughter, and the mob ended up with full control of Bang records, while Berns had full control of his publishing company. Given later events, and in particular given the way Wexler talked about Berns until the day he died, with a vitriol that he never used about any of the other people he had business disputes with, it seems likely to me that the latter story is closer to the truth than the former. But most people involved weren't talking about the details of what went on, and so Berns still retained his relationships with many of the people in the business, not least of them Jeff Barry, so when Barry and Ellie Greenwich had a new potential star, it was Berns they thought to bring him to, even though the artist was white and Berns had recently given an interview saying that he wanted to work with more Black artists, because white artists simply didn't have soul. Barry and Greenwich's marriage was breaking up at the time, but they were still working together professionally, as we discussed in the episode on "River Deep, Mountain High", and they had been the main production team at Red Bird. But with Red Bird in terminal decline, they turned elsewhere when they found a potential major star after Greenwich was asked to sing backing vocals on one of his songwriting demos. They'd signed the new songwriter, Neil Diamond, to Leiber and Stoller's company Trio Music at first, but they soon started up their own company, Tallyrand Music, and signed Diamond to that, giving Diamond fifty percent of the company and keeping twenty-five percent each for themselves, and placed one of his songs with Jay and the Americans in 1965: [Excerpt: Jay and the Americans, "Sunday and Me"] That record made the top twenty, and had established Diamond as a songwriter, but he was still not a major performer -- he'd released one flop single on Columbia Records before meeting Barry and Greenwich. But they thought he had something, and Bert Berns agreed. Diamond was signed to Bang records, and Berns had a series of pre-production meetings with Barry and Greenwich before they took Diamond into the studio -- Barry and Greenwich were going to produce Diamond for Bang, as they had previously produced tracks for Red Bird, but they were going to shape the records according to Berns' aesthetic. The first single released from Diamond's first session, "Solitary Man", only made number fifty-five, but it was the first thing Diamond had recorded to make the Hot One Hundred at all: [Excerpt: Neil Diamond, "Solitary Man"] The second single, though, was much more Bert Berns' sort of thing -- a three-chord song that sounded like it could have been written by Berns himself, especially after Barry and Greenwich had added the Latin-style horns that Berns loved so much. Indeed according to some sources, Berns did make a songwriting suggestion -- Diamond's song had apparently been called "Money Money", and Berns had thought that was a ridiculous title, and suggested calling it "Cherry Cherry" instead: [Excerpt: Neil Diamond, "Cherry Cherry"] That became Diamond's first top ten hit. While Greenwich had been the one who had discovered Diamond, and Barry and Greenwich were the credited producers on all Diamond's records  as a result, Diamond soon found himself collaborating far more with Barry than with Greenwich, so for example the first number one he wrote, for the Monkees rather than himself, ended up having its production just credited to Barry. That record used a backing track recorded in New York by the same set of musicians used on most Bang records, like Al Gorgoni on lead guitar and Russ Savakus on bass: [Excerpt: The Monkees, "I'm a Believer"] Neil Diamond was becoming a solid hit-maker, but he started rubbing up badly against Berns. Berns wanted hits and only hits, and Diamond thought of himself as a serious artist. The crisis came when two songs were under contention for Diamond's next single in late 1967, after he'd had a whole run of hits for the label. The song Diamond wanted to release, "Shilo", was deeply personal to him: [Excerpt: Neil Diamond, "Shilo"] But Bert Berns had other ideas. "Shilo" didn't sound like a hit, and he knew a hit when he heard one. No, the clear next single, the only choice, was "Kentucky Woman": [Excerpt: Neil Diamond, "Kentucky Woman"] But Berns tried to compromise as best he could. Diamond's contract was up for renewal, and you don't want to lose someone who has had, as Diamond had at that point, five top twenty hits in a row, and who was also writing songs like "I'm a Believer" and "Red Red Wine". He told Diamond that he'd let "Shilo" come out as a single if Diamond signed an extension to his contract. Diamond said that not only was he not going to do that, he'd taken legal advice and discovered that there were problems with his contract which let him record for other labels -- the word "exclusive" had been missed out of the text, among other things. He wasn't going to be recording for Bang at all any more. The lawsuits over this would stretch out for a decade, and Diamond would eventually win, but the first few months were very, very difficult for Diamond. When he played the Bitter End, a club in New York, stink bombs were thrown into the audience. The Bitter End's manager was assaulted and severely beaten. Diamond moved his wife and child out of Manhattan, borrowed a gun, and after his last business meeting with Berns was heard talking about how he needed to contact the District Attorney and hire a bodyguard. Of the many threats that were issued against Diamond, though, the least disturbing was probably the threat Berns made to Diamond's career. Berns pointed out to Diamond in no uncertain terms that he didn't need Diamond anyway -- he already had someone he could replace Diamond with, another white male solo singer with a guitar who could churn out guaranteed hits. He had Van Morrison: [Excerpt: Van Morrison, "Brown-Eyed Girl"] When we left Van Morrison, Them had just split up due to the problems they had been having with their management team. Indeed, the problems Morrison was having with his managers seem curiously similar to the issues that Diamond was having with Bert Berns -- something that could possibly have been a warning sign to everyone involved, if any of them had known the full details of everyone else's situation. Sadly for all of them, none of them did. Them had had some early singles success, notably with the tracks Berns had produced for them, but Morrison's opinion of their second album, Them Again, was less than complimentary, and in general that album is mostly only remembered for the version of Bob Dylan's "It's All Over Now, Baby Blue", which is one of those cover versions that inspires subsequent covers more than the original ever did: [Excerpt: Them, "It's All Over Now, Baby Blue"] Them had toured the US around the time of the release of that album, but that tour had been a disaster. The group had gained a reputation for incredible live shows, including performances at the Whisky A-Go-Go with the Doors and Captain Beefheart as their support acts, but during the tour Van Morrison had decided that Phil Solomon, the group's manager, was getting too much money -- Morrison had agreed to do the tour on a salary, rather than a percentage, but the tour had been more successful than he'd expected, and Solomon was making a great deal of money off the tour, money that Morrison believed rightfully belonged to him. The group started collecting the money directly from promoters, and got into legal trouble with Solomon as a result. The tour ended with the group having ten thousand dollars that Solomon believed -- quite possibly correctly -- that he was owed. Various gangsters whose acquaintance the group had made offered to have the problem taken care of, but they decided instead to come to a legal agreement -- they would keep the money, and in return Solomon, whose production company the group were signed to, would get to keep all future royalties from the Them tracks. This probably seemed a good idea at the time, when the idea of records earning royalties for sixty or more years into the future seemed ridiculous, but Morrison in particular came to regret the decision bitterly. The group played one final gig when they got back to Belfast, but then split up, though a version of the group led by the bass player Alan Henderson continued performing for a few years to no success. Morrison put together a band that played a handful of gigs under the name Them Again, with little success, but he already had his eyes set on a return to the US. In Morrison's eyes, Bert Berns had been the only person in the music industry who had really understood him, and the two worked well together. He had also fallen in love with an American woman, Janet Planet, and wanted to find some way to be with her. As Morrison said later “I had a couple of other offers but I thought this was the best one, seeing as I wanted to come to America anyway. I can't remember the exact details of the deal. It wasn't really that spectacular, money-wise, I don't think. But it was pretty hard to refuse from the point of view that I really respected Bert as a producer. I'd rather have worked with Bert than some other guy with a bigger record company. From that angle, it was spectacular because Bert was somebody that I wanted to work with.” There's little evidence that Morrison did have other offers -- he was already getting a reputation as someone who it was difficult to work with -- but he and Berns had a mutual respect, and on January the ninth, 1967, he signed a contract with Bang records. That contract has come in for a lot of criticism over the years, but it was actually, *by the standards in operation in the music business in 1967*, a reasonably fair one. The contract provided that, for a $2,500 a year advance, Bang would record twelve sides in the first year, with an option for up to fifty more that year, and options for up to four more years on the same terms. Bang had the full ownership of the masters and the right to do what they wanted with them. According to at least one biographer, Morrison added clauses requiring Bang to actually record the twelve sides a year, and to put out at least three singles and one album per year while the contract was in operation. He also added one other clause which seems telling -- "Company agrees that Company will not make any reference to the name THEM on phonograph records, or in advertising copy in connection with the recording of Artist." Morrison was, at first, extremely happy with Berns. The problems started with their first session: [Excerpt: Van Morrison, "Brown-Eyed Girl (takes 1-6)"] When Morrison had played the songs he was working on for Berns, Berns had remarked that they sounded great with just Morrison and his guitar, so Morrison was surprised when he got into the studio to find the whole standard New York session crew there -- the same group of session players who were playing for everyone from the Monkees to Laura Nyro, from Neil Diamond to the Shangri-Las -- along with the Sweet Inspirations to provide backing vocals. As he described it later "This fellow Bert, he made it the way he wanted to, and I accepted that he was producing it... I'd write a song and bring it into the group and we'd sit there and bash it around and that's all it was -- they weren't playing the songs, they were just playing whatever it was. They'd say 'OK, we got drums so let's put drums on it,' and they weren't thinking about the song, all they were thinking about was putting drums on it... But it was my song, and I had to watch it go down." The first song they cut was "Brown-Eyed Girl", a song which Morrison has said was originally a calypso, and was originally titled "Brown-skinned Girl", though he's differed in interviews as to whether Berns changed the lyric or if he just decided to sing it differently without thinking about it in the session. Berns turned "Brown-Eyed Girl" into a hit single, because that was what he tended to do with songs, and the result sounds a lot like the kind of record that Bang were releasing for Neil Diamond: [Excerpt: Van Morrison, "Brown-Eyed Girl"] Morrison has, in later years, expressed his distaste for what was done to the song, and in particular he's said that the backing vocal part by the Sweet Inspirations was added by Berns and he disliked it: [Excerpt: Van Morrison, "Brown-Eyed Girl"] Morrison has been very dismissive of "Brown-Eyed Girl" over the years, but he seems not to have disliked it at the time, and the song itself is one that has stood the test of time, and is often pointed to by other songwriters as a great example of the writer's craft. I remember reading one interview with Randy Newman -- sadly, while I thought it was in Paul Zollo's "Songwriters on Songwriting" I just checked that and it's not, so I can't quote it precisely -- in which he says that he often points to the line "behind the stadium with you" as a perfect piece of writing, because it's such a strangely specific detail that it convinces you that it actually happened, and that means you implicitly believe the rest of the song. Though it should be made very clear here that Morrison has always said, over and over again, that nothing in his songs is based directly on his own experiences, and that they're all products of his imagination and composites of people he's known. This is very important to note before we go any further, because "Brown-Eyed Girl" is one of many songs from this period in Morrison's career which imply that their narrator has an attraction to underage girls -- in this case he remembers "making love in the green grass" in the distant past, while he also says "saw you just the other day, my how you have grown", and that particular combination is not perhaps one that should be dwelt on too closely. But there is of course a very big difference between a songwriter treating a subject as something that is worth thinking about in the course of a song and writing about their own lives, and that can be seen on one of the other songs that Morrison recorded in these sessions, "T.B. Sheets": [Excerpt: Van Morrison, "T.B. Sheets"] It seems very unlikely indeed that Van Morrison actually had a lover die of tuberculosis, as the lover in the song does, and while a lot of people seem convinced that it's autobiographical, simply because of the intensity of the performance (Morrison apparently broke down in tears after recording it), nobody has ever found anyone in Morrison's life who fits the story in the song, and he's always ridiculed such suggestions. What is true though is that "T.B. Sheets" is evidence against another claim that Morrison has made in the past - that on these initial sessions the eight songs recorded were meant to be the A and B sides of four singles and there was no plan of making an album. It is simply not plausible at all to suggest that "T.B. Sheets" -- a slow blues about terminal illness, that lasts nearly ten minutes -- was ever intended as a single. It wouldn't have even come close to fitting on one side of a forty-five. It was also presumably at this time that Berns brought up the topic of "Piece of My Heart". When Berns signed Erma Franklin, it was as a way of getting at Jerry Wexler, who had gone from being his closest friend to someone he wasn't on speaking terms with, by signing the sister of his new signing Aretha. Morrison, of course, didn't co-write it -- he'd already decided that he didn't play well with others -- but it's tempting to think about how the song might have been different had Morrison written it. The song in some ways seems a message to Wexler -- haven't you had enough from me already? -- but it's also notable how many songs Berns was writing with the word "heart" in the chorus, given that Berns knew he was on borrowed time from his own heart condition. As an example, around the same time he and Jerry Ragavoy co-wrote "Piece of My Heart", they also co-wrote another song, "Heart Be Still", a flagrant lift from "Peace Be Still" by Aretha Franklin's old mentor Rev. James Cleveland, which they cut with Lorraine Ellison: [Excerpt: Lorraine Ellison, "Heart Be Still"] Berns' heart condition had got much worse as a result of the stress from splitting with Atlantic, and he had started talking about maybe getting open-heart surgery, though that was still very new and experimental. One wonders how he must have felt listening to Morrison singing about watching someone slowly dying. Morrison has since had nothing but negative things to say about the sessions in March 1967, but at the time he seemed happy. He returned to Belfast almost straight away after the sessions, on the understanding that he'd be back in the US if "Brown-Eyed Girl" was a success. He wrote to Janet Planet in San Francisco telling her to listen to the radio -- she'd know if she heard "Brown-Eyed Girl" that he would be back on his way to see her. She soon did hear the song, and he was soon back in the US: [Excerpt: Van Morrison, "Brown-Eyed Girl"] By August, "Brown-Eyed Girl" had become a substantial hit, making the top ten, and Morrison was back in the States. He was starting to get less happy with Berns though. Bang had put out the eight tracks he'd recorded in March as an album, titled Blowin' Your Mind, and Morrison thought that the crass pseudo-psychedelia of the title, liner notes, and cover was very inappropriate -- Morrison has never been a heavy user of any drugs other than alcohol, and didn't particularly want to be associated with them. He also seems to have not realised that every track he recorded in those initial sessions would be on the album, which many people have called one of the great one-sided albums of all time -- side A, with "Brown-Eyed Girl", "He Ain't Give You None" and the extended "T.B. Sheets" tends to get far more love than side B, with five much lesser songs on it. Berns held a party for Morrison on a cruise around Manhattan, but it didn't go well -- when the performer Tiny Tim tried to get on board, Carmine "Wassel" DeNoia, a mobster friend of Berns' who was Berns' partner in a studio they'd managed to get from Atlantic as part of the settlement when Berns left, was so offended by Tim's long hair and effeminate voice and mannerisms that he threw him overboard into the harbour. DeNoia was meant to be Morrison's manager in the US, working with Berns, but he and Morrison didn't get on at all -- at one point DeNoia smashed Morrison's acoustic guitar over his head, and only later regretted the damage he'd done to a nice guitar. And Morrison and Berns weren't getting on either. Morrison went back into the studio to record four more songs for a follow-up to "Brown-Eyed Girl", but there was again a misunderstanding. Morrison thought he'd been promised that this time he could do his songs the way he wanted, but Berns was just frustrated that he wasn't coming up with another "Brown-Eyed Girl", but was instead coming up with slow songs about trans women. Berns overdubbed party noises and soul backing vocals onto "Madame George", possibly in an attempt to copy the Beach Boys' Party! album with its similar feel, but it was never going to be a "Barbara Ann": [Excerpt: Van Morrison, "Madame George (Bang version)"] In the end, Berns released one of the filler tracks from Blowin' Your Mind, "Ro Ro Rosey", as the next single, and it flopped. On December the twenty-ninth, Berns had a meeting with Neil Diamond, the meeting after which Diamond decided he needed to get a bodyguard. After that, he had a screaming row over the phone with Van Morrison, which made Berns ill with stress. The next day, he died of a heart attack. Berns' widow Ilene, who had only just given birth to a baby a couple of weeks earlier, would always blame Morrison for pushing her husband over the edge. Neither Van Morrison nor Jerry Wexler went to the funeral, but Neil Diamond did -- he went to try to persuade Ilene to let him out of his contract now Berns was dead. According to Janet Planet later, "We were at the hotel when we learned that Bert had died. We were just mortified, because things had been going really badly, and Van felt really bad, because I guess they'd parted having had some big fight or something... Even though he did love Bert, it was a strange relationship that lived and died in the studio... I remember we didn't go to the funeral, which probably was a mistake... I think [Van] had a really bad feeling about what was going to happen." But Morrison has later mostly talked about the more practical concerns that came up, which were largely the same as the ones Neil Diamond had, saying in 1997 "I'd signed a contract with Bert Berns for management, production, agency and record company,  publishing, the whole lot -- which was professional suicide as any lawyer will tell you now... Then the whole thing blew up. Bert Berns died and I was left broke." This was the same mistake, essentially, that he'd made with Phil Solomon, and in order to get out of it, it turned out he was going to have to do much the same for a third time.  But it was the experience with Berns specifically that traumatised Morrison enough that twenty-five years later he would still be writing songs about it, like "Big Time Operators": [Excerpt: Van Morrison, "Big Time Operators"] The option to renew Morrison's contracts with Berns' companies came on the ninth of January 1968, less than two weeks after Berns' death. After his death, Berns' share of ownership in his companies had passed to his widow, who was in a quandary. She had two young children, one of whom was only a few weeks old, and she needed an income after their father had died. She was also not well disposed at all towards Morrison, who she blamed for causing her husband's death. By all accounts the amazing thing is that Berns lived as long as he did given his heart condition and the state of medical science at the time, but it's easy to understand her thinking. She wanted nothing to do with Morrison, and wanted to punish him. On the other hand, her late husband's silent partners didn't want to let their cash cow go. And so Morrison came under a huge amount of pressure in very different directions. From one side, Carmine DiNoia was determined to make more money off Morrison, and Morrison has since talked about signing further contracts at this point with a gun literally to his head, and his hotel room being shot up. But on the other side, Ilene Berns wanted to destroy Morrison's career altogether. She found out that Bert Berns hadn't got Morrison the proper work permits and reported him to the immigration authorities. Morrison came very close to being deported, but in the end he managed to escape deportation by marrying Janet Planet. The newly-married couple moved to Cambridge, Massachusetts, to get away from New York and the mobsters, and to try to figure out the next steps in Morrison's career. Morrison started putting together a band, which he called The Van Morrison Controversy, and working on new songs. One of his earliest connections in Massachusetts was the lead singer of a band called the Hallucinations, who he met in a bar where he was trying to get a gig: [Excerpt: The Hallucinations, "Messin' With the Kid"] The Hallucinations' lead singer was called Peter Wolf, and would much later go on to become well-known as the singer with the J. Geils Band. He and Morrison became acquaintances, and later became closer friends when they realised they had another connection -- Wolf had a late-night radio show under the name Woofa Goofa, and he'd been receiving anonymous requests for obscure blues records from a fan of the show. Morrison had been the one sending in the requests, not realising his acquaintance was the DJ. Before he got his own band together, Morrison actually guested with the Hallucinations at one show they did in May 1968, supporting John Lee Hooker. The Hallucinations had been performing "Gloria" since Them's single had come out, and they invited Morrison to join them to perform it on stage. According to Wolf, Morrison was very drunk and ranted in cod-Japanese for thirty-five minutes, and tried to sing a different song while the band played "Gloria". The audience were apparently unimpressed, even though Wolf shouted at them “Don't you know who this man is? He wrote the song!” But in truth, Morrison was sick of "Gloria" and his earlier work, and was trying to push his music in a new direction. He would later talk about having had an epiphany after hearing one particular track on the radio: [Excerpt: The Band, "I Shall Be Released"] Like almost every musician in 1968, Morrison was hit like a lightning bolt by Music From Big Pink, and he decided that he needed to turn his music in the same direction. He started writing the song "Brand New Day", which would later appear on his album Moondance, inspired by the music on the album. The Van Morrison Controversy started out as a fairly straightforward rock band, with guitarist John Sheldon, bass player Tom Kielbania, and drummer Joey Bebo. Sheldon was a novice, though his first guitar teacher was the singer James Taylor, but the other two were students at Berklee, and very serious musicians. Morrison seems to have had various managers involved in rapid succession in 1968, including one who was himself a mobster, and another who was only known as Frank, but one of these managers advanced enough money that the musicians got paid every gig. These musicians were all interested in kinds of music other than just straight rock music, and as well as rehearsing up Morrison's hits and his new songs, they would also jam with him on songs from all sorts of other genres, particularly jazz and blues. The band worked up the song that would become "Domino" based on Sheldon jamming on a Bo Diddley riff, and another time the group were rehearsing a Grant Green jazz piece, "Lazy Afternoon": [Excerpt: Grant Green, "Lazy Afternoon"] Morrison started messing with the melody, and that became his classic song "Moondance": [Excerpt: Van Morrison, "Moondance"] No recordings of this electric lineup of the group are known to exist, though the backing musicians remember going to a recording studio called Ace recordings at one point and cutting some demos, which don't seem to circulate. Ace was a small studio which, according to all the published sources I've read, was best known for creating song poems, though it was a minor studio even in the song-poem world. For those who don't know, song poems were essentially a con aimed at wannabe songwriters who knew nothing about the business -- companies would advertise you too could become a successful, rich, songwriter if you sent in your "song poems", because anyone who knew the term "lyric" could be presumed to know too much about the music business to be useful. When people sent in their lyrics, they'd then be charged a fee to have them put out on their very own record -- with tracks made more or less on a conveyor belt with quick head arrangements, sung by session singers who were just handed a lyric sheet and told to get on with it. And thus were created such classics prized by collectors as "I Like Yellow Things", "Jimmy Carter Says 'Yes'", and "Listen Mister Hat". Obviously, for the most part these song poems did not lead to the customers becoming the next Ira Gershwin, but oddly even though Ace recordings is not one of the better-known song poem studios, it seems to have produced an actual hit song poem -- one that I don't think has ever before been identified as such until I made a connection, hence me going on this little tangent. Because in researching this episode I noticed something about its co-owner, Milton Yakus', main claim to fame. He co-wrote the song "Old Cape Cod", and to quote that song's Wikipedia page "The nucleus of the song was a poem written by Boston-area housewife Claire Rothrock, for whom Cape Cod was a favorite vacation spot. "Old Cape Cod" and its derivatives would be Rothrock's sole evident songwriting credit. She brought her poem to Ace Studios, a Boston recording studio owned by Milton Yakus, who adapted the poem into the song's lyrics." And while Yakus had written other songs, including songs for Patti Page who had the hit with "Old Cape Cod", apparently Page recorded that song after Rothrock brought her the demo after a gig, rather than getting it through any formal channels. It sounds to me like the massive hit and classic of the American songbook "Old Cape Cod" started life as a song-poem -- and if you're familiar with the form, it fits the genre perfectly: [Excerpt: Patti Page, "Old Cape Cod"] The studio was not the classiest of places, even if you discount the song-poems. Its main source of income was from cutting private records with mobsters' wives and mistresses singing (and dealing with the problems that came along when those records weren't successful) and it also had a sideline in bugging people's cars to see if their spouses were cheating, though Milton Yakus' son Shelly, who got his start at his dad's studio, later became one of the most respected recording engineers in the industry -- and indeed had already worked as assistant engineer on Music From Big Pink. And there was actually another distant connection to Morrison's new favourite band on these sessions. For some reason -- reports differ -- Bebo wasn't considered suitable for the session, and in his place was the one-handed drummer Victor "Moulty" Moulton, who had played with the Barbarians, who'd had a minor hit with "Are You a Boy or Are You a Girl?" a couple of years earlier: [Excerpt: The Barbarians, "Are You a Boy or Are You a Girl?"] A later Barbarians single, in early 1966, had featured Moulty telling his life story, punctuated by the kind of three-chord chorus that would have been at home on a Bert Berns single: [Excerpt: The Barbarians, "Moulty"] But while that record was credited to the Barbarians, Moulton was the only Barbarian on the track, with the instruments and backing vocals instead being provided by Levon and the Hawks. Shortly after the Ace sessions, the Van Morrison Controversy fell apart, though nobody seems to know why. Depending on which musician's story you listen to, either Morrison had a dream that he should get rid of all electric instruments and only use acoustic players, or there was talk of a record deal but the musicians weren't good enough, or the money from the mysterious manager (who may or may not have been the one who was a mobster) ran out. Bebo went back to university, and Sheldon left soon after, though Sheldon would remain in the music business in one form or another. His most prominent credit has been writing a couple of songs for his old friend James Taylor, including the song "Bittersweet" on Taylor's platinum-selling best-of, on which Sheldon also played guitar: [Excerpt: James Taylor, "Bittersweet"] Morrison and Kielbania continued for a while as a duo, with Morrison on acoustic guitar and Kielbania on double bass, but they were making very different music. Morrison's biggest influence at this point, other than The Band, was King Pleasure, a jazz singer who sang in the vocalese style we've talked about before -- the style where singers would sing lyrics to melodies that had previously been improvised by jazz musicians: [Excerpt: King Pleasure, "Moody's Mood for Love"] Morrison and Kielbania soon decided that to make the more improvisatory music they were interested in playing, they wanted another musician who could play solos. They ended up with John Payne, a jazz flute and saxophone player whose biggest inspiration was Charles Lloyd. This new lineup of the Van Morrison Controversy -- acoustic guitar, double bass, and jazz flute -- kept gigging around Boston, though the sound they were creating was hardly what the audiences coming to see the man who'd had that "Brown-Eyed Girl" hit the year before would have expected -- even when they did "Brown-Eyed Girl", as the one live recording of that line-up, made by Peter Wolf, shows: [Excerpt: The Van Morrison Controversy, "Brown-Eyed Girl (live in Boston 1968)"] That new style, with melodic bass underpinning freely extemporising jazz flute and soulful vocals, would become the basis of the album that to this day is usually considered Morrison's best. But before that could happen, there was the matter of the contracts to be sorted out. Warner-Reprise Records were definitely interested. Warners had spent the last few years buying up smaller companies like Atlantic, Autumn Records, and Reprise, and the label was building a reputation as the major label that would give artists the space and funding they needed to make the music they wanted to make. Idiosyncratic artists with difficult reputations (deserved or otherwise), like Neil Young, Randy Newman, Van Dyke Parks, the Grateful Dead, and Joni Mitchell, had all found homes on the label, which was soon also to start distributing Frank Zappa, the Beach Boys, and Captain Beefheart. A surly artist who wants to make mystical acoustic songs with jazz flute accompaniment was nothing unusual for them, and once Joe Smith, the man who had signed the Grateful Dead, was pointed in Morrison's direction by Andy Wickham, an A&R man working for the label, everyone knew that Morrison would be a perfect fit. But Morrison was still under contract to Bang records and Web IV, and those contracts said, among other things, that any other label that negotiated with Morrison would be held liable for breach of contract. Warners didn't want to show their interest in Morrison, because a major label wanting to sign him would cause Bang to raise the price of buying him out of his contract. Instead they got an independent production company to sign him, with a nod-and-wink understanding that they would then license the records to Warners. The company they chose was Inherit Productions, the production arm of Schwaid-Merenstein, a management company set up by Bob Schwaid, who had previously worked in Warners' publishing department, and record producer Lewis Merenstein. Merenstein came to another demo session at Ace Recordings, where he fell in love with the new music that Morrison was playing, and determined he would do everything in his power to make the record into the masterpiece it deserved to be. He and Morrison were, at least at this point, on exactly the same page, and bonded over their mutual love of King Pleasure. Morrison signed to Schwaid-Merenstein, just as he had with Bert Berns and before him Phil Solomon, for management, record production, and publishing. Schwaid-Merenstein were funded by Warners, and would license any recordings they made to Warners, once the contractual situation had been sorted out. The first thing to do was to negotiate the release from Web IV, the publishing company owned by Ilene Berns. Schwaid negotiated that, and Morrison got released on four conditions -- he had to make a substantial payment to Web IV, if he released a single within a year he had to give Web IV the publishing, any album he released in the next year had to contain at least two songs published by Web IV, and he had to give Web IV at least thirty-six new songs to publish within the next year. The first two conditions were no problem at all -- Warners had the money to buy the contract out, and Merenstein's plans for the first album didn't involve a single anyway. It wouldn't be too much of a hardship to include a couple of Web IV-published tracks on the album -- Morrison had written two songs, "Beside You" and "Madame George", that had already been published and that he was regularly including in his live sets. As for the thirty-six new songs... well, that all depended on what you called a song, didn't it? [Excerpt: Van Morrison, "Ring Worm"] Morrison went into a recording studio and recorded thirty-one ostensible songs, most of them lasting one minute to within a few seconds either way, in which he strummed one or two chords and spoke-sang whatever words came into his head -- for example one song, "Here Comes Dumb George", just consists of the words "Here Comes Dumb George" repeated over and over. Some of the 'songs', like "Twist and Shake" and "Hang on Groovy", are parodying Bert Berns' songwriting style; others, like "Waiting for My Royalty Check", "Blowin' Your Nose", and "Nose in Your Blow", are attacks on Bang's business practices. Several of the songs, like "Hold on George", "Here Comes Dumb George", "Dum Dum George", and "Goodbye George" are about a man called George who seems to have come to Boston to try and fail to make a record with Morrison. And “Want a Danish” is about wanting a Danish pastry. But in truth, this description is still making these "songs" sound more coherent than they are. The whole recording is of no musical merit whatsoever, and has absolutely nothing in it which could be considered to have any commercial potential at all. Which is of course the point -- just to show utter contempt to Ilene Berns and her company. The other problem that needed to be solved was Bang Records itself, which was now largely under the control of the mob. That was solved by Joe Smith. As Smith told the story "A friend of mine who knew some people said I could buy the contract for $20,000. I had to meet somebody in a warehouse on the third floor on Ninth Avenue in New York. I walked up there with twenty thousand-dollar bills -- and I was terrified. I was terrified I was going to give them the money, get a belt on the head and still not wind up with the contract. And there were two guys in the room. They looked out of central casting -- a big wide guy and  a tall, thin guy. They were wearing suits and hats and stuff. I said 'I'm here with the money. You got the contract?' I remember I took that contract and ran out the door and jumped from the third floor to the second floor, and almost broke my leg to get on the street, where I could get a cab and put the contract in a safe place back at Warner Brothers." But the problem was solved, and Lewis Merenstein could get to work translating the music he'd heard Morrison playing into a record. He decided that Kielbania and Payne were not suitable for the kind of recording he wanted -- though they were welcome to attend the sessions in case the musicians had any questions about the songs, and thus they would get session pay. Kielbania was, at first, upset by this, but he soon changed his mind when he realised who Merenstein was bringing in to replace him on bass for the session. Richard Davis, the bass player -- who sadly died two months ago as I write this -- would later go on to play on many classic rock records by people like Bruce Springsteen and Laura Nyro, largely as a result of his work for Morrison, but at the time he was known as one of the great jazz bass players, most notably having played on Eric Dolphy's Out to Lunch: [Excerpt: Eric Dolphy, "Hat and Beard"] Kielbania could see the wisdom of getting in one of the truly great players for the album, and he was happy to show Davis the parts he'd been playing on the songs live, which Davis could then embellish -- Davis later always denied this, but it's obvious when listening to the live recordings that Kielbania played on before these sessions that Davis is playing very similar lines. Warren Smith Jr, the vibraphone player, had played with great jazz musicians like Charles Mingus and Herbie Mann, as well as backing Lloyd Price, Aretha Franklin, and Janis Joplin. Connie Kay, the drummer, was the drummer for the Modern Jazz Quartet and had also played sessions with everyone from Ruth Brown to Miles Davis. And Jay Berliner, the guitarist, had played on records like Charles Mingus' classic The Black Saint and the Sinner Lady: [Excerpt: Charles Mingus: "Mode D - Trio and Group Dancers, Mode F - Single Solos & Group Dance"] There was also a flute player whose name nobody now remembers. Although all of these musicians were jobbing session musicians -- Berliner came to the first session for the album that became Astral Weeks straight from a session recording a jingle for Pringles potato chips -- they were all very capable of taking a simple song and using it as an opportunity for jazz improvisation. And that was what Merenstein asked them to do. The songs that Morrison was writing were lyrically oblique, but structurally they were very simple -- surprisingly so when one is used to listening to the finished album. Most of the songs were, harmonically, variants of the standard blues and R&B changes that Morrison was used to playing. "Cyprus Avenue" and "The Way Young Lovers Do", for example, are both basically twelve-bar blueses -- neither is *exactly* a standard twelve-bar blues, but both are close enough that they can be considered to fit the form. Other than what Kielbania and Payne showed the musicians, they received no guidance from Morrison, who came in, ran through the songs once for them, and then headed to the vocal booth. None of the musicians had much memory of Morrison at all -- Jay Berliner said “This little guy walks in, past everybody, disappears into the vocal booth, and almost never comes out, even on the playbacks, he stayed in there." While Richard Davis later said “Well, I was with three of my favorite fellas to play with, so that's what made it beautiful. We were not concerned with Van at all, he never spoke to us.” The sound of the basic tracks on Astral Weeks is not the sound of a single auteur, as one might expect given its reputation, it's the sound of extremely good jazz musicians improvising based on the instructions given by Lewis Merenstein, who was trying to capture the feeling he'd got from listening to Morrison's live performances and demos. And because these were extremely good musicians, the album was recorded extremely quickly. In the first session, they cut four songs. Two of those were songs that Morrison was contractually obliged to record because of his agreement with Web IV -- "Beside You" and "Madame George", two songs that Bert Berns had produced, now in radically different versions: [Excerpt: Van Morrison, "Madame George"] The third song, "Cyprus Avenue", is the song that has caused most controversy over the years, as it's another of the songs that Morrison wrote around this time that relate to a sexual or romantic interest in underage girls. In this case, the reasoning might have been as simple as that the song is a blues, and Morrison may have been thinking about a tradition of lyrics like this in blues songs like "Good Morning, Little Schoolgirl". Whatever the cause though, the lyrics have, to put it mildly, not aged well at all: [Excerpt: Van Morrison, "Cyprus Avenue"] That song would be his standard set-closer for live performances for much of the seventies. For the fourth and final song, though, they chose to record what would become the title track for the album, "Astral Weeks", a song that was a lot more elliptical, and which seems in part to be about Morrison's longing for Janet Planet from afar, but also about memories of childhood, and also one of the first songs to bring in Morrison's fascination with the occult and spirituality,  something that would be a recurring theme throughout his work, as the song was partly inspired by paintings by a friend of Morrison's which suggested to him the concept of astral travel: [Excerpt: Van Morrison, "Astral Weeks"] Morrison had a fascination with the idea of astral travel, as he had apparently had several out-of-body experiences as a child, and wanted to find some kind of explanation for them. Most of the songs on the album came, by Morrison's own account, as a kind of automatic writing, coming through him rather than being consciously written, and there's a fascination throughout with, to use the phrase from "Madame George", "childhood visions". The song is also one of the first songs in Morrison's repertoire to deliberately namecheck one of his idols, something else he would do often in future, when he talks about "talking to Huddie Leadbelly". "Astral Weeks" was a song that Morrison had been performing live for some time, and Payne had always enjoyed doing it. Unlike Kielbania he had no compunction about insisting that he was good enough to play on the record, and he eventually persuaded the session flute player to let him borrow his instrument, and Payne was allowed to play on the track: [Excerpt: Van Morrison, "Astral Weeks"] Or at least that's how the story is usually told -- Payne is usually credited for playing on "Madame George" too, even though everyone agrees that "Astral Weeks" was the last song of the night, but people's memories can fade over time. Either way, Payne's interplay with Jay Berliner on the guitar became such a strong point of the track that there was no question of bringing the unknown session player back -- Payne was going to be the woodwind player for the rest of the album: [Excerpt: Van Morrison, "Astral Weeks"] There was then a six-day break between sessions, during which time Payne and Kielbania went to get initiated into Scientology -- a religion with which Morrison himself would experiment a little over a decade later -- though they soon decided that it wasn't worth the cost of the courses they'd have to take, and gave up on the idea the same week. The next session didn't go so well. Jay Berliner was unavailable, and so Barry Kornfeld, a folkie who played with people like Dave Van Ronk, was brought in to replace him. Kornfeld was perfectly decent in the role, but they'd also brought in a string section, with the idea of recording some of the songs which needed string parts live. But the string players they brought in were incapable of improvising, coming from a classical rather than jazz tradition, and the only track that got used on the finished album was "The Way Young Lovers Do", by far the most conventional song on the album, a three-minute soul ballad structured as a waltz twelve-bar blues, where the strings are essentially playing the same parts that a horn section would play on a record by someone like Solomon Burke: [Excerpt: Van Morrison, "The Way Young Lovers Do"] It was decided that any string or horn parts on the rest of the album would just be done as overdubs. It was two weeks before the next and final session for the album, and that featured the return of Jay Berliner on guitar. The session started with "Sweet Thing" and "Ballerina", two songs that Morrison had been playing live for some time, and which were cut in relatively quick order.  They then made attempts at two more songs that didn't get very far, "Royalty", and "Going Around With Jesse James", before Morrison, stuck for something to record, pulled out a new lyric he'd never performed live, "Slim Slow Slider". The whole band ran through the song once, but then Merenstein decided to pare the arrangement down to just Morrison, Payne (on soprano sax rather than on flute), and Warren Smith Jr: [Excerpt: Van Morrison, "Slim Slow Slider"] That track was the only one where, after the recording, Merenstein didn't compliment the performance, remaining silent instead – Payne said “Maybe everyone was just tired, or maybe they were moved by it.” It seems likely it was the latter. The track eventually got chosen as the final track of the album, because Merenstein felt that it didn't fit conceptually with anything else -- and it's definitely a more negative track than the oth

Hello and welcome to the 37th episode of my trip! Today's episode is the 14th one of our road trip across Canada and the USA. When leaving to backpack the world this year, we always intended to return to our campervan in Vancouver and drive to the East Coast in July. This is the second episode of the USA road trip as we enter some new states like Rhode Island and Connecticut as well as going to one of my previous states, New York. We planned a day trip to Providence which had an awesome historic feel to it like Boston. Then we changed our minds on this roadtrip to go to New York City, we just couldn't resist. So we decided to stay in Darien in CT then train it in to Grand Central Station for both days. Near the top of our list for this trip was going to Bethal Woods to see the farm and museum for the Woodstock Festival, I loved it! In between all of that we went to the hippy town of New Paltz, love the vibe there!!The places visited - Rhode Island, New York + Connecticut - Providence, Darien, New York City, New Paltz + Bethal WoodsTotal KMs - Defo past 13,000kmsPatreon Shout-Out - Thanks to Laura Hammond for supporting this podcast, she does so by purchasing a membership every month on my Patreon. You can help too by checking out the details below!Enjoy! Be inspired!Please follow, subscribe and rate as there are a lot more episodes to come!Winging It Travel PodcastHost/Creator/Writer/Composer/Editor - James HammondProducer - James HammondPodcast Art Design - Swamp Soup Company - Harry UttonWinging It Travel Podcast YouTube ChannelWant to watch my solo episodes? Then head to my YouTube channel below where I add photos and videos from my trip to the weekly solo episodes.Podcast SupportPatreon - https://patreon.com/wingingittravelpodcastThanks for supporting the podcast! I don't believe in offering more stuff for people who can afford to pay so what I will offer however is a shout-out on my episodes and in my show notes too as thanks for supporting the podcast. I will even send you some trendy stickers to you (if you wish) via the post and you will get my digital travel planner by email as a PDF (it is editable). Thanks again for keeping this podcast alive! JamesPodcast SupportDiscovery Car Hire - https://www.discovercars.com/?a_aid=Jhammo89Merch Store - https://www.teepublic.com/stores/winging-it-travel-podcast?ref_id=25823Want some insurance whilst travelling and/or working remotely? Book below with SafetyWing.https://safetywing.com?referenceID=wingingittravelpodcast&utm_source=wingingittravelpodcast&utm_medium=AmbassadorBook Flights With Expedia Canadahttps://prf.hn/click/camref:1100lqfY7/creativeref:1100l68075/destination:https://www.expedia.com/Flights?siteid=1&langid=1033Book Hotels with Hotel.comhttps://hotels.prf.hn/click/camref:1101lqg8U/creativeref:1011l66932/destination:https://uk.hotels.com/?pos=HCOM_UK&locale=en_GBBuy Me A Coffee - https://www.buymeacoffee.com/wingingitEtsy StoreBuy my Digital Travel Planner - https://www.etsy.com/ca/listing/1220056512/digital-travel-planner?click_key=c580edd56767d7b03612dfae3b122f32e15fe1ec%3A1220056512&click_sum=80ff0159&ref=shop_home_recs_2Stickers - https://www.etsy.com/ca/listing/1216492546/winging-it-travel-podcast-stickers?click_key=ed1139c660585f268a8192aa8c136a5915118968%3A1216492546&click_sum=b8a8a048&ref=shop_home_recs_1&frs=1Contact me - jameshammondtravel@gmail.com or message me on my social media on the links below.Social Media - Follow me on:YouTube - Winging It Travel Podcast https://www.youtube.com/channel/UC173L0udkGL15RSkO3vIx5AInstagram - wingingittravelpodcast - https://www.instagram.com/wingingittravelpodcast/TikTok - wingingittravelpodcast - https://www.tiktok.com/@wingingittravelpodcastFacebook - Winging It Travel Podcast - https://www.facebook.com/jameshammondtravelTwitter - https://twitter.com/PodcastWingingReview - Please head to Podchaser and leave a review for this podcast - https://www.podchaser.com/podcasts/winging-it-travel-podcast-1592244 or alternately you can leave a review and rating wherever you get your podcasts!MY SISTER PODCAST/YOUTUBE CHANNEL - The Trendy Coffee PodcastPlease follow and subscribe below.YouTube Channel - https://www.youtube.com/channel/UCgB8CA0tAk3ILcqEZ39a33gPodcast Links - https://linktr.ee/thetrendycoffeepodcastThanks for your support, James

"Middle-Aged and Older Patients Report Improved Health with Medical Marijuana"Larry Mishkin discusses a recent study from the University of Florida which shows that medical marijuana use can lead to lower pain levels and reduced dependency on opioids and psychiatric prescriptions among middle-aged and older chronic pain patients. Participants in the study reported improved physical and mental functioning, better sleep quality, and reduced anxiety. The research adds to the growing body of evidence supporting the therapeutic benefits of medical cannabis for pain management..Produced by PodConx  Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast  Grateful Dead, October 16, 1989, Melk Weg Club, Amsterdam, the NetherlandsGrateful Dead Live at Club Melk Weg on 1981-10-16 : Free Borrow & Streaming : Internet Archive Second of two night stand at this famous hash bar that only held about 500 people in the room in which the Dead performed.  Very cool and famous club in Amsterdam, one of the best known hash bars.  Went there one time in 1988 with good buddies Mikey and H.  A highlight of our trip. Another good buddy, Freddie Burp, was spending the school year abroad in the fall of 1981 and was one of the lucky ones who were present for this show.  He's a tough guy to get a hold of, but maybe some day I can get him on the show to talk about this concert.  INTRO:                  The Race Is On                                Track No. 8                                1:10 – 2:24                 Show had an acoustic first set and an electric second set.  Many of the songs in the acoustic set we featured a few weeks ago from the September, 1980 show at the Warfield Theater in San Francisco as part of the recordings for the Dead's Reckoning album.  So I went with this one which has always been one of my favorites ever since my good buddy Mikey (who took me to three of my first four shows) used to play it for me as we drove through the northwoods of Wisconsin on nights out from the summer camp where we were spending the summer in 1981. "The Race Is On" is a song written by Don Rollins[1] (not to be confused with the Don Rollins who co-wrote "It's Five O'Clock Somewhere" for Alan Jackson and Jimmy Buffett) and made a hit on the country music charts by George Jones and on the pop and easy listening charts by the unrelated Jack Jones. George's version was the first single released from his 1965 album of the same name. Released as a single in September 1964, it peaked at number three on the BillboardHot Country Singles chart and at number 96 on the BillboardHot 100 in January 1965. Jack's version topped Billboard'sEasy Listening chart and reached number 15 on the Hot 100 the same year. The two recordings combined to reach number 12 on the Cashbox charts, which combined all covers of the same song in one listing and thus gave George Jones his only top-40 hit. The song uses thoroughbred horse racing as the metaphor for the singer's romantic relationships.                 Rockabilly artist Dave Edmunds, in collaboration with the Stray Cats, whose debut album Edmunds had recently produced, recorded a version for his 1981 album, Twangin.... Stray Cats drummer Slim Jim Phantom recalled Edmunds' affection for the song when he was courting the band to produce their debut album: "We met with Edmunds at his house. He had a little pub in his basement. He had a finished basement, outside of London. Edmunds had a jukebox, a little jukebox. He had 'The Race is On' and 'Rockabilly Boogie' by Johnny Burnette. He had those records in his jukebox. We all looked at each other and said, 'This is it.'"[3] Phantom also recalled that the song took "one or two takes" in the studio.[4]Thank you.                 Covered by:        Jack Jones                                                Loretta Lynn                                                Alvin and the Chipmunks for their 1965 album, “Chipmunks a Go Go”                                                Waylon Jennings                                                The Georgia Satellites from 1965 debut album, “Keep The Faith”                                                Elvis Costello                                                And others                                                 Dead played it 60times in concert                                                First:  December 31, 1969 at Boston Tea Party in Boston                                                Last:  May 20, 1995 at Sam Boyd Silver Bowl, Las Vegas  SHOW #1:                           Ripple                                                Track No. 9                                                1:50 – 3:06                                 We prominently featured this song form the Warfield show and talked about how it was last played ever on Sept. 3, 1988 at the Cap Center.  What makes this version we just listened to so special is that this was the last Ripple played by the Dead until the Cap Center show, a seven year gap, and that that was it, no more Ripple.  So this is the last accoustic Ripple ever played since the Cap Center was electric.  Maybe the most famous Dead tune ever, from American Beauty, Hunter's lyrics and Jerry's music mesh together in a way to make this tune not just one of the best Dead tunes ever, but one of the best tunes ever, IMHO!  SHOW #2:                           Hully Gully                                                Track No. 12                                                0:15 – 1:38                                 "(Baby) Hully Gully" is a song written by Fred Sledge Smith and Cliff Goldsmith and recorded by The Olympics, an American doo-wop group formed in 1957.  Released in 1959 on the album, “Doin' the Hully Gully”, it peaked at number 72 on the Billboard Hot 100 in February 1960[2] and sparked the Hully Gully dance craze.                         Covered by:     Buddy Guy                                                Chubby Checkers                                                The Ventures                                                The Beach Boys                                                Many others                                                Peter Pan Peanut Butter add jingle in the 1980's                                                 The Dead's version of this song from this show is the only time they played it in concert.  SHOW #3:                   Gloria                                    Track No. 15                                    2:15 – 3:45                         "Gloria" is a rock song written by Northern Irish singer-songwriter Van Morrison, and originally recorded by Morrison's band Them in 1964. It was released as the B-side of "Baby, Please Don't Go” on December 2, 1964.  The song became a garage rock staple and a part of many rock bands' repertoires.                         According to Morrison, he wrote "Gloria" while performing with the Monarchs in Germany in the summer of 1963, at just about the time he turned 18 years old.[6] He started to perform it at the Maritime Hotel when he returned to Belfast and joined up with the Gamblers to form the band Them. He would ad-lib lyrics as he performed, sometimes stretching the song to 15 or 20 minutes. After signing a contract with Dick Rowe and Decca, Them went to London for a recording session at Decca Three Studios in West Hampstead on 5 April 1964; "Gloria" was one of the seven songs recorded that day.                         Alan Henderson (guitar) contends that Them constituted the first rock group to use two drummers on a recording.[7] Although some sources claim that Jimmy Page played second guitar, other sources deny this.                         Covered by:                 The Doors –   The Doors performed the song several times in 1966 and 1967, with one recording released on Alive, She Cried (1983). It was also released as a single, which reached number 18 on Hot Mainstream Rock Tracks and number 71 on Billboard Hot 100 in 1983.[18] The song is included on Legacy: The Absolute Best (2003) and The Very Best of The Doors (2007).                                                             Patti Smith - Patti Smith recorded it for her album Horses in 1975. Based on the Van Morrison tune, the lyrics had been adapted from an early poem, 'Oath'.[5] Smith's band had started to play the song live and merged it with the poem by 1974, so the song contained half of Smith's own words.[5] For the recording of her debut album, Smith and her band recorded the song live and, after mixing, chose it as the album's opener.                                                            In 1993, Van Morrison recorded a version with John Lee Hooker, which reached the Top 40 in several countries.                                                                        For the Dead, this was the first time they played it live in concert.                                    They wound up playing it only a total of 14 times                                        Last played on June 30, 1995 at Three Rivers Stadium in Pittsburgh                                                   I was lucky enough to catch it on June 25, 1992 at Soldier Field.  SHOW #4:                   Turn On Your Lovelight                                    Track No. 16                                    1:03 – 2:33                                     "Turn On Your Love Light" is a rhythm and blues song recorded by Bobby Bland in 1961. It was both an important R&B and pop chart hit for Bland and has become one of his most identifiable songs. A variety of artists have recorded it, including the Grateful Dead, who made it part of their concert repertoire.  was written by band leader and arranger Joe Scott (with an additional credit given to Duke Records owner/producer Don Robey aka Deadric Malone). Scott's brass arrangement "upped the excitement ante"[2] with "the groove picking up momentum as the horns and percussion talk to each other" and Bland's vocal "riding on top".                                     In 1967, "Turn On Your Love Light" became a staple of Grateful Dead concerts, sung by Ron McKernan: a 15-minute rendition is on their 1969 double live album Live/Dead. McKernan's final performance of "Love Light" – complete with extended vocal raps – occurred at the Lyceum Theatre, London, during the Europe '72 tour. Versions with McKernan were often very long due to long vocal raps, instrumental jams, and drum solos throughout. A version performed at the 1969 Woodstock Festival lasted more than 45 minutes.[8] The Grateful Dead later revived the song in the early 1980s with Bob Weir singing.                                     Before this show at the Melk Weg, the last time the Dead had played it in concert was on May 24,1972 at the Lyceum Ballroom in London at the very end of the Europe '72 tour.  In other words, this was the Dead's first performance of the song without Pigpen on lead.  Dead went on to play it a lot after this show right up until the end.  Bobby played it well, but never even tried the rap that Pig made famous in his extended versions.  No Box Back Knitties when Bobby sang it.                         Dead played it 355 times in concert!  Originally part of the Dark Star>St. Stephen>The Eleven>Lovelight suite of songs that the Dead played constantly during the primal Dead years in the late ‘60's.                        First played on August 4, 1967 at the O'Keefe Center in Toronto                        Last played on June 19, 1975 at Giants Stadium in New Jersey                                     When my good buddy Marc started seeing the Dead in 1984, we joked that every time he went to a show they played Lovelight.  Not a bad thing to be associated with.  Always fun to hear it in concert even without Pig.  OUTRO:                      Sugar Magnolia                                    Track No. 20                                    6:30 – 8:05                                     One of the best Dead tunes of all time and the ultimate show closer.  Always nice to add a little Sunshine Daydream to your day! The boys jam the hell out of it here, a 10+ minute version to close out a remarkable one of a kind Dead show.  Either you were there or you missed it.  What being a Deadhead is all about. 

On this episode, Grammy Award-winning American singer-songwriter and activist Joan Baez joins host Ken Womack to share her memories of meeting the Beatles for the first time and witnessing their final live concert. Baez's time-eclipsing folk music often champions songs of protest and social justice. Over the years, she has recorded 30 albums in genres ranging from folk rock, pop and country to gospel music. As a performer, Baez has specialized in interpreting the work of other composers, recording songs by such luminaries as the Beatles, Woody Guthrie, Bob Marley, and many others. Baez began her recording career in 1960, producing a trio of successful LPs in Joan Baez, Joan Baez, Vol. 2 and Joan Baez in Concert. During her early years, Baez was one of Bob Dylan's first major collaborators, steadfastly working to popularize his impact upon folk music. She was also a featured performer at the 1969 Woodstock Festival, singing fourteen songs on that vaunted stage. In addition to her musical career, Baez has demonstrated a lifelong commitment to political and social activism in the areas of nonviolence, civil rights, human rights, and the environment. In 2017, she was inducted into the Rock and Roll Hall of Fame, and in 2023, Baez was the subject of the acclaimed documentary "I Am A Noise." --- Support this podcast: https://podcasters.spotify.com/pod/show/everythingfabfour/support

The Woodstock Festival was a historic event that celebrated the spirit of peace, love, and music in the late 1960s. It was held on a farm in Bethel, New York, from August 15 to 18, 1969, and attracted more than 400,000 people who came to see some of the most influential artists of the era. The festival featured 32 acts, including Jimi Hendrix, Janis Joplin, The Who, Santana, and Ravi Shankar. Despite the challenges of rain, mud, and overcrowding, the festival became a symbol of the counterculture movement and a landmark in rock history. The festival was also documented in a film and a soundtrack album that captured the memorable performances and the atmosphere of the event.  #podcast #polandnature #przyrodawobiektywie #paulbettany #przyrodapolska #philcollins #photonaturemacro #photohobby #poprock #primetime #plantmagic #plantaddiction #progressiverock #outlander #photomanipulation #paperbag #plantdecor #promakeupartist #postpunk #popculture #pie #pop #ontherise #producer #quarantine #queen #pyromania #praisebe #oscars #rebelyell #radio #raymondreddington #reddington #photomanipulations #recordcollector #raw #video #movie #film #films #videos #actor #actress #cinema #dvd #amc #instamovies #star #moviestar #photooftheday #hollywood#Kentucky #cocainebear#goodmovie #instagood #flick #flicks #instaflick #instaflicks #thorton #andrewthorton #movies #theatre #video #movie #film #films #videos #actor #actress #cinema #dvd #amc #instamovies #star #moviestar #photooftheday #hollywood #goodmovie #instagood #flick #flicks #instaflick #instaflicks #love #TFLers #tweegram #photooftheday #20likes #amazing #smile #follow4follow #like4like #look #instalike #igers #picoftheday #food #instadaily #instafollow #followme #girl #iphoneonly #instagood #bestoftheday #instacool #instago #all_shots #follow #webstagram #colorful #style #swag #amazing #followme #all_shots #textgram #family #instago #igaddict #awesome #girls #instagood #my #bored #baby #music #red #green #water #harrystyles #bestoftheday #black #party #white #yum #flower #2012 #night #instalove #niallhoran #jj_forum #love #instagood #me #tbt #cute #follow #followme #photooftheday #happy #tagforlikes #beautiful #self #girl #picoftheday #like4like #smile #friends #fun #like #fashion #summer #instadaily #igers #instalike #food #love #photooftheday #portrait #baby #me #instamood #cute #friends #hair #swag #igers #picoftheday #girl #guy #beautiful #fashion #instagramers #follow #smile #pretty #followme #photo #life #funny #cool #hot #bored #girls #iphonesia #movies #theatre #video #movie #film #films #videos #actor #actress #cinema #dvd #amc #instamovies #star #moviestar #photooftheday #hollywood #goodmovie #instagood #flick #flicks #instaflick #instaflicks #27club #Cobain #cincinnati #explore #fridayfuckery #podcastlife #podcasts #youtube #book #deus #fy #fyp #interview #podcasthost #radio #90s #apple #applepodcasts #author #bringingthefuckery #comedy #richardpryor #80s #standup #comedians #actors #multiplesclerosis #goat #superman #death #actors # #richardpryor #pryor #blackcomedians #richardpryor #pryor #woodstock #funny #funnymemes #funnyvideos #funnymeme #funnyshit #funnyreels #funnyvideo #funnypictures #funnyposts #funnyvines #funnyreel #funnytime #funnyvideosdaily #funnyreels

Download the Volley.FM app for more short daily shows!

Our guest today, Sensei Sandeep Desai, is the first South Asian to teach T'ai Chi martial arts across the globe. As a master in the martial arts and yoga, the Sensei has traveled across the globe teaching and holding workshops. Winning numerous accolades worldwide, he learned directly from the Chinese Grandmaster Zhu Tian Chi. He's been featured in BBC World, TEDX and numerous festivals including the Woodstock Festival in New York. The Sensei, having taught and spread the ancient martial arts and yoga for the past 30 years, sits down with us. He speaks about his journey in to this ancient world of wisdom and spirituality. He talks about the spiritual and health benefits of T'ai Chi, the similarities between yoga and the martial arts and how the youth today can develop holistically through this ancient craft. He speaks about day-to-day routines that can change our health and spiritual progress exponentially. From a raw food diet to basic breathing exercises, he guides us through it all. Ultimately, he speaks on his philosophy of now! Join us as we continue this journey of learning, listening and reflecting together.

Host Mike Sakell sits down with Museum at Bethel Woods director Neal Hitch focusing on the 2023 Special Exhibit The Place Where Peace Happened, exploring how communes such as The Hog Farm promoted volunteerism and the idea that personal action helps a community succeed. Peace was the plan leading up to the start of the Woodstock Festival and peace prevailed. Hitch also reports on his recent travels across the country as part of the Oral History Initiative first launched in 2020, plus new research and mapping of trails on the site of the 1969 festival. Neal Hitch also has thoughts on the future, and how todays generation may focus on peace.

In this episode: Tragic incident: A shocking incident has left the Sullivan County community in mourning. Jimmie Luvert and Lisa Keitt have been indicted for second-degree manslaughter in connection with the tragic overdose death of their 16-month-old daughter, Akaasha Luvert. Brush fire emergency: A brush fire erupted near the Town of Forestburgh and Thompson line, prompting a rapid response from multiple fire departments, including Monticello Fire Department, Forestburgh, Rock Hill, Kauneonga Lake, Swan Lake, and others. Discover the bravery of these firefighters as they put their lives on the line to protect the community. Intriguing arrival and departure: A group of Venezuelan asylum seekers suddenly arrived at the Knights Inn in Liberty, piquing the curiosity of local residents. However, they quickly departed for Poughkeepsie, leaving the circumstances of their arrival and departure shrouded in mystery. Heartwarming recognition: Deputy Town Clerk Ruth Duncan receives an honored tribute from the Bethel Town Board. Recognized for her exceptional dedication and hard work, Ruth Duncan's community involvement and selfless acts make her a deserving recipient of the Certificate of Appreciation. Tense press conference: Sullivan County Attorney Michael McGuire and his team engage in a heated press conference to counter Acting District Attorney Brian Conaty's claims. Witness the complexities and disagreements within the legal system as tensions flare during this intense situation. Impact assessment: The Hamaspik Resort in Rock Hill undergoes a public hearing to evaluate its effects on the community as part of the permit renewal process. Learn about the resort's operations as a semi-public hotel and sleep-away camp catering to individuals with disabilities, and how residents and businesses voice their concerns. Cheers to success: The TAP NY craft beer competition unfolds at the iconic location of the 1969 Woodstock Festival in Bethel. Bridge and Tunnel Brewery in Liberty emerges victorious, winning the Governor's Cup for their delectable Milk and Oatmeal stout, "Ol Gilmartin." Celebrate their well-deserved recognition and the touching tribute to the owner's late mother through this exceptional brew.

Legendärstes Festival der Geschichte… Mach's dir bequem und kuschel dich ein! Hier findest du alle Infos und Angebote zu unseren Werbepartnern: https://linktr.ee/EinschlafenMitWikipediaPodcast Der Podcast ist unter der Lizenz CC BY-SA 3.0 verfügbar. Zum Wikipedia-Artikel: https://de.wikipedia.org/wiki/Woodstock Folge Einschlafen mit Wikipedia auf Instagram: https://www.instagram.com/einschlafenmitpodcast/ Produziert von Schønlein Media: https://www.schonlein.media Cover-Artwork von Amadeus E. Fronk: https://amadeusamadeus.de/ Musik LAKEY INSPIRED - Better Days: https://soundcloud.com/lakeyinspired/better-days unter der Lizenz CC BY-SA 3.0

From his experience at Woodstock Festival and his early days searching for peace to church planting and evangelism in Europe as a young Christian, Pastor David MacAdam talks about his journey to faith in Jesus Christ and how God prepared him to bring the Gospel to the stage through the theater productions of New Life Fine Arts. Hear the amazing stories of how God continues to draw people to Himself with the message of Jesus Christ all over the world through this wonderful Concord, Massachusetts based organization.   Connect With David! Email: Podcast@newlife.org   New Life Fine Arts Website www.newlifefinearts.org   New Life Community Church  www.newlife.org   Daily One Year Bible Tour Guide Podcast https://www.newlife.org/daily-one-year-bible-tour-guide/ https://oneyearbibletourguide.podbean.com/   Summer Fine Arts Camp The New Life Fine Arts Musical Theater Camp for Ages 8-18 July 17- 28 at 221 Baker Ave. Concord, MA www.newlifefinearts.org   Auditions Auditions for the musical Ruth:  May 4 and 6 https://newlifefinearts.org/auditions/   Musical Theater Performances “Ruth” September 15, 16, 17, 23 and 24, 2023 @ 2:30 P.M. Groton-Dunstable Performing Arts Center, Groton MA.   “Ebenezer Scrooge: A Christmas Carol” December 2023 Groton-Dunstable Performing Arts Center, Groton MA.   Books Mentioned In This Podcast "Arts And Minds" by Nigel Goodwin "Modern Art And The Death Of Culture" by Hans Rookmaaker "Pilgrim's Progress" (Unabridged) by John Bunyan "A Christmas Carol" (Unabridged) by Charles Dickens "Robinson Crusoe" (Unabridged) by Daniel Defoe "Crime And Punishment", "Brothers Karamazov" - Fyodor Dostoevsky "The Kingdom Of God" - Leo Tolstoy "Art And The Bible" - Francis Schaeffer   --- Follow us on Facebook, Twitter and Instagram! https://www.facebook.com/morningstarchristianbookstore Twitter: @MStarBookstore Instagram: morningstarchristianbookstore www.morningstarbookstore.com  

On this day in 1970, Michael Wadleigh's film of the 1969 Woodstock Festival won big at the Oscars! Learn more about your ad choices. Visit megaphone.fm/adchoices

The story behind the latest documentary from award-winning and Oscar nominated director John Sheinfeld, WHAT THE HELL HAPPENED TO BLOOD, SWEAT AND TEARS has to be seen to be believed. Blood, Sweat & Tears, known for hits such as “Spinning Wheel”, “You've Made Me So Very Happy”, and “And When I Die”, headlined the legendary Woodstock Festival and won multiple Grammy Awards, most notably 1970's win for Album of The Year, beating The Beatles' “Abbey Road” and “Johnny Cash Live at San Quentin.” This is the incredible never-before-told story about a top rock band that was unknowingly embroiled in a political rat's nest involving the U.S. State Department, the Nixon White House and a controversial concert tour of Yugoslavia, Romania and Poland, countries that were behind what was then known as the Iron Curtain.  As a result, they found themselves in the crosshairs of a polarized America -as divided then as it is now – and became an early victim of cancel culture. Written, produced and directed by award-winning filmmaker John Scheinfeld (The U.S. vs. John Lennon, Chasing Trane, Who Is Harry Nilsson?, Herb Alpert Is...), and executive produced by James Sears Bryant, the film was created with the full cooperation of Blood, Sweat & Tears. WHAT THE HELL HAPPENED TO BLOOD, SWEAT AND TEARS features never-before-seen film and photos of the band, as well as present day interviews with five of the nine band members including distinctive lead singer David Clayton-Thomas, sax player and musical arranger Fred Lipsius, innovative bass player Jim Fielder, outspoken guitarist Steve Katz and drummer and band leader Bobby Colomby. For more go to: bstdoc.com

You may have heard your parents or – gasp – grandparents prattle on about how amazing the original 1969 Woodstock Festival was. It turns out that, as much as people who lived through the 60s like to talk them up, Woodstock really was that amazing.See omnystudio.com/listener for privacy information.

As the first band to play the infamous 1969 Woodstock Festival, you'd think you'd have heard more about Sweetwater. Let band expert Corbin Betleyoun help you understand why you probably haven't! Next week: The Private Press with Paul Major presents DENNIS THE FOX's 1972 masterpiece "Mother Trucker!" Official playlist curated by Dave on Spotify: https://open.spotify.com/playlist/7fo672DlgIw5FEpcCnbE4q?si=hZ-VLWTsTISb71oBIU2w7w 1968 “Why Oh Why” video: https://youtu.be/34PAx65iDTw Sweetwater's complete set at Woodstock, August 1969: https://youtu.be/i66HF-idtcg “Motherless Child” on “The Hollywood Palace,” October 1969: https://youtu.be/8P7fw9vGgv4 “What's Wrong” on Playboy After Dark, October 1969: https://youtu.be/LY7H9EhEJXE CONNECT Join our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153 Link Tree: https://linktr.ee/discograffiti Instagram: https://www.instagram.com/discograffitipod/ Facebook: https://www.facebook.com/Discograffiti/ Twitter: https://twitter.com/Discograffiti YouTube: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhw Web site: http://discograffiti.com/ Patreon: www.Patreon.com/Discograffiti CONTACT DAVE Email: dave@discograffiti.com Twitter: https://twitter.com/DaveGebroe Instagram: https://www.instagram.com/davidgebroe/ CONTACT TODD ZIMMER: GRAPHIC DESIGN Facebook: https://www.facebook.com/ToddZimmer and https://www.facebook.com/punknjunkradio Instagram: https://www.instagram.com/the_real_todd_zimmer/ and https://www.instagram.com/punknjunkradioshow/ #patreon #musicpatreon #nowplaying #vinylcollection #music #vinylcommunity #vinylrecords #sweetwater #sweetwaterband #woodstock #music #rock #hippie #janisjoplin #woodstockfestival #bertsommer #quillband #keefhartley #keefhartleyband #richiehavens #nancynevins #alexdelzoppo #woodstockfest #podcast #musiccommentary #graceslick #vh1 #motherlesschild #dennisthefox #mothertrucker --- Send in a voice message: https://anchor.fm/discograffiti/message Support this podcast: https://anchor.fm/discograffiti/support

Turning 77 years old today is a drummer who's been performing for more than 50 years, selling millions of records and playing at the legendary Woodstock Festival of 1969, Fito de la Parra! On today's show you'll hear a fun story told by Fito about coming to the UK. Learn more about your ad choices. Visit megaphone.fm/adchoices

Hi Folks!  We are listening to Arlo Guthrie's "Coming into Los Angles" today.  This is a very fun upbeat song.  We will talk about Arlo's inspiration for this song as well as the original Woodstock Festival, airports and TSA.  Thanks for listening!Spotify PlaylistIntro/Outro Music:Upbeat Forever by Kevin MacLeodLink: https://incompetech.filmmusic.io/song/5011-upbeat-foreverLicense: http://creativecommons.org/licenses/by/4.0/

In this episode of Rock is Lit, Richard Fulco, author of the new novel ‘We Are All Together', is here to take us on a rockin' jaunt through the late 1960s, where we'll encounter several iconic players on the music and literature scene from that era. If you're a fan of the Summer of Love and all the trimmings that go with it, you'll love his novel and this episode. Later, Elliott Landy drops by to talk even more about the 1960s music scene, a period he should know a lot about since he's been photographing rock stars since the mid-60s. Best known for his classic rock photographs, Elliott Landy was one of the first music photographers to be recognized as an “artist.” His celebrated works include album cover photographs for Bob Dylan's ‘Nashville Skyline', The Band's ‘Music From Big Pink' and ‘The Band' album, and Van Morrison's ‘Moondance'. He's also taken portraits of such rock icons as Janis Joplin, Jimi Hendrix, Jim Morrison, etc. He was the official photographer of the 1969 Woodstock Festival. And . . . Elliott has a new book out, entitled ‘Photographs of Janis Joplin On the Road & On Stage', featuring 129 photos, including 100 unpublished, accompanied by Janis's own words from recorded interviews by David Dalton of ‘Rolling Stone' magazine. HIGHLIGHTS:Richard Fulco and I talk about Syd Barrett's descent into mental illness and his exit from Pink Floyd1967: The Summer of Love—music, culture, vibe—but for African Americans, 1967 was known as The Long Hot SummerRichard's music career when he was in his twentiesThe story and characters in ‘We Are All Together'—Syd Barrett as inspiration behind the character DylanThe Beatles' performance on the ‘Ed Sullivan Show' in 1964The quest for fame and having “IT”The American Dream and racism and toxic ChristianityCharles MansonThe Merry PrankstersThe significance of the title of the novel and its connection to The BeatlesAndy Warhol, The Factory, The Velvet Underground with Nico, Lou Reed and their role in the novelThe depiction of the Monterey Pop Festival in the story, especially the performance of Janis Joplin with Big Brother and the Holding CompanySome of the other icons who make cameos in the novel: Pete Townshend, Eric Burdon, Jann Wenner, Neal Cassady, William S. BurroughsWhat the Jack Kerouac classic novel ‘On the Road' means to Richard and meThe Monkees as a gateway drug to The BeatlesElliott Landy and I talk about How Elliott's concern about the Vietnam War brought him from a job as a photographer on a Danish film set back to America in the mid- to late 1960s to photograph peace demonstrationsHow a Country Joe and the Fish light show at The Anderson Theater in NYC's East Village started Elliott on a new career path photographing musiciansSeeing Janis Joplin, Tim Buckley, and Albert King perform the very first show at the Fillmore East on March 8, 1968Hanging out with Janis Joplin after a NYC gigElliott's style as a “fly on the wall” photographerShooting the album covers of The Band's ‘Music From Big Pink' and ‘The Band', Bob Dylan's ‘Nashville Skyline', and hanging out with guys in the town WoodstockHis experience as the official photographer at Woodstock in 1969 and the spirit of Woodstock and the 1960s MUSIC AND MEDIA IN THE EPISODE IN ORDER OF APPEARANCE:(Royalty Free Music) “Summer of Love” by Roy Edwin Williams“The King is Half-Undressed” by Jellyfish“Dock of the Bay” by Otis Redding“See Emily Play” by Pink FloydRoger Waters talks about Syd Barrett on the Joe Rogan Experience“Four” by Sonny RollinsClip of Muhammad Ali explaining his anti-draft, anti-Vietnam War stance“I Am the Walrus” by The Beatles“Ball and Chain” performed by Janis Joplin with Big Brother and the Holding Company at Monterey Pop Festival“Heroin” by The Velvet Underground with Nico‘The Monkees' Theme Song“Itchykoo Park” by The Small Faces“I Feel Like I'm Fixin' to Die Rag” by Country Joe and the Fish“Morning Glory” by Tim BuckleyCountry Joe and the Fish chant at Woodstock 1969“To Be Alone With You” by Bob DylanWavy Gravy at Woodstock“Woodstock” by Crosby, Stills, Nash & Young“Down on Me” Janis Joplin with Big Brother and the Holding Company LINKS: Richard's website, www.richardfulco.comRichard on Twitter and Instagram, @RichardFulco Link to clip of Roger Waters talking about Syd Barrett on the Joe Rogan Experience, https://www.youtube.com/watch?v=0BcKrk5tFnE&t=66s Elliott's website, www.elliottlandycomElliott on Instagram, @elliott_landy_photography Christy Alexander Hallberg's website: https://www.christyalexanderhallberg.com/Christy Alexander Hallberg Twitter, @ChristyHallbergChristy Alexander Hallberg Instagram, @christyhallbergChristy Alexander Hallberg YouTube, https://www.youtube.com/channel/UCfSnRmlL5moSQYi6EjSvqagLink to Christy Alexander Hallberg's short story on Janis Joplin, “Third Party,” published by ‘Eclectica', https://www.eclectica.org/v20n4/hallberg.html

In this part 2 of 2 episode, Lovin' Spoonful co-founder and Rock and Roll Hall of Fame member John Sebastian remembers a fascinating childhood around the dinner table with his artistic parents and their famous friends, and his joyous, youthful culinary awakenings in Italy. He also reminisces about his days as a Rock and Roll singer/songwriter, making movie music for Francis Ford Coppola and Woody Allen, being at the birth of the tie-dye craze, and his legendary appearance at the Woodstock Festival, concluding with a glimpse at his current projects.  Don't forget to follow all of the social media!   @Sarandon_Chris on Twitter  @TheOfficialChrisSarandon on Instagram  Chris Sarandon on Facebook   www.chrissarandon.com  linktr.ee/theofficialchrissarandon Subscribe on Youtube at https://youtube.com/shorts/-vGUyj0TK-Q --- Support this podcast: https://podcasters.spotify.com/pod/show/cookingbyheartpodcast/support

In this part 1 of 2 episode, Lovin' Spoonful co-founder and Rock and Roll Hall of Fame member John Sebastian remembers a fascinating childhood around the dinner table with his artistic parents and their famous friends, and his joyous, youthful culinary awakenings in Italy. He also reminisces about his days as a Rock and Roll singer/songwriter, making movie music for Francis Ford Coppola and Woody Allen, being at the birth of the tie-dye craze, and his legendary appearance at the Woodstock Festival, concluding with a glimpse at his current projects.  Don't forget to follow all of the social media!   @Sarandon_Chris on Twitter  @TheOfficialChrisSarandon on Instagram  Chris Sarandon on Facebook   www.chrissarandon.com  linktr.ee/theofficialchrissarandon Subscribe on Youtube at https://youtube.com/shorts/-vGUyj0TK-Q --- Support this podcast: https://podcasters.spotify.com/pod/show/cookingbyheartpodcast/support

They were labelled the 'bad boys of rock' after a stint in jail, they broke through the LA blues scene in the 60s and played at the legendary Woodstock Festival - of course I'm talking about Canned Heat! The band went on to achieve huge success around the world with legendary songs like Going Up The Country, Let's Work Together and On The Road Again. My guest today is Fito de la Parra who joined the band in 1967 and he tells some brilliant stories from his 55 year career with the band. How he joined the group after arriving from Mexico, stories behind the big hits, how he signed up to make no money and of course about that very special festival!

This weeks show features the return of a Rock & Roll Hall of Fame inductee back to VRP, someone I first interviewed in May 2021, someone part of one of the biggest bands of the late 60s and early 70s – I'm talking about the wonderful Doug 'Cosmo' Clifford from Creedence Clearwater Revival! I wanted to get him back on to talk about previously unreleased music from the 70s that he made with former Derek and the Domino's man Bobby Whitlock, which he is now putting out called 'California Gold'. Plus I wanted to get the lowdown on the new Netflix film 'Travellin' Band', a brilliant live performance from CCR at London's Royal Albert Hall with some great documentary footage included from their tour across Europe! And of course I wanted to hear some more classic Creedence stories too!   If you want to hear my previous chat with Doug Cosmo Clifford where he tells a fantastic story about the bands performance at the legendary Woodstock Festival in 1969, then please check out Episode 28 of Vintage Rock PodDon't forget to subscribe (for free) to the Vintage Rock Pod YouTube channel as well - where you can get to see lots of the incredible rock stars that I've interviewed over the years tell some great stories! There's also great Community content with polls posted every day for you to get involved with - well worth checking out!It would also be great if you followed/liked Vintage Rock Pod on the social media sites too, just search for Vintage Rock Pod on Facebook - Twitter - Instagram!  

This episode covers Chaz Hornburg, who's an ultramarathon runner based in Lansing, Michigan. Chaz has several 100 mile races under his belt, and on September 9, he'll be tackling his next 100 mile race at the Woodstock Festival in Gregory, Michigan. Chaz also has a unique goal of running down every street in his hometown of Lansing. . The conversation ranges from Chaz's history as a runner, to highlights of his running career, preparing for races longer than 26.2 miles, and even some unique pre-race rituals. . Chaz Hornburg on Strava: https://www.strava.com/athletes/12681010 . Facebook: https://www.facebook.com/chaz.hornburg . Instagram: ​​https://www.instagram.com/chazhornburg/?hl=en . City Strides Website: https://citystrides.com/?fbclid=IwAR2x7-I0JcxYfJ07Y0Dh_sKWr-INDG-_aojwjaiobz14OmWLF_cYzLPofa4 . Fastest Known Time: https://fastestknowntime.com/ . Western States: https://www.wser.org/ . Pikes Peak Ascent: https://www.pikespeakmarathon.org/ . Woodstock Festival: http://www.runwoodstock.com/?fbclid=IwAR2P7MzZyY3dlpwzTYf_4ME7GNiMt6MfTUnxmuujie5rJ_Mfi5B2T982Lmo . Editor Kywil on Twitch: https://www.twitch.tv/kywil . Follow Juxtaposed Journeys on Social Media! . Facebook: https://www.facebook.com/JuxtaposedJourneys . Twitter: https://twitter.com/JuxJourneysPod . Instagram: https://www.instagram.com/juxtaposedjourneys/ . Interested in being featured in a future episode? Fill out the short questionnaire below, and if you're a good fit, you'll be contacted for an interview. . https://docs.google.com/forms/d/e/1FAIpQLSeUZw2voAG3CsUJdaby5npsbjiyS9ZE7D4MTJ5tGlPDYMFfoQ/viewform?usp=sf_link

Download the Volley.FM app for more short daily shows!

The original Woodstock Festival happened once. The Cornerstone Festival, however, gathered an unlikely and diverse group of rock and rollers from around the world to two different pieces of land 29 years in a row. Even as the so-called “Jesus Movement,” of the late 60s, and its' fascinating musical soundtrack, transformed throughout the 80s into more of a subculture than a counterculture, and "Contemporary Christian Music" became more mainstream, Cornerstone kept the fire of revolution burning. With a radical lineup – both musically and educationally – this event was unique in the world. It was responsible for launching several artists not only into the thriving underground, but to mainstream rock, alternative, and metal success as well.   The final Cornerstone Festival happened in July of 2012 and on this special edition of the True Tunes Podcast we revisit the event both through archival interviews and performance audio, and newly recorded interviews with some of the festival's founders. We hear from some of our listeners about the ways Cornerstone impacted them, and co-producer Bruce A. Brown even interviews our host, John J. Thompson, for his perspective. True Tunes traces its roots directly to this incendiary event – when John was just a 13-year-old kid watching The 77s, Rez Band, and others in a field outside of Chicago. We'll hear that story and a lot more.   If you were ever at Cornerstone, you know. If not – take a listen and hear about one of the most unlikely, insane, wonderful, and influential events few people have ever heard of. We'll also ponder what we miss most about it ten years later – and what, if anything, we might do about that.   Music list and more are available on the Show Notes Page for this episode at TrueTunes.com/CstoneRemembered   The True Tunes Podcast is sponsored by VisionTrust.org. Help us change the world for one child at a time by sponsoring a child today. Visit VisionTrust.org/TrueTunes for more information. If you would like to support the show, please consider joining our Patreon community or dropping us a one-time tip and check out our SWAG STORE.  

Your Backstage Pass allows you to learn about how the worlds of theatre and television came together as live music audiences grew more demanding. Rock and roll shows grew in ambition and scale and burst out from functional civic halls and venues to take place in sporting arenas and stadia. After riding an open topped bus with Paul MacCartney, who opens up about the breakup of the Beatles, you will hear from those that set up ESP Lighting, the London company and about the early days when the visionary Chipmonck – the eponymous voice of the Woodstock Festival - came from the States to work with the Rolling Stones as their lighting designer and needed UK based crew and equipment to get their European tour on the road in the early seventies. From this the company blossomed and its stable of clients read like a checklist of rock and roll royalty each hoping to catch the musical press headlines by being bigger, better and more visually exciting than other bands or artistes going on the road with those in the company ‘making it up and they went along because no one had ever done it before.'  Part of Pantheon Podcasts

Your Backstage Pass allows you to learn about how the worlds of theatre and television came together as live music audiences grew more demanding. Rock and roll shows grew in ambition and scale and burst out from functional civic halls and venues to take place in sporting arenas and stadia.  After riding an open topped bus with Paul MacCartney, who opens up about the breakup of the Beatles, you will hear from those that set up ESP Lighting, the London company and about the early days when the visionary Chipmonck – the eponymous voice of the Woodstock Festival - came from the States to work with the Rolling Stones as their lighting designer and needed UK based crew and equipment to get their European tour on the road in the early seventies. From this the company blossomed and its stable of clients read like a checklist of rock and roll royalty each hoping to catch the musical press headlines by being bigger, better and more visually exciting than other bands or artistes going on the road with those in the company ‘making it up and they went along because no one had ever done it before.'   Part of Pantheon Podcasts Learn more about your ad choices. Visit megaphone.fm/adchoices

While sampling this rockin' drink, Shelley examines the "payola" scandal of the 50's and 60's while Bekah describes the original Woodstock Festival. Drinking: Rock 'n' Rolla 1 ½ oz. high proof bourbon 1 oz. apple juice ¾ oz. lemon juice ½ oz. maple syrup ¼ oz. allspice dram 2 dashes angostura bitters Ground nutmeg Pour all ingredients into a shaker with ice. Shake and strain into a lowball glass with ice. Garnish with ground nutmeg.

Artist Maggi Hambling is a painter known for evocative portraits, and powerfully energetic seascapes of the Suffolk coastline where she grew up. She's also a sculptor, whose public artworks, including tributes to Oscar Wilde, Benjamin Britten and more recently Mary Wollstonecraft, have been the focus of both acclaim and controversy. She tells John Wilson about her unconventional family life in Suffolk, discovering her artistic talent as child and studying with the East Anglian school of painting under Sir Cedric Morris and Arthur Lett-Haines. She explains how Rembrandt's portraits were a major influence on her own work, and reveals how a trip to New York in 1969 proved to be a formative experience, not least because she found herself at the legendary Woodstock Festival that year. She also speaks candidly about how painting family members and close friends after they have died, including both her parents and her partner in their coffins, helped keep their memory alive for her. Producer: Edwina Pitman

Licorice McKechnie was a Scottish Musician - she played with The Incredible String Band - 1968-1972 during this time they were at the infamous Woodstock Festival but unfortunately for several reasons they did not go over well with the crowd.What happened to this delightful singer? She looked like a pixie the way she danced around and commanded the stage but there are no images of her for many years now.Also toward the end Heroin is the first episode on the forthcoming SMAK podcast - the first few episodes will be filtered through the Right Shoe - same general episode format but different subject matters as sometimes I feel limited by true crime only.Yet I LOVE my Right Shoe and have at least four backlogged right now.So come listen!! And see who this Licorice McKechnie is!Also - the intro is performed by Indigo Ranch  - the song is called "Goodbye Horses" and is available on the soundcloud app.