Podcasts about worry baby

Quand y'en a plus, y'en a encore. À peine une semaine après la sortie de Better Man, le biopic musical remet une pièce dans le jukebox avec Un parfait inconnu, consacré cette fois-ci à Bob Dylan. Il faut dire que celui qu'on a surnommé le Rimbaud du rock est une belle matière à histoire, entre son importance dans la musique américaine, sa part de caméléon, passé des guitares acoustiques du folk à celles électriques du rock ou une mythologie que cet électron particulièrement libre s'est lui-même crée. Elle avait déjà donné lieu à une première évocation avec I'm Not There, fascinant film aux airs de portrait chinois que lui avait consacré Todd Haynes. Un parfait inconnu est bien plus rectiligne, voire trop. Ça a l'avantage d'éviter les habituelles lourdeurs psychologiques qui tambourinent et bourrinent les biopics. Mais aussi l'inconvénient d'intéresser essentiellement un public qui connaîtrait déjà le barde folk. Un parfait inconnu se limite donc souvent à une parfaite reconstitution du New York des années 60 ou a un déroulé des amours tumultueuses, virant à un ennui poli. Il est heureusement évacué lors de séquences musicales, saisissantes quand Timothée Chalamet interprète en son-direct des chansons, dont la magnificence s'impose. Le fan-club de l'acteur devra pourtant s'incliner devant une autre prestation, celle d'Edward Norton, encore plus impeccable en Pete Seeger, mentor de Dylan et autre figure phare de la folk américaine, sombrée elle dans l'oubli, au point d'en avoir fait le malheureux inconnu de cette histoire.Si Un parfait inconnu laissera ses spectateurs sans secrets sur les jeunes années de Dylan, Companion doit lui garder les siens pour pouvoir être pleinement apprécié. Difficile donc de révéler les multiples retournements d'un étonnant film, déguisant le temps d'un week-end à la campagne l'ère #MeToo et ses dénonciations du patriarcat sous les traits d'une rom-com acidulée. Tout juste peut-on révéler qu'il tient à la fois d'un héritage de certains romans d'anticipation satirique des années 70 tout en confirmant la passionnante gamme de films féministes n'ayant pas peur de pousser une gueulante, apparue ces dernières années. Jusque-là, de Don't Worry Baby à Blink Twice, bides immérités, elle était passée trop inaperçue en dépit de réelles qualités d'écriture et d'ambitions de mise en scène. En poussant le bouchon un peu plus loin comme en s'annonçant littéralement comme un nécessaire reboot social du cinéma hollywoodien grand public, Companion, film aussi malin que ludique, pourrait bien lui offrir enfin une visibilité essentielle.Un parfait inconnu / Companion. En salles le 29 janvier.

I'd love to hear what you have to say about the episode including thoughts on the poetry and the topics that were discussed. You can email me at poetdelayed@gmail.com. Last July, I went to The Beach Boys' concert at Deer Valley in Park City, Utah. Near the end of the concert, they played Don't Worry Baby. I had heard the song before and always liked it, but I had never really listened to it. As I sat in the grass and Mike Love belted the song out, I heard it for the first time and it took on a whole new meaning. What seemed like silly lyrics that were there only because the amazing harmonies needed some lyrics became much deeper to me. I realized that in 2 minutes and 51 seconds, Brian Wilson conveyed a powerful story about vulnerability, love and safety. I left the next morning on a solo trip to Canyonlands National Park and ended up listening to Don't Worry Baby on repeat for 3 days. I still listen to it on repeat regularly. Neither the music or the meaning ever gets old. In this episode, I use this song to discuss my observations and experiences related to vulnerability, love and safety in relationships, all types of relationships, and how that the lack of those three things contribute to an unfulfilled life. My first book of poetry, My Mother Sleeps, is availabe for purchase at The King's English Bookshop (https://www.kingsenglish.com/search/author/%22Edgar%2C%20Scott%20R.%22) and Amazon.com (http://www.amazon.com/Scott-R.-Edgar/e/B0B2ZR7W41%3Fref=dbs_a_mng_rwt_scns_share) Holding my book at The King's English Bookshop https://files.fireside.fm/file/fireside-uploads/images/b/b1c4f464-ff8b-4fd1-8632-8c458a232c1a/olfoSxre.jpeg

Discover if it's storytelling or shit talking on the latest episode of Unrehearsed with storied percussionist Jackie Bertone.  Basile and Bertone go back over 30 years and have had plenty of shared, eyebrow-raising moments in the studio. Hear them chronicle their experiences together with Brian Wilson and The Beach Boys as well as Jackie's escapades on his growing and impressive podcast, Jackie's Groove. Let's raise a glass for Melinda, Carl and... Joe Thomas.  Producer's Note:Jackie's Groove can be found on all the same platforms as Unrehearsed. Go follow, like and listen. Special thanks to Kyle Ross, Sound Wizard. Even my life is just better with your ears on it. Go check out Stars and Stripes Vol. 1. What an adventure.  JBSupport the Show.Follow, rate and share if you dig the podcast. Follow Basile's antics on Instagram and Twitter, and check out the website for even more. In the meantime, take care of one another.

TERRY REID ‘SUPERLUNGS' THE LEGENDARY SINGER WHO TURNED DOWN LED ZEPPELIN AND DEEP PURPLE: A SPECIAL EVENT ON INTERVIEWING THE LEGENDS Hello everyone and welcome to another edition of Interviewing the Legends I'm your host Ray Shasho. Terry Reid, ‘Superlungs' as he's affectionately known, is without doubt one of the greatest rock/soul voices ever produced or is indeed likely to. A Terry Reid concert should be a cherished memory for any self-respecting fan of the greats of British music. Terry turned down the front man's job with Led Zeppelin, recommending his mate Robert Plant instead, a similar offer and rebuff to Deep Purple. Aretha Franklin's stated that The Beatles, Rolling Stones and Terry Reid were the best England had to offer in 1968. He underwent two World Tours with The Rolling Stones, US tours with Cream, UK tours with Jethro Tull and Fleetwood Mac, The Isle of White Festival in 1969 and Glastonbury in 1970, played at Mick Jagger's wedding, before soured record deals resulted in Terry leaving Britain for America nearly 40 years ago. All true, but the full story includes numerous collaborations with Graham Nash, covers of Reid songs by Marianne Faithfull, The Hollies, The Raconteurs (the hugely popular ‘Rich Kid Blues'), film soundtracks, including a song in George Clooney's  film ‘Up In The Air', and a catalogue of 6 studio albums, including the seminal album ‘The River', re-released to critical acclaim in 2002 and the 1976 Nash produced ‘Seed of Memory'. A Reid song ‘Horses Through a Rainstorm' also features on CSN's box set. Terry's most recent release is entitled ‘The Other Side of the River' and released an incredible live album entitled ‘Terry Reid Live in London.' PLEASE WELCOME LEGENDARY SINGER SONGWRITER AND MUSICIAN OFTEN REFERRED TO AS SUPERLUNGS…TERRY REID TO INTERVIEWING THE LEGENDS … PURCHASE  THE LATEST RELEASE BY TERRY REID The Other Side of the River A double LP housed in a Stoughton gatefold "tip-on" jacket. Remastered from the original analog tapes. Track notes by Terry Reid. 6 never heard Reid compositions, plus 5 very different alternate takes - all previously unreleased. British musician Terry Reid is a relatively unsung legend. With his incredible voice (that earned him the nickname "Superlungs"), spot-on songwriting, and underrated guitar skills, Reid invented new sounds and others followed suit. His 1973 LP, River, is an under-the-radar but deeply loved album. Our special new release, The Other Side Of The River, features all previously unreleased material from the River sessions, including six never-before-heard Reid compositions and five very different alternate takes of tracks from River. Over the decades, as River went in and out of print, there were rumors of a mythological double album's worth of unreleased material. The rumors turned out to be true, as the entire album was recorded twice: once with British producer Eddy Offord and again with the legendary Tom Dowd. The sessions captured Reid's free-associative mix of folk, blues, rock, jazz, bossa-nova, soul, and samba, recalling at times Tim Buckley and Van Morrison, while featuring some remarkable guests including Gilberto Gil on percussion, Ike & Tina Turner's Ikettes on vocals, and David Lindley, of psych band Kaleidoscope, on violin. The Other Side Of The River includes songs that even Terry had forgotten - rockers in the style of the River track "Dean," Latin grooves with percussionist Willie Bobo, and beautifully sparse vocal material not unlike David Crosby's If Only I Could Remember My Name and John Martyn's Solid Air. available at amazon.com ALSO TERRY REID LIVE IN LONDON Terry Reid returns annually to London to play a residency at the legendary Ronnie Scott's club. Putting together a cracking band, Terry has performed two hours plus sets that have delighted his audiences, and Terry, who says of Ronnie's: The room has a special quality that allows me to talk to you as if you were in my own front room, where one conversation leads into another. That, I suppose, is how I end up playing for over two hours. I must be honest when I say I treasure those moments I spent with you and the kindness you show me. Live In London is the fourteen-track result from one of these performances. Terry and his band perform these songs, spread over two CDs. They capture Terry (nicknamed Super Lungs) as he takes a journey through an emotional landscape that starts with The Frame and passes along the way Rain In The Red Lights, his best known song River, a version of Brian Wilson's Don't Worry Baby and culminates in a two song finish, Seed of Memory and Don't Know Why. Live In London captures a unique performer and his band as they deliver a set of songs that allow them to stretch out and improvise or keep to tight arrangements all the while performing at the tops of their game. Though a contemporary recording, this album harks back to an earlier time when performers had a freer rein on their talents and Terry an amazing singer and raconteur takes full advantage of the space that his rapt audience and the intimate atmosphere generated at Ronnie's grants him. available at amazon.com   FOR MORE INFORMATION ABOUT TERRY REID VISIT https://www.terryreid.com/ Official website https://www.facebook.com/p/Terry-Reid-100047699059130/ Facebook https://twitter.com/terryreid?lang=en Twitter https://www.instagram.com/superlungsterry/?hl=en Instagram https://www.youtube.com/channel/UCNKLYpDqBnk8mVJT8GRq1UA YouTube https://open.spotify.com/artist/12fRdeKejG8BBzybGf0ygk Spotify   UPCOMING SHOWS Fri 3 May 2024: Tuckerton, NJ - Lizzie Rose Music Room Sun 5 May 2024: Media, PA - Media Theater Thu 9 May 2024: NEW YORK, NEW YORK  - PRIVATE PARTY Fri 10 May 2024: New York - The Cutting Room Sat 11 May 2024: N Y, N Y - THE TURNING POINT   TERRY REID Discography Studio albums Bang, Bang You're Terry Reid (1968) Terry Reid (1969) (US title: Move Over for Terry Reid) River (1973) Seed of Memory (1976) Rogue Waves (1979) The Driver (1991) The Other Side of the River (2016) Compilations Super Lungs: The Complete Studio EMI Recordings 1966–1969 (2004) The Most of Terry Reid (1969) MFP5220 Live albums The Hand Don't Fit the Glove (1985) Alive (2004) Silver White Light – Live at the Isle of Wight 1970 (2004) Live in London (2013)   Support us on PayPal!

Salut les fidèles de Disques Durs, heureux de vous retrouver en ce premier lundi d'avril pour l'émission mensuelle de Tsugi Radio qui balaie l'actualité des sorties musicales libres et indépendantes, une sélection de disques parfois durs à trouver mais jamais durs à écouter. Disques Durs, l'émission qui a du swag grâce à sa programmation pas comme les autres, ce n'est pas moi qui le dit mais le petit prodige allemand DJ Swagger qui démarre cette émission d'avril. 1. DJ SWAGGER – Off the Dime 2. KIM GORDON – The Candy House 3. FEARS – NY 4. ODETTA HARTMAN – Dr. No 5. DEVON WELSH – That's What We Needed 6. BOECKNER – Don't Worry Baby 7. ABBY SAGE – Three Floors, Three Doors 8. TATYANA – Down Bad 9. URANIUM CLUB – Small Grey Men 10. C TURTLE – Melvin Said This 11. BRIGITTE CALLS ME BABY – Impressively Average 12. BRENT AMAKER & THE RODEO – Let's Drive 13. OPERATOR MUSIC BAND – 10 Days 14. SALT CATHEDRAL – Terminal Woes 15. BOLIS PUPUL – Goodnight Mr Yi 16. SCOTT YODER – Who Killed The Lights 17. BEANS – ZWAARD 13

Salut les fidèles de Disques Durs, heureux de vous retrouver en ce premier lundi d'avril pour l'émission mensuelle de Tsugi Radio qui balaie l'actualité des sorties musicales libres et indépendantes, une sélection de disques parfois durs à trouver mais jamais durs à écouter.Disques Durs, l'émission qui a du swag grâce à sa programmation pas comme les autres, ce n'est pas moi qui le dit mais le petit prodige allemand DJ Swagger qui démarre cette émission d'avril.1. DJ SWAGGER – Off the Dime2. KIM GORDON – The Candy House3. FEARS – NY 4. ODETTA HARTMAN – Dr. No5. DEVON WELSH – That's What We Needed6. BOECKNER – Don't Worry Baby 7. ABBY SAGE – Three Floors, Three Doors8. TATYANA – Down Bad9. URANIUM CLUB – Small Grey Men 10. C TURTLE – Melvin Said This11. BRIGITTE CALLS ME BABY – Impressively Average12. BRENT AMAKER & THE RODEO – Let's Drive13. OPERATOR MUSIC BAND – 10 Days14. SALT CATHEDRAL – Terminal Woes15. BOLIS PUPUL – Goodnight Mr Yi16. SCOTT YODER – Who Killed The Lights17. BEANS – ZWAARD 13 Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

This one's a doozy - 4 versions of "Be My Baby" and a close relative! The first-born by The Ronettes is so good it's disqualified from the Bo Diddley Awards. We discuss Ronnie's "vibrato in a phone booth," Hal Blaine's boom-crash, the smiley backing vocals and so much more! The second child comes from the same year of 1963, it's by The Georgettes. Girl group workhorse Rickie Page makes you almost forget the absence of the Wall of Sound! A visit from a kissin' cousin comes third, "Don't Worry Baby" by The Beach Boys. Is Brian Wilson's homage to Ronnie and Spector about a love triangle between a boy, his car, and his girl? The difficult middle child is by Antipodean adorables The Pleazers. Jangle & fuzz, what else do you need? Well, this one has more than even that! The baby of the bunch is by Reperata and the Delrons, who rebel against the dirtbag sound of 1970 by evoking the Golden Age of Girl Groups. This one will make you happy, just wait & see!!

Matthew and Adam break down the Beach Boys album Shut Down Volume 2. -Timestamps-00:00 Intro 08:30 Shut Down Vol. 2 11:35 Fun, Fun, Fun 17:15 Don't Worry Baby 25:05 In The Parking Lot 28:40 “Cassius” Love vs. “Sonny” Wilson 31:30 Warmth Of The Sun 37:20 This Car Of Mine 38:40 Why Do Fools Fall In Love 41:25 Pom Pom Play Girl 43:50 Keep An Eye On Summer 45:10 Shut Down Part 2 46:45 Louie, Louie 48:15 Denny's Drumswww.matthewhartzmusic.com

Sunday tracks on rotation today.. Little bit of ShoeGaze, Country and mellow Indie in a weird jumble of music !!! njoy the Sounds U.V T R A C K L I S T Deep One Perfect Morning by The Jesus and Mary Chain (Rhino Records) Blue Flower by Mazzy Star (Capitol Records) At First Sight by The Stems (WM Australia) Stoned & Alone by The Pink Stones (Normaltown Records) Mountain Saint by Ian Noe (Lock13 Records) Don't Worry Baby by The Beach Boys (Capitol) Ceremony by Galaxy500 Nobody by Larry Williams, Johnny Watson & Kaleidoscope (TTW Label) You're Going To Need Somebody by Chris Forsyth (No Quarter) Slipping (Into Something) by The Feelies (Domino Records) Life Goes On by The Damned (CastleCommunications) All for the Best by Miracle Legion (The MessoTint Label) PLEASE support music and the record labels that put it out in the world // Buy Records // Concert tickets // merchandise // Support the bands that soundtrack your life. I make no monetary amount from this recording. All music rights belong to their rightful owners. I make these music mixes for pure enjoyment and to eradicate bad music from this world. If your music is here, firstly thank you. All music has been purchased either on vinyl or digital format. If you would like it taken down please contact and we will do so immediately. We mean no harm or bad intentions. Unholyvaults

We're taking you on a journey through the Tragically Hip's live album, 'Live Between Us', which was released back in 1997. Our excitement leading up to its release was off the charts, and we're here to share that with you! We'll be dissecting some of the tracks on the album, such as 'Grace, too', 'Ahead By A Century', and 'Nautical Disaster'. Prepare to be immersed in the intimate connection between the band and their fans that this record so beautifully captures.In this episode, we dive deep into the recording process of 'Live Between Us', exploring the incredible energy of the show, and the role the audience played in the final product. Also, get ready for an insight into the potential impact a sax player could've had on the band's sound, as well as a fascinating anecdote about Dave Matthews' tour bus incident in Chicago. Plus, we'll delve into the tough decision faced by sax player David Manning – stay with the Hip or leave with his girlfriend?Finally, let's talk about the Tragically Hip's songwriting process and live performance dynamics. We'll discuss how the energy of the show and the crowd's reactions influenced their performances, and examine the live version of 'Fully Completely', which unlocked the song in a completely different way from the original recording. We'll also touch on the band's influences and listening habits, and how they incorporated lyrics from other bands into their set. So, join us as we unearth the magic of 'Springtime in Vienna' and the excitement its introduction caused among the crowd. You don't want to miss this!Transcript0:00:00 - Speaker 1So, guys, this is Pete here. I'm coming to you with a very important message. Okay, this is serious stuff. I know we joke around a lot on the on the pod, but in all honesty, i'm asking for a favor. I need you to do yourselves a favor. I need you to do your family and friends a favor. I need you to do society as a whole favor. Go to getting hip to the hipcom, click on the bonus feed and join the bonus feed, because there's some pretty next level content or covering everything from geopolitics to UFOs and the tragically hit most importantly, but you're really not gonna want to miss it. So, again, do yourself a favor, do the next generation a favor. Okay, before you, before you focus on recycling and nobody cares about climate change, the more important thing is to join the bonus feed. Getting hip to the hipcom click bonus feed. 0:01:14 - Speaker 2You. 0:01:41 - Speaker 3A live hip record on May 2 for a weekend. What more could I have asked for? It was 1997 and I was getting ready to do my annual sojourn from Toronto back home to Waterford. The hip was still number one for me and this record was something I had been craving since having first seen them live. For some reason, though, it didn't scratch my itch the way I wanted it to. No matter how many times I spun the CD on my discman, i just couldn't get as excited about it as I did for a studio record. Were the hips so good live that it was impossible to capture the greatness in ones and zeros? I don't know, but what I can tell you is the album has aged extremely well and it's often something I go back to when I need a jolt that, for whatever reason, it didn't offer me back in 97. Now, in this episode recorded before his untimely passing, we get into the late Davis Manning. So allow me to acknowledge that now. Rest in peace, davis. If you've been following along, you know how hungry Tim and Pete are for a live performance from the band. Although they'll never get to see them in person, the time is right to unleash live between us onto them? Will they eat it up the way I think they will? We'll find out today. on Getting Hip to the Hip. Long Sliced Brewery presents Getting Hip to the Hip. If you've ever wondered what it would be like to hear the tragically hips music for the first time again, here's your chance. Join music fans Pete and Tim from Portland, who have never heard the band before, on a journey through the hips discography, accompanied by me, their guide, jd. Welcome to Getting Hip to the Hip. How's it going, guys? 0:03:56 - Speaker 5Going great, it's going good. 0:03:59 - Speaker 1Fantastic Couldn't be better. 0:04:01 - Speaker 5Glad to be back. 0:04:03 - Speaker 3Yeah, it is, it is. It's good to be back at it. Okay, before we get into things here, we are talking about the live record that everybody was really waiting for. You know, around the time it came out It was 1997. Everybody had heard that this was a really great band to see live and to experience live, and so we were all longing for, you know, a live record, and when it was announced we were really quite excited And I'm curious how you guys felt. But before we get into your feelings, let's take a look under the hood of this record. This one was recorded live at Kobo Arena in Detroit, michigan, november 23rd 1996. It was released May 24th 1997 for the long weekend. Produced by the tragically hip and Mark Freakin. It clocks in at 70 minutes and 31 seconds and it was released on MCA. All Music gave this a 2.5 out of 5. And here's what they had to say about this. The tragically hip, one of Canada's musical merry makers, are also praised for their raw, sweaty live performances. Frontman Gordon Downey is a real dynamo, lyrically and physically, and his bandmates only support the beautiful live chaos. With that aside, the hip treated fans with their first ever live album, live Between Us, recorded well. On tour in support of 1996's Trouble at the Henhouse, live Between Us documents one of the band's more ambitious evenings. Without any technical tweaking, a very loyal Detroit audience is captured at the sold out Kobo Arena and a very tight knit and fiery, tragically hip is in command. The unity between the hip and their fans depicts something heavy. Downey's random improvising and loose poetic ramblings spark the intro of Grace 2. It creeps along with Johnny Faye's electric percussion and already Live Between Us is a steady, creatively stripped and vibrant. The emotional rage fully, completely sets up the rest of the record, particularly the relaxed ballad ahead by a century Layered backing vocals and plucking acoustics depict the hip's signature sincerity and the sneaky rock snippets of David Bowie's China Girl And the Beach Boys Don't Worry Baby midway through New Orleans' sink and flow without hesitance. Most stunningly is his lyrical rant of Jane Sivarys' The Temple Near the End of the Taunting Nautical Disaster, which also includes a verse from the reaesthetics Bad Time to Be Poor. As a whole, the band is abrasive in a simplistic sense, making Live Between Us an intimate jam between the band members themselves and a shared moment with the fans. The tragically bad men have maintained their beloved status because of such grateful informality. What in the living fuck is a 2.5 out of 5? The only negative word in there is abrasive, and abrasive comes right to the end. It's such a pussy review, wow. 0:07:15 - Speaker 1It's a bitch review. It's like going out on the best date of your life or something and then just saying like, yeah, maybe I'll call you next week or whatever, or maybe I won't. I can't even think of something stupid and shitty to compare it to, because it's so fucking bullshit. Sorry, what a shit. the bed review that is Sorry. 0:07:42 - Speaker 5Well, i have a maybe, maybe, why So kind of the elephant in the room on this recording is the actual show is longer than what they put out for the album And we're missing all these. We're missing, yeah, we're missing all these songs. So if you, let's say, the writer, went to this show in Detroit and was so psyched about it And then a year or whatever, whatever it was, later bought the album and brought it home and realized it was three quarters of the songs and they don't even get the actual ending of the show on the record, and so you're kind of you're like you're playing if you got this on vinyl or CD, you're playing like the highlights of the show And as a very amateur taper and someone who absolutely loves live shows and kind of you know, on some of the bad weeks lives for them, you know, when I listened through this I was like okay, is this just the hits? Like what is this album Like? I really questioned what was going on with it. I absolutely loved it And I loved. You know I have all these comments about everything that I dig from it But at the same time I'm like God damn. So that's when I pursued the search of the whole recording, start to finish, because I mean I have socked away whole recordings of shows And this is not a whole recording. 0:09:11 - Speaker 3Yeah, it's interesting. It's interesting, I wonder. I was just going to say it's interesting. I wonder why they did it that way. What do you think, pete? That's what I was going to say. 0:09:21 - Speaker 1No, it's totally yeah, because here's a couple things Like I see what you're saying, but I'm also looking at this from 1996, number one, number two it's on MCA, which at the time MCA was a really large record company. Okay, so you know, you've got, you've got the record company's influence of. oh, i don't think this track should be on there, whatever They take it off. You know they wanted this to be a sellable record that they were going to put out number one. I'm not defending it, i'm just saying I'm just trying to get in the mind of the methodology of what, why these decisions were made. And on top of it, i think nowadays bands will put out a live record and it'll be like you know, because, for example, new Orleans is sinking. You know, nowadays that would be New Orleans is sinking. Parenthetical China girl slash, don't worry, they met me or something. You know they'll throw that shit in, whereas back in the day, when you had a packaged live record, that shit was a no. No, you know, i didn't see it a lot that I remember Either way. Dude, this fuck all music, dude. I think that's the narrative we need to stick with, because they don't know what the fuck is going on. 0:10:38 - Speaker 5It. Just this record blew me away. Yeah, I would say. I would just add that my my only thought behind their low review score is because they didn't get all the show, Maybe they went to it and they saw it and they wanted to hear it all again. Yeah, exactly, or maybe they didn't, i don't know, but it's just the review is written It was a bad way. 0:11:01 - Speaker 3Kindly like it's. so it's such a nice review, really, until the word abrasive comes out and then which is weird And then it ends with like a nice, like they're redeemed, blah, blah, blah, blah, blah, and then it's like 2.5. It's like this person is a hard grader man. That's all I'm going to say. 0:11:20 - Speaker 1But I don't, i don't buy that. Oh, i mean, i see what you're saying, tim, again about the record. You know. But look at, you know, a lot of live records aren't even a whole concert, let alone you're going to put a whole concert. So if a band plays for you know, three hours or plays a three hour set, like the Stones, and they put out a live record, they're not going to do that. Led Zeppelin's How the West is One great live record. It's probably. You know, if you look at the back and the liner notes, it's recorded in Madison Square Garden, it's recorded at the Long Beach Arena. It's recorded different places. It's not one concert. They kind of just took the best takes. 0:11:57 - Speaker 3I do like they used just the Kobo Hall performance because a lot of bands do that for live. They do like two or three nights and they record and they pick the best stuff. 0:12:08 - Speaker 5The actual album is about 83% of the show, so you you miss the whole. Encore There is some. There is some missing there The entire encore you missed. 0:12:17 - Speaker 3So what you do get the end of the record is the Weirothal, which is the last song they played. But whatever we missing, it goes Grace to fully completely springtime in Vienna. Trust my arm gift shop ahead by a century. The luxury 700 foot ceiling is not on there. 0:12:33 - Speaker 2Courage. 0:12:34 - Speaker 3That sucks, is courage on there. 0:12:36 - Speaker 5Daredevil is not. Daredevil is not Daredevil is not. 0:12:40 - Speaker 3Flamenco is not Scape is at hand for the traveling man is not, which is crazy because that's on the next record. So they were showcasing Wow, yeah, yeah, if anyone's got this. 0:12:52 - Speaker 5No, i'm thinking, don't wake, daddy. 0:12:55 - Speaker 3Yeah, please send an email to Tim at getting hip to the hipcom. He's a completist. I need it. Oh little bones man That would have been fucking rad. 0:13:06 - Speaker 5Yeah, ender with me locked in the trunk of a car would have been the ominous Ender. But then you got little bones, so new, the very end. I mean we got you another recording. You get 82, like I said, 83% of the whole entire show, which is killer. And you know, honestly, a positive there is it gives people access to the hip live who may own like one album, and then they pick up a CD with a bunch of live shit and they're like, oh man, why haven't we seen this band play yet? You know, so that could be part of it. It's a little bit of a teaser without an encore or a second encore. I mean I don't know, though That's all the same time. I've, i've recorded shows and I've sent friends just the encore, just kind of piss them off, but sometimes like from a recording. Sometimes for me, listening to the encore, like the last three, four songs, you're like fuck, yeah, that probably was an amazing show. I get it And you know this recording without hearing the, on course I pretty much get it too, but just specifically, i talk about the show. 0:14:10 - Speaker 3Yeah, well, this is what I want to. I want to sort of level off with the audience. You know how we're going to approach this Yeah. And you know, you came up with the idea of approaching it like it's a real concert, like let's give, give it a concert review. My curiosity starts to go from there. What do you look for in a live concert without referencing this record? What, what are? or, if you want to reference this record, what do you look for when you go to a show like that makes it a great show. 0:14:40 - Speaker 5Yeah, well, oftentimes it's the crowd. Man, if it's a rock and roll band, if it's a band with energy, you know there's. There's a electronic duo that we love, that we've seen play a handful of times. That really gets their crowd going like it. Just, oftentimes it's the crowd. You know, at the beginning of this album, as I listened to it, i thought, okay, probably not, because I didn't research it much. You know, i was excited to hear a live album But I thought, you know, it's probably not. The stadium sounds big, though definitely arena feeling and crowd sounds pretty hyped. They weren't. They weren't screaming like a bunch of fucking going crazy, drunk ass Canadians. They were hyped But it wasn't. To me it didn't feel like a home show. Well Tim, the ABV in the back blue is not that high Just well, sure, sure, sure, sure, Sure, sure, but you know, but when I did research it I was like, oh, i was like, oh, detroit, okay, detroit shows must have been really fun Because you know, you're in the US, you're in the USA. Whether or not is highly regarded in Detroit is like there is their home away from home. So the crowd for me was either way like hitting the mark that the crowd was pumped in the just right off the bat I had wondered about you know, because I'm nerdy that way like how it was recorded And I thought about the time and the era and what people were using to record stuff. So I did a little bit of research on that note, just to see, like what the heck or see if there are any notes about how they recorded this thing, because back then it was like dat recorders or radar recorders. I mean it was like the kind of the evolution beginning evolution of digital audio recording which people could then just pump out on the scene or mini discs around. 0:16:28 - Speaker 3At that point I forget when I had, i had a. 0:16:30 - Speaker 5Yeah that was, that was the yeah, those things were cool. Yeah, that was around the same time. You could yeah, you could plug those straight into a sound board and get like CD quality. So I was curious about that as a taper person, you know, just to hear how it went down, because it overall you know whether it was on my home sonosystem or my basement PSS premium sound system or on my my home headphones, my Bose headphones, like it sounds fucking good Like whoever. Whoever posted this did a great job. 0:17:06 - Speaker 3What did you think, pete, in terms of your rubric for measuring a live show? 0:17:13 - Speaker 1It's a it's a weird question because you know, and Tim comes from a place of recording a million shows in his history On me. I look, i gotta kind of look at it back. We gotta kind of look at this backwards because, number one, we worn out the show. You know, if we judge it by the crowd, i think, but by anybody's standards, you know, the show that Peter Frampton played at the Fillmore West for Frampton Comes Alive was was a banger on the show. But if you know anything about that record they dubbed in the audience of the crowd. Do you know? do you know that, right, tim? 0:17:47 - Speaker 5Boo. 0:17:47 - Speaker 1I say that Boo, i mean it's, it's, it's. the American Idol effect is of of making things seem like they're popular when they're not. 0:17:57 - Speaker 5Now I have a. It's the fucking laugh track, you know it's a laugh track. 0:18:02 - Speaker 1So I have a weird take on this. This record made me, gave me a weird take on this band as a whole that I'm really looking forward to show you guys. But just to your question, jd, before I get ahead of myself. I think the the show you can. You can hear how good the show was from the band and what the energy that the bands convey, what Gord Downey's saying and how he's interacting with the crowd, cause you never know with the crowd again. The Frampton record but based on what you're hearing from the band, it was a fucking rager. Yeah, whoever was at this show you know, kiss my ass, i wish I, i wish I was there, i mean, you weren't there. 0:18:49 - Speaker 3She was an email. JD at getting hip to the hipcom. 0:18:52 - Speaker 5Hey, jd, question for you. 0:18:53 - Speaker 3Call her Go ahead Yeah. 0:18:55 - Speaker 5Yeah, jd, you know. So after I did research this show a bit, i came upon the reason why it's named what it's named. Do you want to share that? And yeah, so it sounded like in the early days the hip had a sax player. 0:19:15 - Speaker 3David's. 0:19:15 - Speaker 5Manning, that's right, am I right? 0:19:17 - Speaker 3Yeah, talked about him in the first episode. 0:19:20 - Speaker 5So that that kind of rocks, yeah, yeah, I forgot all about that. I forgot all about that, obviously, and and I thought, oh my God, and I just I just kind of sat there and wondered about everything I've listened to and how there has been no sax player. And there could have been a sax player, you know, and there's, and it recalled to mind some bands that I love that have horn players that you know really feels like part of the soul of that band with this horn player. So can you imagine, like recordings up to this date, having this sax player? that's like you know, i don't know, would he have been the equivalent of I don't know the guy's name, the guy that plays um Phil or violin for Dave Matthews, you know, wouldn't have been this overwhelming presence, so that that first of all. 0:20:08 - Speaker 3First of all, dave Matthews, barf Barf. 0:20:12 - Speaker 5Oh, i know right, the best, the best story about Dave Matthews Segway is the story about his tour bus in Chicago. Do you guys know this story? 0:20:22 - Speaker 1Oh yeah, the the, yeah, the shit. 0:20:24 - Speaker 5Yeah, So he's he's. 0:20:25 - Speaker 1I thought you were going to say Clarence Clemens of uh, yeah, that's where I thought it was No, Yeah, Dave Matthews tour bus. 0:20:32 - Speaker 5You know they're whoever's on the bus, but they're driving in Chicago across an abridge and they're uh, they're black water tank, which is all the poo, poo and wee wee supposedly broke open and burst onto a bunch of tourists on a on a boat platform, boat going down the river on a scene. 0:20:50 - Speaker 3Oh my God. 0:20:51 - Speaker 5So Dave Matthews has actually shit on fans, so that's, that was pretty fun. Anyway, back to this. 0:21:00 - Speaker 3Hey, today's all about live music. 0:21:02 - Speaker 1Metaphorically and and sonically. 0:21:05 - Speaker 5I I last week I turned down the opportunity to co-host that Dave Matthews podcast. Um, so so this fellow uh, uh, uh, dave, dave is manning It was at a crossroads with staying in the band or not and was given to ultimate him by his girlfriend, who I wonder if he's even still with her doubt it. And, um, she, she noted that that the hip lives between us, to him, to Davis. So she was like you know, the band lives in between us in bed, the band is in between us. You got to pick, you got to pick one of us, pick the band or pick me And he's supposedly chose her, and this was spray painted on the wall of I don't remember some building I don't know in in whatever Queens Yeah, in Kingston, and, uh, you know when, it was lived between us. So I think the actual record is lived between us, but everybody calls it live between us because it's live. 0:22:06 - Speaker 3That's why I've all got it live between us. But yeah, i knew that, but I knew that story. But I still call it live between us. I don't yeah What man. if you've got to take on that Pete, do you? 0:22:15 - Speaker 1But isn't that a? isn't that a dick move, dude, like I mean? it's a I got to. How do you for the band in their current form to name it? 0:22:24 - Speaker 5that is like I think it's awesome. 0:22:28 - Speaker 1I think it's awesome too, but God. 0:22:29 - Speaker 5Here's the code It says. There, in an alley that now stands beside a tattoo parlor, he painted a huge mural featuring a weeping eye and a shooting star, which is hard to decipher. In the art He painted the hip live between us in large letters across the wall and an apparent reference to he and his lover. In the end, davis chose his girl, left the band and continues to be an active musician to this day. The mural stood until the summer of 2005, when it was painted over by local business owners. His artwork was used as the CD art, which is fucking hilarious and perfect for the hips 97 live release. The disc, in clever turn of phrase, was called live between us. 0:23:12 - Speaker 3That's very cool. 0:23:13 - Speaker 5Perfect. It's just perfect. I love it. That right there just made me love the whole thing. It was like great story, Great story. 0:23:21 - Speaker 3So let's start at the start. With the opener is Grace to a good opener. Hello. 0:23:55 - Speaker 2This is for the real statics. We're all richer for having seen them tonight. All right, i got a son, came up shocked with the lines. Today was the day that I was already behind Steal the drink. Our brothers and sisters, our young all-ter체 Note Uhl are here at the site. Come on, blir gladzis. I can hear a singing. I'm turned off from No, they don't know no more. That's why I'm here, for I kept them downtown, but I'm ready for you. I went well into Dona Nace and Brace to leave. I'm a little bit alone. I was, so I'm a little bit. I can't hear you. Can't you fucking hear that man? Can't you fucking hear that? Can't you hear what I heard? Look out, jesus Christ, big fuckin' bear. The secret rules of engagement Are hard to endorse When the appearance of comfort Meets the appearance of force, when I can guarantee They've been a knock on the door, i can't hear you. I'm turned off from here. I'm turned off from the door. That's why I'm here, for I kept them downtown, but I'm ready for you. I went to scale and it's my strength. Yes to you. I didn't give a fuck. Where the hell did you get an inch? I never fought for a thing. I never fought for anything. I got a palace wage gone to do. I'm like so many of you. I see around me Nothing to live or die for, no limits in tune. Help, help, no, no. I was growing up in town. I was growing up in town And I was gonna pick up my friends And I know you'll come to some kind of dead end. Oh, but I can swear there's a bear. I can swear there's a place where all is A bit to be manned And you can never be a piece of cake. And then there's everyone Around you smiling and everyone Around you styling. You got nothing to worry about. And then you got nothing to worry about. You got nothing to worry about. You got nothing to worry about. 0:29:31 - Speaker 1So fucking Lulie, absolutely, i mean. 0:29:34 - Speaker 5Perfect. 0:29:35 - Speaker 1It's just the way they come into it. I pictured like I don't know if they had played arenas this big before I know they toured. They sounded so tight, they couldn't fuck up if they tried, you know. And this band just sounded so good. Yeah, what was this? How far was this show off of their SNL release? SNL appearance. 0:30:12 - Speaker 3Oh well, snl was March of 95 and this was November of 96. 0:30:22 - Speaker 1Yeah, i mean, they knew then that this was a banger of a tune. But just What a way to ease in, to get everybody to get the water warm in the bathtub. Man. 0:30:36 - Speaker 3Did you dip your toes in the bath there, timmy? 0:30:40 - Speaker 5I did, i did, and it's good. The jets came on right away, so in the tub. So, yeah, i loved his phrase. Sun came up and shot through the blinds. Today was a day And I was already behind. You know, like I First of all, great line, great, just random thing. And it was also like I don't know. I love that phrase Cause to me it was like Sun came up and shot through the blinds. Today was a day And I was already behind. You know, and this is this to me, is a line that says it's kind of okay, you know, it's okay to be behind. You know, i don't know, i just you could read this line in so many ways. You can read it as like You're fucked, or you can read it as fuck it, and I love that about it. So, you know, there's there's just the grace to as a starter. You know, the first time I heard it as a starter live was that 99, woodstock, woodstock, yeah, yeah, yeah. And the first time I heard that was like okay, this is what gets the crowd going, this is, this is the shot in the arm energizer, and you know this, this is it for for this show as well. And to try, i love he has. Gord has one of his now iconic Woo. Yes, this is like, yes, the crowd is psyched, we're psyched. You know, that's to me going back to the crowd, kind of making the show. There you go, he screams. He's got like he does this droll, this guttural scream. You know, come from downtown. You know it's just, i just love it. I love it yeah, i love it when singers kind of stray and do something a little bit different Than the recordings and just get fucking into it, and that's that's how this started, for sure. 0:32:35 - Speaker 3And it carries on into a song that I don't recall how you felt about it on the fully, completely record, but to me this live version is so like, almost like psychedelic-y and like maybe it's because I've been listening to it high, i don't know but there's something really awesome about the live version It just unlocks live. I'm curious if you agree about certain songs, in this case, fully, completely Getting unlocked in a live version. 0:33:17 - Speaker 1The perfect word you use is unlocked. I couldn't think of a better word to use, because I don't know if they make them anymore. They used to be these 12-cylinder Mercedes-Benz two-door coupes. Do you remember those, Timmy run around. 0:33:35 - Speaker 5Yeah, yeah, they came with like an extra, extra gas tax on the They're ridiculous. 0:33:40 - Speaker 1Who needs this 12-cylinder? 0:33:46 - Speaker 5It was like a luxury gas tax in California that was added. 0:33:49 - Speaker 1That's how I feel about this song. 0:33:52 - Speaker 5And. 0:33:52 - Speaker 1I actually remember, because I remember thinking about it too. Jd, this was a song that I didn't say. I didn't like it but it wasn't my favorite on the record. I remember specifically because it was the title track And this was like again, a nice Mercedes, i would say a Ferrari, but whatever, whatever, your nice car is that you like sitting in your driveway and being like that's really cool, that's really pretty to look at. Okay, then you get in your fucking Honda, your fucking shitty beater, and you drive to work, but the live record gives you the keys to open it up and to fucking take it for a spin And it was, oh my God, yeah, exactly Like I really enjoyed this tune. It made me like and respect this tune for what it is And yeah, i mean think of all the reasons why. But again, you know I'll say that for a couple of other tunes. But I loved it, kim. What? 0:34:52 - Speaker 5do you think, man, i related to it quite a bit. You know I loved his singing, ranting poetry, whatever. At the beginning He's talking about being in love with the old rule being raised by TV. I mean, that's me, you know, that's my childhood. But I will add the end of this, which I couldn't find any reference on. Maybe someone else can find it. But towards the end of this I think is the first time he starts singing lyrics from other bands at the show And I didn't find this noted. So he, towards the end, he starts singing. Please take me there. He sings there's a light that never goes out. These are lyrics from the fucking Smiths from the 80s And I have a feeling, you know, i'd really just wish I could know what the band was listening to from early through later, like what they were really jiving with. You know what they listened to on the bus and what their influences were. If they were carrying around CD player, fucking Walkman, whatever. You know what they were jamming to cause. There's more see early, more see lyrics here. I might be wrong, It might just be a coincidence, but when I heard that the first time I was like fuck. 0:36:12 - Speaker 1Well, we know what Tim was listening to, please. 0:36:16 - Speaker 5One of my first. Honestly, that's one of my. My second tape was the Smiths Queen is Dead. 0:36:22 - Speaker 1Same here. 0:36:24 - Speaker 5That was it. So, yeah, i felt like this took it bigger. I hear the song in this order at this show. It took it a level bigger and louder and took it a level more aggressive. It was like Pete, you know the V12, you drive your shitty Honda, but you get in a car. it's a V12. It's like a jet boat, you know. and this I felt, i felt fully, completely, really dug in and kept us accelerating. I love your old ways, i love your old world ways is what he sings towards the end And I just that's so romantic to me. That's like pulling on my heartstrings because, you know, I'm a Gen Xer. There's so many times in my life where I want to throw my iPhone across a room. Yeah. 0:37:11 - Speaker 1Yeah, the torque it gave us, i thought one of the. I thought the crazy part about springtime in Vienna was and if I remember correctly, he introduces it And I don't know if the crowd goes nuts for it. But I'm just thinking to myself like the minute this song starts. I'd fucking lose all my shit if I'm in the car. 0:37:35 - Speaker 5Yeah, yeah, losing my shit. 0:37:37 - Speaker 1And the fact that he introduces it is almost like, kind of like, is he doing it because it's a light record? And there's maybe people that are gonna buy this record and not be looking at the back of the CD when they when it's on, i mean I don't know because, whatever, but this song, i mean just when it goes on the fucking chorus, it's just it's madness too. 0:38:02 - Speaker 5It's Yeah, you love this song. 0:38:04 - Speaker 1You hate to be loved, right? Yeah, i love this song and I just feel like if I I can hear the band having so much fun playing this song, you can hear it. 0:38:17 - Speaker 5Yeah, you can, you can. You can hear it a lot of times throughout this whole performance. Yeah, you can hear the amount of fun, i think, through the bass that's happening. You know there's some really the bass guitar so many times to me is like fuck, these guys were into it, you know. And springtime in Vienna, just like that. I felt like that was the point in the show, where you're like either chugging down your second beer or you're lighting up another spliff or whatever. Like this is like serious momentum. twist my arm, which was next, you know That to me felt I don't know that's that to me for this position of this show. This is like where you were dancing, Like this is super fun, like it felt danceable. You know, it's like I'm not standing still at this show. That was my comment for that one. 0:39:14 - Speaker 1I got some weird takes, i mean and these aren't necessarily related to this particular songs And the first thing I want to say is that I feel like like when I was young, jd, my dad used to tell me when I was playing in a band, you need to play with dynamics, right. And when you're young and you're just fucking want to turn your amp up louder than the guy next to you, you don't know what the fuck dynamics are. And it's ironically. You know, i don't have to give away my age, but I'm up there And I still I'm trying to play with people who don't know what the fuck dynamics are. Some people get it, some people never get it. It's just the ability to listen to one another, to play to the band, not to just play your instrument right, and this you can just tell. This band is weathered by the road. They have amazing dynamics to start songs like well, springtime in Vienna gift shop, especially a head by a century which builds. So just do this, do what is. Isn't it the most streamed song of the band period? Yeah, yeah. 0:40:31 - Speaker 5Head by a century. 0:40:32 - Speaker 1Yeah, head by a century, which is funny because race two on this record has more streams on this live record than head by a century. 0:40:45 - Speaker 3Oh really. 0:40:46 - Speaker 1Yeah. 0:40:48 - Speaker 3Oh wow, well, maybe it's not that, i'm not sure What. We should look that up, you know. 0:40:55 - Speaker 1You know me, though, but yeah, I think they know what they're doing on stage clearly. 0:41:03 - Speaker 5Yeah, you don't want a drummer or a guitarist or a fucking keyboardist. I'll talk a little, reference the doors there for two seconds. You don't want another musician in your band getting in the way. You know, like I actually, who is it, i'll recall. But anyways, i heard someone once say yeah, i just can't have a drummer who gets in the way. You know, you don't want somebody just cranking themselves too often And I think that's kind of what you're saying. Pete, this show, you know it. just it gets this momentum going to where you might all of a sudden realize oh shit, we're already in song five or this is already the sixth song. Like, i feel like their shows have this build up. I would assume now, after hearing this one, that their shows kind of have this build up and then they start carrying people. you know, before you, yeah, before you realize it, you're like, oh, my God, you know, it's probably halfway over or something, i don't know. It's like a century when it, yeah by century, when it started on this recording, that kind of felt like a mile marker with Gordon, his goofy start, when he's doing his one liners and making sense and not making sense at all, like that. that was kind of like the check in to to like yeah, catharsis one Yeah. That all about right, right. That to me was like let's see how into it the crowd is. You know, maybe we'll make somebody fall over with these statements, i don't know. But that, but there's a moment in a head by a century on this recording that I've kind of been waiting for to hear these guys live, do And that's like a right around the three minute marker. So they just start riffing a little bit more. They dig, they dig a little bit deeper. They reached that, you know, five fifth speed of the V12 Mercedes and they're finally on the stretch of freeway where they can let it go a little bit. And that's that's what happens with with this song. I've been waiting, waiting to hear that. So that was, that was good, that was good for me. 0:43:10 - Speaker 3Gift shop I wanted to ask you guys about, because gift shop to me feels like grace two, in the sense that it's like an opener Like. It feels like an opener to me. So I'm just curious about where it gets put. Like you've you've talked about this car metaphor you know you get grace two to open the show, then fully, completely, which sort of like you know, gets you, gets you sort of high, and then springtime in Vienna to get you jumping up and down And then twist my arm is like an old classic at this point. So you're like wow, like, like Tim said, you're dancing, And then gift shop sort of resets everything. 0:43:52 - Speaker 2You know what I mean. The rest of the world becomes a gift shop. So you're like wow, like Tim said, you're dancing. You're like wow, like Tim said you're dancing. You're like wow, like Tim said, you're dancing. You're like wow, like Tim said you're dancing. You're like wow, like Tim said, you're dancing. I don't know what to believe. Sometimes I even forget. And if it's a lie, a terrorist may be saying A beautiful love, a dangerous time, we get to feel a smile. I'm high up above. I'm high up above. I'm high up above. I'm high up above. I'm high up above. I'm high up above. I'm high up above. I don't know what to believe. 0:47:43 - Speaker 5I wish I knew what to believe. I knew what to believe. Close the window. You'll hear the sound of death. Run, run, run, run run. 0:48:38 - Speaker 1I feel like gift shops an opener too. Absolutely. If you want to use the car analogy, that's cool, but if we're powering a big amplifier with a car battery, it's like it's got some juice, it's got some sound. It's really pushing. You're waking up the neighbors and you hook up a second car battery. Now all the tubes are really lit up. Gift shops. It's just like Grace II and that it's another opener. It's the nitrous oxide on the engine. It just puts the show forward even faster and harder. 0:49:28 - Speaker 5I agree with that. I think it's not my favorite song simply because it's. I feel like it's. I don't know we're up to bat against a pitcher. You know you're going to get it on. It's an easy one, the chorus is easy, it's sing-alongable. I think gift shop could be an opener of the show, but I feel like it fits here well, because it's like dude, we've had the basses loaded twice. We're going to have the basses loaded twice. Let's just fucking keep bringing them in. And that's gift shop for me for sure. 0:50:02 - Speaker 3A lot of the baseball. 0:50:04 - Speaker 5Yeah, that was for you, buddy. 0:50:06 - Speaker 3Basses loaded twice. So the basses were loaded with Grace II, fully completed in springtime in Canada, and then gift shop ahead by a century and the luxury which is. This is a cool thing. If you're exploring Hiptim, you to Hiptim and you want to explore, there's a website called HIPBASE H-I-P-B-A-S-Ecom And it's got like every lot. It's like setlistfm, except for it. It's got super detailed statistics Like so, for example, the luxury this was only the 19th time that it played the luxury live. That's interesting. Yeah, it's like it's an older song at this point, but they've only played it 19 times. They only ended up playing it 65 times in total in their career. 0:51:01 - Speaker 1I feel like it's a good. It brings it down a little bit. It it, it. It mellows it out. You know, i mean being as that ahead by a century was such a popular song, like the crowd was going I mean they were going to eat shit right. When that song started, as it was This kind of like you know, take some away from the edge for a little bit. It's a really cool song, super cool bass groove. I love that. Yeah, one thing that really showcases Tim Is that on your guys' end, That's on my end. 0:51:38 - Speaker 3I think, yeah, that's JD, i come from downtown. 0:51:42 - Speaker 1One thing that Tim mentioned about drummer not getting in your way. It's crazy Again because, like my thoughts on this record are more broad and as opposed to individual songs, but I felt like like Gord Downey for the longest time and listening to the records and listening to it at this point has been the draw, and not in a bad way, but I'm saying it in the context of what Tim said the guy who's in everybody's way And I don't mean that in a bad way because he's such a fucking talent, absolutely And this was the first time where I was actually and I feel kind of like a fucking douchebag, because when it comes to the whole entire band I mean the entire band you really hear like whoa, these motherfuckers are good musicians, these guys are Yeah. And that's really hard to come through on a record because you don't know when what's recorded, how it's cut together. 0:52:42 - Speaker 5Yep. 0:52:42 - Speaker 1All that. When you hear it live you're like, okay, this is the way it sounded there And everybody sounds so good. So it's, you don't hear and I don't mean that again at this respect of Gord Downey getting in anybody's way, but like he's so good It's sort of hard to not Have that guy overshadowed. Yeah, yeah, the band, but live you don't get that vibe at all. On the records I sort of do. The records are really smooth, this far sort of, but on the fucking live performance holy shit. 0:53:16 - Speaker 3Yeah, and that's. It's funny because that was one of the questions I literally just wrote down. I was going to ask you guys if the band, if you feel differently about the band now that you've heard them play live, and you just answered that exact question, do you get what I'm saying now about being sort of an improv troupe? 0:53:35 - Speaker 5Yes. 0:53:36 - Speaker 3Because Gord will sort of carry on and do his own thing and they still have to end a song And they don't know if he's like how far he's going. Or sometimes they'll just end a song and go into, go right into something else And he's still sort of like finishing a thought or explaining an idea or whatever. 0:53:59 - Speaker 1The musicians clearly all listen to each other enough to know when to where things are going, You know. 0:54:07 - Speaker 3Yeah, And they're just as in charge as he is in a sense. 0:54:12 - Speaker 5I have to wonder what that would have been like if Davis was playing sax and all this, you know might not have been. It would have been different. Could you imagine just having a horn blowing in here and there? Yeah, like I said, having horns and bands and having a fit. but oh it may have been, I don't know I think like in excess. 0:54:34 - Speaker 3You know, they were good with the sax, yeah, but yeah, it would have been different for sure. 0:54:38 - Speaker 5Last night we were listening to this band that I loved, loved, from Boston, called Morphine. If anyone hasn't listened to Morphine, you got to check them out. They're no longer, but they were a three piece and saxophone, bass player and drummer, and that was it. It's one of the perfect examples of a unique rock and roll band where saxophone fits in and leads and doesn't take over, because it was such a unique trifecta of you know of a band. But you know, i just I think where was I going to go with this? I think, yeah, i think it would have been so different. I just circled back to the luxury. I commented on this before. It's noted on the internet, of course, but I would love, jd, for you to to play the end, maybe, of the luxury of this one and then blend in, come as you are from Nirvana, cause dude, it's the same. I mean they, they, the band was listening to Nirvana. It's just the same guitar, the same bass. It's pretty fucking cool, and I've noticed that the first time I listened to the luxury, and it's completely evident in here as well. 0:55:57 - Speaker 3But the luxury came out in 91. How much art came out in 92? 0:56:03 - Speaker 5Well, they heard it, i swear. I mean it's timing or not? 0:56:09 - Speaker 3Or Nirvana heard it. 0:56:11 - Speaker 5Yeah, nirvana heard it, who knows? 0:56:12 - Speaker 1Yeah. 0:56:13 - Speaker 5But anyways, courage, So courage. I love courage. It couldn't come at a worse time. 0:56:47 - Speaker 2Where something more familiar, quickly something familiar. Can't change my words, it doesn't matter. Sleep, watch so fast, asleep in a motel that has a lay of hope And piss on out of your background And piss on three eyes around your face. Can't change my words, it doesn't matter. Can't change your words, it doesn't matter. Can't remember, it doesn't matter. Can't change my words. Time. It's pretty snowy in here. Snow is so merciless for old country. There's no sample explanation for anything important Any of us do and yet a human tragedies, obsession or necessity of living with the consequences of depression and depression. Can't change my words, it doesn't matter. Can't change your words, it doesn't matter. Can't change my words, it doesn't matter. Can't change my words. Can't change my words. Can't change my words. I'm a child of the church, god. Snow is so merciless for old country. There's a spite of everything that's happening. It's a spite of love. Can't change my words, don't you worry, i'm a child of the church, god. I'm a child of the church, god. Snow is so merciless for old country. 1:00:57 - Speaker 5Can't change my words. Can't change my words. I don't know. There's something about this song that it's positive. It's. You know, it's something I can't turn off when I hear it, Like I got to go through the whole song. I got to sing the chorus One of the coolest parts. The bridge, Yeah, yeah, it's good. One of the coolest parts of this live recording for me, of this song, Courage, is you can hear the crowd singing a little bit Like Gord stops. When Gord stops singing, the crowd carries the lyrics for him. There's a brief moment of that, which I just adore when bands do that, when the crowd is so into it that they just stop singing. But I have the question. I don't know, This is a question. Towards the end of this he starts to talk about Montreal and the snow and poor old Montreal, You know, and I guess that's a reveal on a song in the future about Montreal or something. 1:02:15 - Speaker 3Is that true? Actually, a song from the past. 1:02:18 - Speaker 5Oh, oh, oh oh. 1:02:20 - Speaker 3It was a song that was written for Road Apples. Oh, that's right. It never came to light until much later on, but they always played it. They always sort of kept it in the back pocket and would pull it out and play it occasionally, and there's a live recording of it that just came out in a box set. That is a really good live recording. I also have the demo. I have the demo from Road Apples Ooh, okay, cool, cool, cool, cool. So, yeah, it's a great song and it's fucking ooh, it's a tough one. It's about the young man who shot and murdered 14 young women at a school in Montreal, and it happened in late 80s and it's recognized annually as a result. 1:03:10 - Speaker 5Oh, yeah, So I just pulled that up. It's the massacre at Montreal's Polytechnic School, which was fueled by misogyny, horrifying memory of a bygone era. Damn Fuck. 1:03:27 - Speaker 3Yeah, so the song Montreal is about that. 1:03:33 - Speaker 5Got it. There's our heavy sort of segue in there to get us to New Orleans and Sinking. So New Orleans and Sinking for me. I don't know about you, pete, but man, this was fun. On this recording This is like crowd goes berserk. The guitar has this big start, the drums are big. It feels like we've reached top speed perhaps of the show. It oddly slows down about. There's a I don't know if you caught this, pete there's this tempo, little chug, slug, like it slowed down for just a little bit there. Like it really caught my attention that the band kind of went a tiny bit out of sync and I think that was with the drums. But man, this one I think the crowd was just, for lack of a better term banging their heads and just going along and, you know, felt so awesome The fucking David Bowie references at the end talking about where's my little China girl, all that you know that was China girl was like forever stethled to my brain because of MTV as a youngster. You know that was just such a memorable video for me Made me an instant David Bowie fan. It's just I just. New Orleans and Sinking. It might have been, might have been one of my. We're gonna get into it one of my top songs here. 1:05:25 - Speaker 2Silly way down this sidewalk in jail. My memory is muddy. What's this riff that I'm in? You gonna need to sink it, man. And I don't wanna say that I'm a child, i'm a throne. I'm going home, can't do this now. I'm a party, he said. You know yourself. Shut your big mouth. Gotta do what you feel is real. Got no pictures false gods. Got no shivers in these. My fingers she won't open when I'm thinking about those. Yeah, i'm a child, i'm a throne. I'm going home, can't do this now. I'm a party, he said. You know yourself. Shut your big mouth. Gotta do what you feel is real. I'm a child, i'm a throne. I'm going home, can't do this now. I'm a party, he said. You know yourself. Shut your big mouth. Gotta do what you feel is real With my ginocent girl. Wake up in the morning. Where's my ginocent girl? She's too tired, she's too small. Baby, just shut your mouth, she says. She says, yeah, don't worry, baby, everything will turn out alright. There's a light bulb hanging on a wire, sucking up the sun doesn't stoop to fire. Taking out the highlights of the scenery, saw some little clouds and looked a little like this In the river, my feet back up on the banks looked up to the Lord above, said hey, hey, hey, banks. Sometimes I feel so good I've got to scream. He says Georgie, baby, i know exactly what's the change He says. He says I swear to God. He says hey, hey, hey, hey, hey, hey. My memory is funny. What's his clever man of man? he won't need to sink in that, i don't want to sell Trout. 1:10:36 - Speaker 3Trout, trout, trout. 1:11:31 - Speaker 1Trout, trout, trout. 1:12:21 - Speaker 3Trout, trout, trout. 1:12:46 - Speaker 1Trout Trout. 1:13:00 - Speaker 5Trout, trout, trout, trout, trout, trout, trout, trout. 1:14:13 - Speaker 3Trout, trout, trout, trout, trout, trout, trout, trout. 1:15:25 - Speaker 5Trout Trout, trout Trout. 1:16:12 - Speaker 3Trout Trout. 1:16:21 - Speaker 1Trout Trout, trout Trout. 1:16:56 - Speaker 3Trout Trout. 1:17:13 - Speaker 4Trout Trout. Questions or concerns, email us at JD at GettingHipToTheHipcom. We'd love to hear from you. 1:18:16 - Speaker 3Hey, it's JD here. 1:18:18 - Speaker 5Hey, it's Tim. 1:18:19 - Speaker 3And Pete Fellows, i'm really excited that you're flying to Toronto on Friday, september 1st for our big party GettingHipToTheHip an evening for the Downey Wain Jack fund. We just need to sell some tickets. How are we going to do that? 1:18:33 - Speaker 5Go to our website GettingHipToTheHipcom and you'll find a link to get tickets to our event at the rec room in Toronto. 1:18:40 - Speaker 1Early burn tickets are 35 bucks. If you go to GettingHipToTheHipcom and click on the bonus fee, you get 10% off, which means tickets are 31.50 right now. If you were to join the bonus fee and buy tickets, you'd literally have to be stupid not to do that. Definitely join us on September 1st. I'll be at the bar putting out the vibe JD. where are you going to be at? 1:19:00 - Speaker 3I'm going to be watching 50 Mission perform some tragically hip songs and I'm really excited for you guys to see them. 1:19:06 - Speaker 5Yeah, and we have a silent auction which we've garnered some great prizes so far. It's amazing what people are donating. Some hip fans are really coming forward with some great donations And again, all proceeds are going to the Downey Wain Jack fund. 1:19:18 - Speaker 3And the Long Slice beer will be flowing because Long Slice is stepped up and they are our title sponsor for the event. How cool is that. 1:19:27 - Speaker 1I cannot wait to drink some delicious beer and also watch the comedy of Pete and I too, because that guy is a side splitter, that's for sure. September 1st, live Toronto, Be there, B-square, gettinghiptothehipcom, Click on the bonus feed at 10% off the tickets and we'll see you there. Support this podcast at — https://redcircle.com/fully-and-completely/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

We're taking you on a journey through the Tragically Hip's live album, 'Live Between Us', which was released back in 1997. Our excitement leading up to its release was off the charts, and we're here to share that with you! We'll be dissecting some of the tracks on the album, such as 'Grace, too', 'Ahead By A Century', and 'Nautical Disaster'. Prepare to be immersed in the intimate connection between the band and their fans that this record so beautifully captures.In this episode, we dive deep into the recording process of 'Live Between Us', exploring the incredible energy of the show, and the role the audience played in the final product. Also, get ready for an insight into the potential impact a sax player could've had on the band's sound, as well as a fascinating anecdote about Dave Matthews' tour bus incident in Chicago. Plus, we'll delve into the tough decision faced by sax player David Manning – stay with the Hip or leave with his girlfriend?Finally, let's talk about the Tragically Hip's songwriting process and live performance dynamics. We'll discuss how the energy of the show and the crowd's reactions influenced their performances, and examine the live version of 'Fully Completely', which unlocked the song in a completely different way from the original recording. We'll also touch on the band's influences and listening habits, and how they incorporated lyrics from other bands into their set. So, join us as we unearth the magic of 'Springtime in Vienna' and the excitement its introduction caused among the crowd. You don't want to miss this!Transcrip0:00:00 - Speaker 1So, guys, this is Pete here. I'm coming to you with a very important message. Okay, this is serious stuff. I know we joke around a lot on the on the pod, but in all honesty, i'm asking for a favor. I need you to do yourselves a favor. I need you to do your family and friends a favor. I need you to do society as a whole favor. Go to getting hip to the hipcom, click on the bonus feed and join the bonus feed, because there's some pretty next level content or covering everything from geopolitics to UFOs and the tragically hit most importantly, but you're really not gonna want to miss it. So, again, do yourself a favor, do the next generation a favor. Okay, before you, before you focus on recycling and nobody cares about climate change, the more important thing is to join the bonus feed. Getting hip to the hipcom click bonus feed. 0:01:14 - Speaker 2You. 0:01:41 - Speaker 3A live hip record on May 2 for a weekend. What more could I have asked for? It was 1997 and I was getting ready to do my annual sojourn from Toronto back home to Waterford. The hip was still number one for me and this record was something I had been craving since having first seen them live. For some reason, though, it didn't scratch my itch the way I wanted it to. No matter how many times I spun the CD on my discman, i just couldn't get as excited about it as I did for a studio record. Were the hips so good live that it was impossible to capture the greatness in ones and zeros? I don't know, but what I can tell you is the album has aged extremely well and it's often something I go back to when I need a jolt that, for whatever reason, it didn't offer me back in 97. Now, in this episode recorded before his untimely passing, we get into the late Davis Manning. So allow me to acknowledge that now. Rest in peace, davis. If you've been following along, you know how hungry Tim and Pete are for a live performance from the band. Although they'll never get to see them in person, the time is right to unleash live between us onto them? Will they eat it up the way I think they will? We'll find out today. on Getting Hip to the Hip. Long Sliced Brewery presents Getting Hip to the Hip. If you've ever wondered what it would be like to hear the tragically hips music for the first time again, here's your chance. Join music fans Pete and Tim from Portland, who have never heard the band before, on a journey through the hips discography, accompanied by me, their guide, jd. Welcome to Getting Hip to the Hip. How's it going, guys? 0:03:56 - Speaker 5Going great, it's going good. 0:03:59 - Speaker 1Fantastic Couldn't be better. 0:04:01 - Speaker 5Glad to be back. 0:04:03 - Speaker 3Yeah, it is, it is. It's good to be back at it. Okay, before we get into things here, we are talking about the live record that everybody was really waiting for. You know, around the time it came out It was 1997. Everybody had heard that this was a really great band to see live and to experience live, and so we were all longing for, you know, a live record, and when it was announced we were really quite excited And I'm curious how you guys felt. But before we get into your feelings, let's take a look under the hood of this record. This one was recorded live at Kobo Arena in Detroit, michigan, november 23rd 1996. It was released May 24th 1997 for the long weekend. Produced by the tragically hip and Mark Freakin. It clocks in at 70 minutes and 31 seconds and it was released on MCA. All Music gave this a 2.5 out of 5. And here's what they had to say about this. The tragically hip, one of Canada's musical merry makers, are also praised for their raw, sweaty live performances. Frontman Gordon Downey is a real dynamo, lyrically and physically, and his bandmates only support the beautiful live chaos. With that aside, the hip treated fans with their first ever live album, live Between Us, recorded well. On tour in support of 1996's Trouble at the Henhouse, live Between Us documents one of the band's more ambitious evenings. Without any technical tweaking, a very loyal Detroit audience is captured at the sold out Kobo Arena and a very tight knit and fiery, tragically hip is in command. The unity between the hip and their fans depicts something heavy. Downey's random improvising and loose poetic ramblings spark the intro of Grace 2. It creeps along with Johnny Faye's electric percussion and already Live Between Us is a steady, creatively stripped and vibrant. The emotional rage fully, completely sets up the rest of the record, particularly the relaxed ballad ahead by a century Layered backing vocals and plucking acoustics depict the hip's signature sincerity and the sneaky rock snippets of David Bowie's China Girl And the Beach Boys Don't Worry Baby midway through New Orleans' sink and flow without hesitance. Most stunningly is his lyrical rant of Jane Sivarys' The Temple Near the End of the Taunting Nautical Disaster, which also includes a verse from the reaesthetics Bad Time to Be Poor. As a whole, the band is abrasive in a simplistic sense, making Live Between Us an intimate jam between the band members themselves and a shared moment with the fans. The tragically bad men have maintained their beloved status because of such grateful informality. What in the living fuck is a 2.5 out of 5? The only negative word in there is abrasive, and abrasive comes right to the end. It's such a pussy review, wow. 0:07:15 - Speaker 1It's a bitch review. It's like going out on the best date of your life or something and then just saying like, yeah, maybe I'll call you next week or whatever, or maybe I won't. I can't even think of something stupid and shitty to compare it to, because it's so fucking bullshit. Sorry, what a shit. the bed review that is Sorry. 0:07:42 - Speaker 5Well, i have a maybe, maybe, why So kind of the elephant in the room on this recording is the actual show is longer than what they put out for the album And we're missing all these. We're missing, yeah, we're missing all these songs. So if you, let's say, the writer, went to this show in Detroit and was so psyched about it And then a year or whatever, whatever it was, later bought the album and brought it home and realized it was three quarters of the songs and they don't even get the actual ending of the show on the record, and so you're kind of you're like you're playing if you got this on vinyl or CD, you're playing like the highlights of the show And as a very amateur taper and someone who absolutely loves live shows and kind of you know, on some of the bad weeks lives for them, you know, when I listened through this I was like okay, is this just the hits? Like what is this album Like? I really questioned what was going on with it. I absolutely loved it And I loved. You know I have all these comments about everything that I dig from it But at the same time I'm like God damn. So that's when I pursued the search of the whole recording, start to finish, because I mean I have socked away whole recordings of shows And this is not a whole recording. 0:09:11 - Speaker 3Yeah, it's interesting. It's interesting, I wonder. I was just going to say it's interesting. I wonder why they did it that way. What do you think, pete? That's what I was going to say. 0:09:21 - Speaker 1No, it's totally yeah, because here's a couple things Like I see what you're saying, but I'm also looking at this from 1996, number one, number two it's on MCA, which at the time MCA was a really large record company. Okay, so you know, you've got, you've got the record company's influence of. oh, i don't think this track should be on there, whatever They take it off. You know they wanted this to be a sellable record that they were going to put out number one. I'm not defending it, i'm just saying I'm just trying to get in the mind of the methodology of what, why these decisions were made. And on top of it, i think nowadays bands will put out a live record and it'll be like you know, because, for example, new Orleans is sinking. You know, nowadays that would be New Orleans is sinking. Parenthetical China girl slash, don't worry, they met me or something. You know they'll throw that shit in, whereas back in the day, when you had a packaged live record, that shit was a no. No, you know, i didn't see it a lot that I remember Either way. Dude, this fuck all music, dude. I think that's the narrative we need to stick with, because they don't know what the fuck is going on. 0:10:38 - Speaker 5It. Just this record blew me away. Yeah, I would say. I would just add that my my only thought behind their low review score is because they didn't get all the show, Maybe they went to it and they saw it and they wanted to hear it all again. Yeah, exactly, or maybe they didn't, i don't know, but it's just the review is written It was a bad way. 0:11:01 - Speaker 3Kindly like it's. so it's such a nice review, really, until the word abrasive comes out and then which is weird And then it ends with like a nice, like they're redeemed, blah, blah, blah, blah, blah, and then it's like 2.5. It's like this person is a hard grader man. That's all I'm going to say. 0:11:20 - Speaker 1But I don't, i don't buy that. Oh, i mean, i see what you're saying, tim, again about the record. You know. But look at, you know, a lot of live records aren't even a whole concert, let alone you're going to put a whole concert. So if a band plays for you know, three hours or plays a three hour set, like the Stones, and they put out a live record, they're not going to do that. Led Zeppelin's How the West is One great live record. It's probably. You know, if you look at the back and the liner notes, it's recorded in Madison Square Garden, it's recorded at the Long Beach Arena. It's recorded different places. It's not one concert. They kind of just took the best takes. 0:11:57 - Speaker 3I do like they used just the Kobo Hall performance because a lot of bands do that for live. They do like two or three nights and they record and they pick the best stuff. 0:12:08 - Speaker 5The actual album is about 83% of the show, so you you miss the whole. Encore There is some. There is some missing there The entire encore you missed. 0:12:17 - Speaker 3So what you do get the end of the record is the Weirothal, which is the last song they played. But whatever we missing, it goes Grace to fully completely springtime in Vienna. Trust my arm gift shop ahead by a century. The luxury 700 foot ceiling is not on there. 0:12:33 - Speaker 2Courage. 0:12:34 - Speaker 3That sucks, is courage on there. 0:12:36 - Speaker 5Daredevil is not. Daredevil is not Daredevil is not. 0:12:40 - Speaker 3Flamenco is not Scape is at hand for the traveling man is not, which is crazy because that's on the next record. So they were showcasing Wow, yeah, yeah, if anyone's got this. 0:12:52 - Speaker 5No, i'm thinking, don't wake, daddy. 0:12:55 - Speaker 3Yeah, please send an email to Tim at getting hip to the hipcom. He's a completist. I need it. Oh little bones man That would have been fucking rad. 0:13:06 - Speaker 5Yeah, ender with me locked in the trunk of a car would have been the ominous Ender. But then you got little bones, so new, the very end. I mean we got you another recording. You get 82, like I said, 83% of the whole entire show, which is killer. And you know, honestly, a positive there is it gives people access to the hip live who may own like one album, and then they pick up a CD with a bunch of live shit and they're like, oh man, why haven't we seen this band play yet? You know, so that could be part of it. It's a little bit of a teaser without an encore or a second encore. I mean I don't know, though That's all the same time. I've, i've recorded shows and I've sent friends just the encore, just kind of piss them off, but sometimes like from a recording. Sometimes for me, listening to the encore, like the last three, four songs, you're like fuck, yeah, that probably was an amazing show. I get it And you know this recording without hearing the, on course I pretty much get it too, but just specifically, i talk about the show. 0:14:10 - Speaker 3Yeah, well, this is what I want to. I want to sort of level off with the audience. You know how we're going to approach this Yeah. And you know, you came up with the idea of approaching it like it's a real concert, like let's give, give it a concert review. My curiosity starts to go from there. What do you look for in a live concert without referencing this record? What, what are? or, if you want to reference this record, what do you look for when you go to a show like that makes it a great show. 0:14:40 - Speaker 5Yeah, well, oftentimes it's the crowd. Man, if it's a rock and roll band, if it's a band with energy, you know there's. There's a electronic duo that we love, that we've seen play a handful of times. That really gets their crowd going like it. Just, oftentimes it's the crowd. You know, at the beginning of this album, as I listened to it, i thought, okay, probably not, because I didn't research it much. You know, i was excited to hear a live album But I thought, you know, it's probably not. The stadium sounds big, though definitely arena feeling and crowd sounds pretty hyped. They weren't. They weren't screaming like a bunch of fucking going crazy, drunk ass Canadians. They were hyped But it wasn't. To me it didn't feel like a home show. Well Tim, the ABV in the back blue is not that high Just well, sure, sure, sure, sure, Sure, sure, but you know, but when I did research it I was like, oh, i was like, oh, detroit, okay, detroit shows must have been really fun Because you know, you're in the US, you're in the USA. Whether or not is highly regarded in Detroit is like there is their home away from home. So the crowd for me was either way like hitting the mark that the crowd was pumped in the just right off the bat I had wondered about you know, because I'm nerdy that way like how it was recorded And I thought about the time and the era and what people were using to record stuff. So I did a little bit of research on that note, just to see, like what the heck or see if there are any notes about how they recorded this thing, because back then it was like dat recorders or radar recorders. I mean it was like the kind of the evolution beginning evolution of digital audio recording which people could then just pump out on the scene or mini discs around. 0:16:28 - Speaker 3At that point I forget when I had, i had a. 0:16:30 - Speaker 5Yeah that was, that was the yeah, those things were cool. Yeah, that was around the same time. You could yeah, you could plug those straight into a sound board and get like CD quality. So I was curious about that as a taper person, you know, just to hear how it went down, because it overall you know whether it was on my home sonosystem or my basement PSS premium sound system or on my my home headphones, my Bose headphones, like it sounds fucking good Like whoever. Whoever posted this did a great job. 0:17:06 - Speaker 3What did you think, pete, in terms of your rubric for measuring a live show? 0:17:13 - Speaker 1It's a it's a weird question because you know, and Tim comes from a place of recording a million shows in his history On me. I look, i gotta kind of look at it back. We gotta kind of look at this backwards because, number one, we worn out the show. You know, if we judge it by the crowd, i think, but by anybody's standards, you know, the show that Peter Frampton played at the Fillmore West for Frampton Comes Alive was was a banger on the show. But if you know anything about that record they dubbed in the audience of the crowd. Do you know? do you know that, right, tim? 0:17:47 - Speaker 5Boo. 0:17:47 - Speaker 1I say that Boo, i mean it's, it's, it's. the American Idol effect is of of making things seem like they're popular when they're not. 0:17:57 - Speaker 5Now I have a. It's the fucking laugh track, you know it's a laugh track. 0:18:02 - Speaker 1So I have a weird take on this. This record made me, gave me a weird take on this band as a whole that I'm really looking forward to show you guys. But just to your question, jd, before I get ahead of myself. I think the the show you can. You can hear how good the show was from the band and what the energy that the bands convey, what Gord Downey's saying and how he's interacting with the crowd, cause you never know with the crowd again. The Frampton record but based on what you're hearing from the band, it was a fucking rager. Yeah, whoever was at this show you know, kiss my ass, i wish I, i wish I was there, i mean, you weren't there. 0:18:49 - Speaker 3She was an email. JD at getting hip to the hipcom. 0:18:52 - Speaker 5Hey, jd, question for you. 0:18:53 - Speaker 3Call her Go ahead Yeah. 0:18:55 - Speaker 5Yeah, jd, you know. So after I did research this show a bit, i came upon the reason why it's named what it's named. Do you want to share that? And yeah, so it sounded like in the early days the hip had a sax player. 0:19:15 - Speaker 3David's. 0:19:15 - Speaker 5Manning, that's right, am I right? 0:19:17 - Speaker 3Yeah, talked about him in the first episode. 0:19:20 - Speaker 5So that that kind of rocks, yeah, yeah, I forgot all about that. I forgot all about that, obviously, and and I thought, oh my God, and I just I just kind of sat there and wondered about everything I've listened to and how there has been no sax player. And there could have been a sax player, you know, and there's, and it recalled to mind some bands that I love that have horn players that you know really feels like part of the soul of that band with this horn player. So can you imagine, like recordings up to this date, having this sax player? that's like you know, i don't know, would he have been the equivalent of I don't know the guy's name, the guy that plays um Phil or violin for Dave Matthews, you know, wouldn't have been this overwhelming presence, so that that first of all. 0:20:08 - Speaker 3First of all, dave Matthews, barf Barf. 0:20:12 - Speaker 5Oh, i know right, the best, the best story about Dave Matthews Segway is the story about his tour bus in Chicago. Do you guys know this story? 0:20:22 - Speaker 1Oh yeah, the the, yeah, the shit. 0:20:24 - Speaker 5Yeah, So he's he's. 0:20:25 - Speaker 1I thought you were going to say Clarence Clemens of uh, yeah, that's where I thought it was No, Yeah, Dave Matthews tour bus. 0:20:32 - Speaker 5You know they're whoever's on the bus, but they're driving in Chicago across an abridge and they're uh, they're black water tank, which is all the poo, poo and wee wee supposedly broke open and burst onto a bunch of tourists on a on a boat platform, boat going down the river on a scene. 0:20:50 - Speaker 3Oh my God. 0:20:51 - Speaker 5So Dave Matthews has actually shit on fans, so that's, that was pretty fun. Anyway, back to this. 0:21:00 - Speaker 3Hey, today's all about live music. 0:21:02 - Speaker 1Metaphorically and and sonically. 0:21:05 - Speaker 5I I last week I turned down the opportunity to co-host that Dave Matthews podcast. Um, so so this fellow uh, uh, uh, dave, dave is manning It was at a crossroads with staying in the band or not and was given to ultimate him by his girlfriend, who I wonder if he's even still with her doubt it. And, um, she, she noted that that the hip lives between us, to him, to Davis. So she was like you know, the band lives in between us in bed, the band is in between us. You got to pick, you got to pick one of us, pick the band or pick me And he's supposedly chose her, and this was spray painted on the wall of I don't remember some building I don't know in in whatever Queens Yeah, in Kingston, and, uh, you know when, it was lived between us. So I think the actual record is lived between us, but everybody calls it live between us because it's live. 0:22:06 - Speaker 3That's why I've all got it live between us. But yeah, i knew that, but I knew that story. But I still call it live between us. I don't yeah What man. if you've got to take on that Pete, do you? 0:22:15 - Speaker 1But isn't that a? isn't that a dick move, dude, like I mean? it's a I got to. How do you for the band in their current form to name it? 0:22:24 - Speaker 5that is like I think it's awesome. 0:22:28 - Speaker 1I think it's awesome too, but God. 0:22:29 - Speaker 5Here's the code It says. There, in an alley that now stands beside a tattoo parlor, he painted a huge mural featuring a weeping eye and a shooting star, which is hard to decipher. In the art He painted the hip live between us in large letters across the wall and an apparent reference to he and his lover. In the end, davis chose his girl, left the band and continues to be an active musician to this day. The mural stood until the summer of 2005, when it was painted over by local business owners. His artwork was used as the CD art, which is fucking hilarious and perfect for the hips 97 live release. The disc, in clever turn of phrase, was called live between us. 0:23:12 - Speaker 3That's very cool. 0:23:13 - Speaker 5Perfect. It's just perfect. I love it. That right there just made me love the whole thing. It was like great story, Great story. 0:23:21 - Speaker 3So let's start at the start. With the opener is Grace to a good opener. Hello. 0:23:55 - Speaker 2This is for the real statics. We're all richer for having seen them tonight. All right, i got a son, came up shocked with the lines. Today was the day that I was already behind Steal the drink. Our brothers and sisters, our young all-ter체 Note Uhl are here at the site. Come on, blir gladzis. I can hear a singing. I'm turned off from No, they don't know no more. That's why I'm here, for I kept them downtown, but I'm ready for you. I went well into Dona Nace and Brace to leave. I'm a little bit alone. I was, so I'm a little bit. I can't hear you. Can't you fucking hear that man? Can't you fucking hear that? Can't you hear what I heard? Look out, jesus Christ, big fuckin' bear. The secret rules of engagement Are hard to endorse When the appearance of comfort Meets the appearance of force, when I can guarantee They've been a knock on the door, i can't hear you. I'm turned off from here. I'm turned off from the door. That's why I'm here, for I kept them downtown, but I'm ready for you. I went to scale and it's my strength. Yes to you. I didn't give a fuck. Where the hell did you get an inch? I never fought for a thing. I never fought for anything. I got a palace wage gone to do. I'm like so many of you. I see around me Nothing to live or die for, no limits in tune. Help, help, no, no. I was growing up in town. I was growing up in town And I was gonna pick up my friends And I know you'll come to some kind of dead end. Oh, but I can swear there's a bear. I can swear there's a place where all is A bit to be manned And you can never be a piece of cake. And then there's everyone Around you smiling and everyone Around you styling. You got nothing to worry about. And then you got nothing to worry about. You got nothing to worry about. You got nothing to worry about. 0:29:31 - Speaker 1So fucking Lulie, absolutely, i mean. 0:29:34 - Speaker 5Perfect. 0:29:35 - Speaker 1It's just the way they come into it. I pictured like I don't know if they had played arenas this big before I know they toured. They sounded so tight, they couldn't fuck up if they tried, you know. And this band just sounded so good. Yeah, what was this? How far was this show off of their SNL release? SNL appearance. 0:30:12 - Speaker 3Oh well, snl was March of 95 and this was November of 96. 0:30:22 - Speaker 1Yeah, i mean, they knew then that this was a banger of a tune. But just What a way to ease in, to get everybody to get the water warm in the bathtub. Man. 0:30:36 - Speaker 3Did you dip your toes in the bath there, timmy? 0:30:40 - Speaker 5I did, i did, and it's good. The jets came on right away, so in the tub. So, yeah, i loved his phrase. Sun came up and shot through the blinds. Today was a day And I was already behind. You know, like I First of all, great line, great, just random thing. And it was also like I don't know. I love that phrase Cause to me it was like Sun came up and shot through the blinds. Today was a day And I was already behind. You know, and this is this to me, is a line that says it's kind of okay, you know, it's okay to be behind. You know, i don't know, i just you could read this line in so many ways. You can read it as like You're fucked, or you can read it as fuck it, and I love that about it. So, you know, there's there's just the grace to as a starter. You know, the first time I heard it as a starter live was that 99, woodstock, woodstock, yeah, yeah, yeah. And the first time I heard that was like okay, this is what gets the crowd going, this is, this is the shot in the arm energizer, and you know this, this is it for for this show as well. And to try, i love he has. Gord has one of his now iconic Woo. Yes, this is like, yes, the crowd is psyched, we're psyched. You know, that's to me going back to the crowd, kind of making the show. There you go, he screams. He's got like he does this droll, this guttural scream. You know, come from downtown. You know it's just, i just love it. I love it yeah, i love it when singers kind of stray and do something a little bit different Than the recordings and just get fucking into it, and that's that's how this started, for sure. 0:32:35 - Speaker 3And it carries on into a song that I don't recall how you felt about it on the fully, completely record, but to me this live version is so like, almost like psychedelic-y and like maybe it's because I've been listening to it high, i don't know but there's something really awesome about the live version It just unlocks live. I'm curious if you agree about certain songs, in this case, fully, completely Getting unlocked in a live version. 0:33:17 - Speaker 1The perfect word you use is unlocked. I couldn't think of a better word to use, because I don't know if they make them anymore. They used to be these 12-cylinder Mercedes-Benz two-door coupes. Do you remember those, Timmy run around. 0:33:35 - Speaker 5Yeah, yeah, they came with like an extra, extra gas tax on the They're ridiculous. 0:33:40 - Speaker 1Who needs this 12-cylinder? 0:33:46 - Speaker 5It was like a luxury gas tax in California that was added. 0:33:49 - Speaker 1That's how I feel about this song. 0:33:52 - Speaker 5And. 0:33:52 - Speaker 1I actually remember, because I remember thinking about it too. Jd, this was a song that I didn't say. I didn't like it but it wasn't my favorite on the record. I remember specifically because it was the title track And this was like again, a nice Mercedes, i would say a Ferrari, but whatever, whatever, your nice car is that you like sitting in your driveway and being like that's really cool, that's really pretty to look at. Okay, then you get in your fucking Honda, your fucking shitty beater, and you drive to work, but the live record gives you the keys to open it up and to fucking take it for a spin And it was, oh my God, yeah, exactly Like I really enjoyed this tune. It made me like and respect this tune for what it is And yeah, i mean think of all the reasons why. But again, you know I'll say that for a couple of other tunes. But I loved it, kim. What? 0:34:52 - Speaker 5do you think, man, i related to it quite a bit. You know I loved his singing, ranting poetry, whatever. At the beginning He's talking about being in love with the old rule being raised by TV. I mean, that's me, you know, that's my childhood. But I will add the end of this, which I couldn't find any reference on. Maybe someone else can find it. But towards the end of this I think is the first time he starts singing lyrics from other bands at the show And I didn't find this noted. So he, towards the end, he starts singing. Please take me there. He sings there's a light that never goes out. These are lyrics from the fucking Smiths from the 80s And I have a feeling, you know, i'd really just wish I could know what the band was listening to from early through later, like what they were really jiving with. You know what they listened to on the bus and what their influences were. If they were carrying around CD player, fucking Walkman, whatever. You know what they were jamming to cause. There's more see early, more see lyrics here. I might be wrong, It might just be a coincidence, but when I heard that the first time I was like fuck. 0:36:12 - Speaker 1Well, we know what Tim was listening to, please. 0:36:16 - Speaker 5One of my first. Honestly, that's one of my. My second tape was the Smiths Queen is Dead. 0:36:22 - Speaker 1Same here. 0:36:24 - Speaker 5That was it. So, yeah, i felt like this took it bigger. I hear the song in this order at this show. It took it a level bigger and louder and took it a level more aggressive. It was like Pete, you know the V12, you drive your shitty Honda, but you get in a car. it's a V12. It's like a jet boat, you know. and this I felt, i felt fully, completely, really dug in and kept us accelerating. I love your old ways, i love your old world ways is what he sings towards the end And I just that's so romantic to me. That's like pulling on my heartstrings because, you know, I'm a Gen Xer. There's so many times in my life where I want to throw my iPhone across a room. Yeah. 0:37:11 - Speaker 1Yeah, the torque it gave us, i thought one of the. I thought the crazy part about springtime in Vienna was and if I remember correctly, he introduces it And I don't know if the crowd goes nuts for it. But I'm just thinking to myself like the minute this song starts. I'd fucking lose all my shit if I'm in the car. 0:37:35 - Speaker 5Yeah, yeah, losing my shit. 0:37:37 - Speaker 1And the fact that he introduces it is almost like, kind of like, is he doing it because it's a light record? And there's maybe people that are gonna buy this record and not be looking at the back of the CD when they when it's on, i mean I don't know because, whatever, but this song, i mean just when it goes on the fucking chorus, it's just it's madness too. 0:38:02 - Speaker 5It's Yeah, you love this song. 0:38:04 - Speaker 1You hate to be loved, right? Yeah, i love this song and I just feel like if I I can hear the band having so much fun playing this song, you can hear it. 0:38:17 - Speaker 5Yeah, you can, you can. You can hear it a lot of times throughout this whole performance. Yeah, you can hear the amount of fun, i think, through the bass that's happening. You know there's some really the bass guitar so many times to me is like fuck, these guys were into it, you know. And springtime in Vienna, just like that. I felt like that was the point in the show, where you're like either chugging down your second beer or you're lighting up another spliff or whatever. Like this is like serious momentum. twist my arm, which was next, you know That to me felt I don't know that's that to me for this position of this show. This is like where you were dancing, Like this is super fun, like it felt danceable. You know, it's like I'm not standing still at this show. That was my comment for that one. 0:39:14 - Speaker 1I got some weird takes, i mean and these aren't necessarily related to this particular songs And the first thing I want to say is that I feel like like when I was young, jd, my dad used to tell me when I was playing in a band, you need to play with dynamics, right. And when you're young and you're just fucking want to turn your amp up louder than the guy next to you, you don't know what the fuck dynamics are. And it's ironically. You know, i don't have to give away my age, but I'm up there And I still I'm trying to play with people who don't know what the fuck dynamics are. Some people get it, some people never get it. It's just the ability to listen to one another, to play to the band, not to just play your instrument right, and this you can just tell. This band is weathered by the road. They have amazing dynamics to start songs like well, springtime in Vienna gift shop, especially a head by a century which builds. So just do this, do what is. Isn't it the most streamed song of the band period? Yeah, yeah. 0:40:31 - Speaker 5Head by a century. 0:40:32 - Speaker 1Yeah, head by a century, which is funny because race two on this record has more streams on this live record than head by a century. 0:40:45 - Speaker 3Oh really. 0:40:46 - Speaker 1Yeah. 0:40:48 - Speaker 3Oh wow, well, maybe it's not that, i'm not sure What. We should look that up, you know. 0:40:55 - Speaker 1You know me, though, but yeah, I think they know what they're doing on stage clearly. 0:41:03 - Speaker 5Yeah, you don't want a drummer or a guitarist or a fucking keyboardist. I'll talk a little, reference the doors there for two seconds. You don't want another musician in your band getting in the way. You know, like I actually, who is it, i'll recall. But anyways, i heard someone once say yeah, i just can't have a drummer who gets in the way. You know, you don't want somebody just cranking themselves too often And I think that's kind of what you're saying. Pete, this show, you know it. just it gets this momentum going to where you might all of a sudden realize oh shit, we're already in song five or this is already the sixth song. Like, i feel like their shows have this build up. I would assume now, after hearing this one, that their shows kind of have this build up and then they start carrying people. you know, before you, yeah, before you realize it, you're like, oh, my God, you know, it's probably halfway over or something, i don't know. It's like a century when it, yeah by century, when it started on this recording, that kind of felt like a mile marker with Gordon, his goofy start, when he's doing his one liners and making sense and not making sense at all, like that. that was kind of like the check in to to like yeah, catharsis one Yeah. That all about right, right. That to me was like let's see how into it the crowd is. You know, maybe we'll make somebody fall over with these statements, i don't know. But that, but there's a moment in a head by a century on this recording that I've kind of been waiting for to hear these guys live, do And that's like a right around the three minute marker. So they just start riffing a little bit more. They dig, they dig a little bit deeper. They reached that, you know, five fifth speed of the V12 Mercedes and they're finally on the stretch of freeway where they can let it go a little bit. And that's that's what happens with with this song. I've been waiting, waiting to hear that. So that was, that was good, that was good for me. 0:43:10 - Speaker 3Gift shop I wanted to ask you guys about, because gift shop to me feels like grace two, in the sense that it's like an opener Like. It feels like an opener to me. So I'm just curious about where it gets put. Like you've you've talked about this car metaphor you know you get grace two to open the show, then fully, completely, which sort of like you know, gets you, gets you sort of high, and then springtime in Vienna to get you jumping up and down And then twist my arm is like an old classic at this point. So you're like wow, like, like Tim said, you're dancing, And then gift shop sort of resets everything. 0:43:52 - Speaker 2You know what I mean. The rest of the world becomes a gift shop. So you're like wow, like Tim said, you're dancing. You're like wow, like Tim said you're dancing. You're like wow, like Tim said, you're dancing. You're like wow, like Tim said you're dancing. You're like wow, like Tim said, you're dancing. I don't know what to believe. Sometimes I even forget. And if it's a lie, a terrorist may be saying A beautiful love, a dangerous time, we get to feel a smile. I'm high up above. I'm high up above. I'm high up above. I'm high up above. I'm high up above. I'm high up above. I'm high up above. I don't know what to believe. 0:47:43 - Speaker 5I wish I knew what to believe. I knew what to believe. Close the window. You'll hear the sound of death. Run, run, run, run run. 0:48:38 - Speaker 1I feel like gift shops an opener too. Absolutely. If you want to use the car analogy, that's cool, but if we're powering a big amplifier with a car battery, it's like it's got some juice, it's got some sound. It's really pushing. You're waking up the neighbors and you hook up a second car battery. Now all the tubes are really lit up. Gift shops. It's just like Grace II and that it's another opener. It's the nitrous oxide on the engine. It just puts the show forward even faster and harder. 0:49:28 - Speaker 5I agree with that. I think it's not my favorite song simply because it's. I feel like it's. I don't know we're up to bat against a pitcher. You know you're going to get it on. It's an easy one, the chorus is easy, it's sing-alongable. I think gift shop could be an opener of the show, but I feel like it fits here well, because it's like dude, we've had the basses loaded twice. We're going to have the basses loaded twice. Let's just fucking keep bringing them in. And that's gift shop for me for sure. 0:50:02 - Speaker 3A lot of the baseball. 0:50:04 - Speaker 5Yeah, that was for you, buddy. 0:50:06 - Speaker 3Basses loaded twice. So the basses were loaded with Grace II, fully completed in springtime in Canada, and then gift shop ahead by a century and the luxury which is. This is a cool thing. If you're exploring Hiptim, you to Hiptim and you want to explore, there's a website called HIPBASE H-I-P-B-A-S-Ecom And it's got like every lot. It's like setlistfm, except for it. It's got super detailed statistics Like so, for example, the luxury this was only the 19th time that it played the luxury live. That's interesting. Yeah, it's like it's an older song at this point, but they've only played it 19 times. They only ended up playing it 65 times in total in their career. 0:51:01 - Speaker 1I feel like it's a good. It brings it down a little bit. It it, it. It mellows it out. You know, i mean being as that ahead by a century was such a popular song, like the crowd was going I mean they were going to eat shit right. When that song started, as it was This kind of like you know, take some away from the edge for a little bit. It's a really cool song, super cool bass groove. I love that. Yeah, one thing that really showcases Tim Is that on your guys' end, That's on my end. 0:51:38 - Speaker 3I think, yeah, that's JD, i come from downtown. 0:51:42 - Speaker 1One thing that Tim mentioned about drummer not getting in your way. It's crazy Again because, like my thoughts on this record are more broad and as opposed to individual songs, but I felt like like Gord Downey for the longest time and listening to the records and listening to it at this point has been the draw, and not in a bad way, but I'm saying it in the context of what Tim said the guy who's in everybody's way And I don't mean that in a bad way because he's such a fucking talent, absolutely And this was the first time where I was actually and I feel kind of like a fucking douchebag, because when it comes to the whole entire band I mean the entire band you really hear like whoa, these motherfuckers are good musicians, these guys are Yeah. And that's really hard to come through on a record because you don't know when what's recorded, how it's cut together. 0:52:42 - Speaker 5Yep. 0:52:42 - Speaker 1All that. When you hear it live you're like, okay, this is the way it sounded there And everybody sounds so good. So it's, you don't hear and I don't mean that again at this respect of Gord Downey getting in anybody's way, but like he's so good It's sort of hard to not Have that guy overshadowed. Yeah, yeah, the band, but live you don't get that vibe at all. On the records I sort of do. The records are really smooth, this far sort of, but on the fucking live performance holy shit. 0:53:16 - Speaker 3Yeah, and that's. It's funny because that was one of the questions I literally just wrote down. I was going to ask you guys if the band, if you feel differently about the band now that you've heard them play live, and you just answered that exact question, do you get what I'm saying now about being sort of an improv troupe? 0:53:35 - Speaker 5Yes. 0:53:36 - Speaker 3Because Gord will sort of carry on and do his own thing and they still have to end a song And they don't know if he's like how far he's going. Or sometimes they'll just end a song and go into, go right into something else And he's still sort of like finishing a thought or explaining an idea or whatever. 0:53:59 - Speaker 1The musicians clearly all listen to each other enough to know when to where things are going, You know. 0:54:07 - Speaker 3Yeah, And they're just as in charge as he is in a sense. 0:54:12 - Speaker 5I have to wonder what that would have been like if Davis was playing sax and all this, you know might not have been. It would have been different. Could you imagine just having a horn blowing in here and there? Yeah, like I said, having horns and bands and having a fit. but oh it may have been, I don't know I think like in excess. 0:54:34 - Speaker 3You know, they were good with the sax, yeah, but yeah, it would have been different for sure. 0:54:38 - Speaker 5Last night we were listening to this band that I loved, loved, from Boston, called Morphine. If anyone hasn't listened to Morphine, you got to check them out. They're no longer, but they were a three piece and saxophone, bass player and drummer, and that was it. It's one of the perfect examples of a unique rock and roll band where saxophone fits in and leads and doesn't take over, because it was such a unique trifecta of you know of a band. But you know, i just I think where was I going to go with this? I think, yeah, i think it would have been so different. I just circled back to the luxury. I commented on this before. It's noted on the internet, of course, but I would love, jd, for you to to play the end, maybe, of the luxury of this one and then blend in, come as you are from Nirvana, cause dude, it's the same. I mean they, they, the band was listening to Nirvana. It's just the same guitar, the same bass. It's pretty fucking cool, and I've noticed that the first time I listened to the luxury, and it's completely evident in here as well. 0:55:57 - Speaker 3But the luxury came out in 91. How much art came out in 92? 0:56:03 - Speaker 5Well, they heard it, i swear. I mean it's timing or not? 0:56:09 - Speaker 3Or Nirvana heard it. 0:56:11 - Speaker 5Yeah, nirvana heard it, who knows? 0:56:12 - Speaker 1Yeah. 0:56:13 - Speaker 5But anyways, courage, So courage. I love courage. It couldn't come at a worse time. 0:56:47 - Speaker 2Where something more familiar, quickly something familiar. Can't change my words, it doesn't matter. Sleep, watch so fast, asleep in a motel that has a lay of hope And piss on out of your background And piss on three eyes around your face. Can't change my words, it doesn't matter. Can't change your words, it doesn't matter. Can't remember, it doesn't matter. Can't change my words. Time. It's pretty snowy in here. Snow is so merciless for old country. There's no sample explanation for anything important Any of us do and yet a human tragedies, obsession or necessity of living with the consequences of depression and depression. Can't change my words, it doesn't matter. Can't change your words, it doesn't matter. Can't change my words, it doesn't matter. Can't change my words. Can't change my words. Can't change my words. I'm a child of the church, god. Snow is so merciless for old country. There's a spite of everything that's happening. It's a spite of love. Can't change my words, don't you worry, i'm a child of the church, god. I'm a child of the church, god. Snow is so merciless for old country. 1:00:57 - Speaker 5Can't change my words. Can't change my words. I don't know. There's something about this song that it's positive. It's. You know, it's something I can't turn off when I hear it, Like I got to go through the whole song. I got to sing the chorus One of the coolest parts. The bridge, Yeah, yeah, it's good. One of the coolest parts of this live recording for me, of this song, Courage, is you can hear the crowd singing a little bit Like Gord stops. When Gord stops singing, the crowd carries the lyrics for him. There's a brief moment of that, which I just adore when bands do that, when the crowd is so into it that they just stop singing. But I have the question. I don't know, This is a question. Towards the end of this he starts to talk about Montreal and the snow and poor old Montreal, You know, and I guess that's a reveal on a song in the future about Montreal or something. 1:02:15 - Speaker 3Is that true? Actually, a song from the past. 1:02:18 - Speaker 5Oh, oh, oh oh. 1:02:20 - Speaker 3It was a song that was written for Road Apples. Oh, that's right. It never came to light until much later on, but they always played it. They always sort of kept it in the back pocket and would pull it out and play it occasionally, and there's a live recording of it that just came out in a box set. That is a really good live recording. I also have the demo. I have the demo from Road Apples Ooh, okay, cool, cool, cool, cool. So, yeah, it's a great song and it's fucking ooh, it's a tough one. It's about the young man who shot and murdered 14 young women at a school in Montreal, and it happened in late 80s and it's recognized annually as a result. 1:03:10 - Speaker 5Oh, yeah, So I just pulled that up. It's the massacre at Montreal's Polytechnic School, which was fueled by misogyny, horrifying memory of a bygone era. Damn Fuck. 1:03:27 - Speaker 3Yeah, so the song Montreal is about that. 1:03:33 - Speaker 5Got it. There's our heavy sort of segue in there to get us to New Orleans and Sinking. So New Orleans and Sinking for me. I don't know about you, pete, but man, this was fun. On this recording This is like crowd goes berserk. The guitar has this big start, the drums are big. It feels like we've reached top speed perhaps of the show. It oddly slows down about. There's a I don't know if you caught this, pete there's this tempo, little chug, slug, like it slowed down for just a little bit there. Like it really caught my attention that the band kind of went a tiny bit out of sync and I think that was with the drums. But man, this one I think the crowd was just, for lack of a better term banging their heads and just going along and, you know, felt so awesome The fucking David Bowie references at the end talking about where's my little China girl, all that you know that was China girl was like forever stethled to my brain because of MTV as a youngster. You know that was just such a memorable video for me Made me an instant David Bowie fan. It's just I just. New Orleans and Sinking. It might have been, might have been one of my. We're gonna get into it one of my top songs here. 1:05:25 - Speaker 2Silly way down this sidewalk in jail. My memory is muddy. What's this riff that I'm in? You gonna need to sink it, man. And I don't wanna say that I'm a child, i'm a throne. I'm going home, can't do this now. I'm a party, he said. You know yourself. Shut your big mouth. Gotta do what you feel is real. Got no pictures false gods. Got no shivers in these. My fingers she won't open when I'm thinking about those. Yeah, i'm a child, i'm a throne. I'm going home, can't do this now. I'm a party, he said. You know yourself. Shut your big mouth. Gotta do what you feel is real. I'm a child, i'm a throne. I'm going home, can't do this now. I'm a party, he said. You know yourself. Shut your big mouth. Gotta do what you feel is real With my ginocent girl. Wake up in the morning. Where's my ginocent girl? She's too tired, she's too small. Baby, just shut your mouth, she says. She says, yeah, don't worry, baby, everything will turn out alright. There's a light bulb hanging on a wire, sucking up the sun doesn't stoop to fire. Taking out the highlights of the scenery, saw some little clouds and looked a little like this In the river, my feet back up on the banks looked up to the Lord above, said hey, hey, hey, banks. Sometimes I feel so good I've got to scream. He says Georgie, baby, i know exactly what's the change He says. He says I swear to God. He says hey, hey, hey, hey, hey, hey. My memory is funny. What's his clever man of man? he won't need to sink in that, i don't want to sell Trout. 1:10:36 - Speaker 3Trout, trout, trout. 1:11:31 - Speaker 1Trout, trout, trout. 1:12:21 - Speaker 3Trout, trout, trout. 1:12:46 - Speaker 1Trout Trout. 1:13:00 - Speaker 5Trout, trout, trout, trout, trout, trout, trout, trout. 1:14:13 - Speaker 3Trout, trout, trout, trout, trout, trout, trout, trout. 1:15:25 - Speaker 5Trout Trout, trout Trout. 1:16:12 - Speaker 3Trout Trout. 1:16:21 - Speaker 1Trout Trout, trout Trout. 1:16:56 - Speaker 3Trout Trout. 1:17:13 - Speaker 4Trout Trout. Questions or concerns, email us at JD at GettingHipToTheHipcom. We'd love to hear from you. 1:18:16 - Speaker 3Hey, it's JD here. 1:18:18 - Speaker 5Hey, it's Tim. 1:18:19 - Speaker 3And Pete Fellows, i'm really excited that you're flying to Toronto on Friday, september 1st for our big party GettingHipToTheHip an evening for the Downey Wain Jack fund. We just need to sell some tickets. How are we going to do that? 1:18:33 - Speaker 5Go to our website GettingHipToTheHipcom and you'll find a link to get tickets to our event at the rec room in Toronto. 1:18:40 - Speaker 1Early burn tickets are 35 bucks. If you go to GettingHipToTheHipcom and click on the bonus fee, you get 10% off, which means tickets are 31.50 right now. If you were to join the bonus fee and buy tickets, you'd literally have to be stupid not to do that. Definitely join us on September 1st. I'll be at the bar putting out the vibe JD. where are you going to be at? 1:19:00 - Speaker 3I'm going to be watching 50 Mission perform some tragically hip songs and I'm really excited for you guys to see them. 1:19:06 - Speaker 5Yeah, and we have a silent auction which we've garnered some great prizes so far. It's amazing what people are donating. Some hip fans are really coming forward with some great donations And again, all proceeds are going to the Downey Wain Jack fund. 1:19:18 - Speaker 3And the Long Slice beer will be flowing because Long Slice is stepped up and they are our title sponsor for the event. How cool is that. 1:19:27 - Speaker 1I cannot wait to drink some delicious beer and also watch the comedy of Pete and I too, because that guy is a side splitter, that's for sure. September 1st, live Toronto, Be there, B-square, gettinghiptothehipcom, Click on the bonus feed at 10% off the tickets and we'll see you there. Support this podcast at — https://redcircle.com/gettinghiptothehip/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Its our Cinco De Mayo Fantasy Festival 2023, this first hour includes Los Lobos (live) - performing Don't Worry Baby, Set Me Free Rosa Lee and Mas Y Mas, taken from their "Disconnected In New Your City" release. Mana (live) comes in with Cuando Los Angeles Lloran, Rayando El Sol and Oye Mi Amor, selections taken from their "MTM Unplugged" appearance, Shakira (live) ends our festivals first hour with She Wolf, Whenever Wherever and Hips Don't Lie, all from her "El Dorado World Tour" concert. Our festival continues with our second hour.

Big Lee Dowell & The Cannonballs - What I Done Wrong Celestine - Movin' OnD.C.R. - Positive VibesDown To The Bone - Brooklyn HeightsWahoo & Georg Levin - Don't Take It Personal (feat. Paul Randolph) [Georg Levin Edit]Louie Vega, Karen Harding, David Morales - Free To Love (David Morales Disco Juice Vocal Mix)Doug Willis, Dave Lee ZR - People Power (Micky More & Andy Tee Flute Distant People, Elisha Jay - Sweet Talk (Original)Ten City, Marshall Jefferson - Love Is Love (Extended Mix)Mannix, Lisa Shaw, Opolopo - So Much Time (Opolopo Dub)Ezel, Earl W. Green - Hold You Down (Original Mix)Corduroy - HypnotoadThe Bahama Soul Club - Mercy Me (feat. Josephine Nightingale)Dojo Cuts - Sometimes it hurtsThe New Mastersounds & Lamar Williams Jr. - Less Is MoreAlanna Royale - Fall In Love AgainThe Regime - Never Gonna StopThee Sacred Souls - Love Is the WayPeggy Woods - Love Is Gonna Get YouThe Artistics - Girl I Need YouBessie Banks - Don't Worry Baby, The Best Is Yet to ComeOscar Perry & The Love Generators - Main StringThe Pretenders - It's Everything About You (That I Love)Anthony White - Hey BabyArnold Blair - Finally Made It HomeBernadette Bascom - I Don't Wanna Lose Your LoveOdyssey - Our Lives Are Shaped By What We Love

I dette afsnit af 'Rockhistorier' dedikerer Henrik Queitsch og Klaus Lynggaard intet mindre end to timer og tyve minutter til 'The Beach Boys'. Vi skal derfor igennem en playliste med hele 30 numre, der blandt andet indeholder ”Surfin' USA”, ”Kiss me baby” og julenummeret ”Little Saint Nick”.Playliste: 1. "Surfin'" (1961) 2. "Surfin' Safari" (1962)3. "Surfin' USA" (1963)4. "Lonely Sea" (1963)5. "Misirlou" (1963)6. "Surfer Girl" (1963)7. "Little Deuce Coupe" (1963)8. "In My Room" (1963)9. "A Young Man Is Gone" (1963)10. "Little Saint Nick" - Single Version (1963)11. "Fun, Fun, Fun" (1964)12. "Don't Worry Baby" (1964)13. "The Warmth of the Sun" (1964)14. "I Get Around" (1964)15. "Girls on the Beach" (1964)16. "All Summer Long" (1964)17. "When I Grow Up (To Be a Man)" (1964)18. "She Knows Me Too Well" (1965)19. "Please Let Me Wonder" (1965)20. "Kiss Me, Baby" (1965)21. "Help Me, Rhonda" (1965)22. "Let Him Run Wild" (1965)23. "California Girls" (1965)24. "Girl Don't Tell Me"  (1965)25. The Little Girl I Once Knew" (1965)26. "Wouldn't It Be Nice" (1966)27. "I Just Wasn't Made for These Times" (1966)28. "God Only Knows" (1966)29. "I Know There's an Answer" (1966)30. "Caroline, No" (1966)

We reckon with our masculinity by reviewing some woman stuff! Clementine Ford's podcast ‘Dear Clementine' and Olivia Wilde's new movie ‘Don't Worry Darling'. Also Dart saw Brian Cox (the rock ‘n' roll scientist) on stage!  (If you don't want movie spoilers, we start talking bout it at 24:53)  Outro: The Beach Boys - Don't Worry Baby

It's easy to forget, as we scroll our social media feeds, that there are real people on the far end of our comments. It's bad enough for us normies squabbling with our old co-worker from three jobs ago over the issues of the day, but for celebrities with massive followings, the peanut gallery can sting. It's a situation that actress Florence Pugh knows well. During her three-plus year long relationship with actor-writer-director Zach Braff, there was much to say about their 21-year age difference. So much so that they kept their 2022 breakup under wraps for months. Want early, ad-free episodes, limited series, Zoom hangouts, and more? Join us at patreon.com/trashydivorces! Learn more about your ad choices. Visit megaphone.fm/adchoices

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

The gang geeks out the Marvel's MCU "Multiverse Saga" news, courtesy of San Diego's Comic-Con 2022. Brew of the Day: "Summer Oasis" India Pale Ale by Pizza Port Brewing Co. Remember to drink responsibly. Beat of the Week: "Don't Worry Baby" by She & Him Listen on Apple Music and Spotify. Stalk Us: www.geeksandbrews.com, Facebook, Twitter, Instagram, YouTube #leavenobeerbehind --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/geeksandbrews/message Support this podcast: https://anchor.fm/geeksandbrews/support

I Get Around and Don't Worry Baby by The Beach Boys.Share this pod with your friends and buy our merch:  https://www.bonfire.com/two-track-audio

Howdy! This week we look into Britain's Monkey Pox outbreak, we ask what the fuck is wrong with the Tories, dissect the reaction to the Ava White verdict and discuss yet ANOTHER shooting in America. It's enough to make you weep!

#75-71Intro/Outro: Don't Worry Baby by The Beach Boys75. Unchained Melody by The Righteous Brothers *74. Heroin by The Velvet Underground *73. Leader of the Pack by The Shangri-Las72. Piece of My Heart by Big Brother & the Holding Company71. Everyday People by Sly & the Family StoneVote on your favorite song from today's episodeVote on your favorite song from Week 1Vote on your favorite of "The Greatest Song of the 50's" finalists* - Previously played on the podcast

Kashif - Help Yourself To My LoveBridge  - Baby don't hold your love back Stone Foundation - Heaven Knows Why (feat. DuBois, Laville)D.C.R. - Positive VibesYada Yada - Won't U Come Back 2 MeThe Brand New Heavies - Never StopFloyd D, Chymamusique, Earl W Green   - Now & Then (Vocal Mix)D.C. LaRue, Opolopo - Let Them Dance (Opolopo Remix)Beat Rivals, Tasha LaRae - Better With You            Curtis McClain, Marshall Jefferson - Satisfaction Wipe The Needle, Sacha Williamson - On Time (WTN 4X4 Mix)    Chris Bangs & Mick Talbot - Wiggle Wiggle                            Chris Bangs & Mick Talbot - Sumthin' Else (Radio Edit)     Stone Foundation - Movin' OnJon Allen &the Skinner Brothers -              Feel Alright         Joe Leavy             Love Me 2 My Soul                         Output Input featuring Audrey Wheeler Downing and Brent Carter - Here We Go Again   Royalty Duo - Forever                                                    The Masqueraders - How Big Is BigRoy Hamilton - Heartache (Hurry On By)Big Dee Irwin - You Satisfy My Needs      Barbara Lewis - The StarsBessie Banks - Don't Worry Baby, The Best Is Yet to ComeThe James Hunter Six - It Was Gonna Be YouOliver James - One And Only       Barbara Brown - Pity A FoolDelroy Wilson - You Never Get Away (Original 12" Dub Mix)

Episode one hundred and forty-two of A History of Rock Music in Five Hundred Songs looks at “God Only Knows" by the Beach Boys, and the creation of the Pet Sounds album. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Sunny" by Bobby Hebb. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources There is no Mixcloud this week, because there were too many Beach Boys songs in the episode. I used many resources for this episode, most of which will be used in future Beach Boys episodes too. It's difficult to enumerate everything here, because I have been an active member of the Beach Boys fan community for twenty-four years, and have at times just used my accumulated knowledge for this. But the resources I list here are ones I've checked for specific things. Stephen McParland has published many, many books on the California surf and hot-rod music scenes, including several on both the Beach Boys and Gary Usher.  His books can be found at https://payhip.com/CMusicBooks Andrew Doe's Bellagio 10452 site is an invaluable resource. Jon Stebbins' The Beach Boys FAQ is a good balance between accuracy and readability. And Philip Lambert's Inside the Music of Brian Wilson is an excellent, though sadly out of print, musicological analysis of Wilson's music from 1962 through 67. I have also referred to Brian Wilson's autobiography, I Am Brian Wilson, and to Mike Love's, Good Vibrations: My Life as a Beach Boy. For material specific to Pet Sounds I have used Kingsley Abbot's The Beach Boys' Pet Sounds: The Greatest Album of the Twentieth Century and Charles L Granata's I Just Wasn't Made For These Times: Brian Wilson and the Making of Pet Sounds.  I also used the 126-page book The Making of Pet Sounds by David Leaf, which came as part of the The Pet Sounds Sessions box set, which also included the many alternate versions of songs from the album used here. Sadly both that box set and the 2016 updated reissue of it appear currently to be out of print, but either is well worth obtaining for anyone who is interested in how great records are made. Of the versions of Pet Sounds that are still in print, this double-CD version is the one I'd recommend. It has the original mono mix of the album, the more recent stereo remix, the instrumental backing tracks, and live versions of several songs. As a good starting point for the Beach Boys' music in general, I would recommend this budget-priced three-CD set, which has a surprisingly good selection of their material on it. The YouTube drum tutorial I excerpted a few seconds of to show a shuffle beat is here. Transcript We're still in the run of episodes that deal with the LA pop music scene -- though next week we're going to move away from LA, while still dealing with a lot of the people who would play a part in that scene. But today we're hitting something that requires a bit of explanation. Most artists covered in this podcast get one or at the most two episodes. Some get slightly more -- the major artists who are present for many revolutions in music, or who have particularly important careers, like Fats Domino or the Supremes. And then there are a few very major artists who get a lot more. The Beatles, for example, are going to get eight in total, plus there will be episodes on some of their solo careers. Elvis has had six, and will get one more wrap-up episode. This is the third Beach Boys episode, and there are going to be three more after this, because the Beach Boys were one of the most important acts of the decade. But normally, I limit major acts to one episode per calendar year of their career. This means that they will average at most one episode every ten episodes, so while for example the episodes on "Mystery Train" and "Heartbreak Hotel" came close together, there was then a reasonable gap before another Elvis episode. This is not possible for the Beach Boys, because this episode and the next two Beach Boys ones all take place over an incredibly compressed timeline. In May 1966, they released an album that has consistently been voted the best album ever in polls of critics, and which is certainly one of the most influential even if one does not believe there is such a thing as a "best album ever". In October 1966 they released one of the most important singles ever -- a record that is again often considered the single best pop single of all time, and which again was massively influential. And then in July 1967 they released the single that was intended to be the lead-off single from their album Smile, an album that didn't get released until decades later, and which became a legend of rock music that was arguably more influential by *not* being released than most records that are released manage to be. And these are all very different stories, stories that need to be told separately. This means that episode one hundred and forty-two, episode one hundred and forty-six, and episode one hundred and fifty-three are all going to be about the Beach Boys. There will be one final later episode about them, too, but the next few months are going to be very dominated by them, so I apologise in advance for that if that's not something you're interested in. Though it also means that with luck some of these episodes will be closer to the shorter length of podcast I prefer rather than the ninety-minute mammoths we've had recently. Though I'm afraid this is another long one. When we left the Beach Boys, we'd just heard that Glen Campbell had temporarily replaced Brian Wilson on the road, after Wilson's mental health had finally been unable to take the strain of touring while also being the group's record producer, principal songwriter, and leader. To thank Campbell, who at this point was not at all well known in his own right, though he was a respected session guitarist and had released a few singles, Brian had co-written and produced "Guess I'm Dumb" for him, a track which prefigured the musical style that Wilson was going to use for the next year or so: [Excerpt: Glen Campbell, "Guess I'm Dumb"] It's worth looking at "Guess I'm Dumb" in a little detail, as it points the way forward to a lot of Wilson's songwriting over the next year. Firstly, of course, there are the lyrical themes of insecurity and of what might even be descriptions of mental illness in the first verse -- "the way I act don't seem like me, I'm not on top like I used to be". The lyrics are by Russ Titelman, but it's reasonable to assume that as with many of his collaborations, Brian brought in the initial idea. There's also a noticeable change in the melodic style compared to Wilson's earlier melodies. Up to this point, Wilson has mostly been writing what get called "horizontal" melody lines -- ones with very little movement, and small movements, often centred on a single note or two. There are exceptions of course, and plenty of them, but a typical Brian Wilson melody up to this point is the kind of thing where even I can hit the notes more or less OK -- [sings] "Well, she got her daddy's car and she cruised through the hamburger stand now". It's not quite a monotone, but it's within a tight range, and you don't have to move far from one note to another. But "Guess I'm Dumb" is incorporating the influence of Roy Orbison, and more obviously of Burt Bacharach, and it's *ludicrously* vertical, with gigantic leaps all over the place, in places that are not obvious. It requires the kind of precision that only a singer like Campbell can attain, to make it sound at all natural: [Excerpt: Glen Campbell, "Guess I'm Dumb"] Bacharach's influence is also noticeable in the way that the chord changes are very different from those that Wilson was using before. Up to this point, when Wilson wrote unusual chord changes, it was mostly patterns like "The Warmth of the Sun", which is wildly inventive, but mostly uses very simple triads and sevenths. Now he was starting to do things like the line "I guess I'm dumb but I don't care", which is sort of a tumbling set of inversions of the same chord that goes from a triad with the fifth in the bass, to a major sixth, to a minor eleventh, to a minor seventh. Part of the reason that Brian could start using these more complex voicings was that he was also moving away from using just the standard guitar/bass/drums lineup, sometimes with keyboards and saxophone, which had been used on almost every Beach Boys track to this point. Instead, as well as the influence of Bacharach, Wilson was also being influenced by Jack Nitzsche's arrangements for Phil Spector's records, and in particular by the way Nitzsche would double instruments, and have, say, a harpsichord and a piano play the same line, to create a timbre that was different from either individual instrument. But where Nitzsche and Spector used the technique along with a lot of reverb and overdubbing to create a wall of sound which was oppressive and overwhelming, and which obliterated the sounds of the individual instruments, Wilson used the same instrumentalists, the Wrecking Crew, to create something far more delicate: [Excerpt: Glen Campbell, "Guess I'm Dumb (instrumental and backing vocals)"] Campbell does such a good job on "Guess I'm Dumb" that one has to wonder what would  have happened if he'd remained with the Beach Boys. But Campbell had of course not been able to join the group permanently -- he had his own career to attend to, and that would soon take off in a big way, though he would keep playing on the Beach Boys' records for a while yet as a member of the Wrecking Crew. But Brian Wilson was still not well enough to tour. In fact, as he explained to the rest of the group, he never intended to tour again -- and he wouldn't be a regular live performer for another twelve years. At first the group were terrified -- they thought he was talking about quitting the group, or the group splitting up altogether. But Brian had a different plan. From that point on, there were two subtly different lineups of the group. In the studio, Brian would sing his parts as always, but the group would get a permanent replacement for him on tour -- someone who could replace him on stage. While the group was on tour, Brian would use the time to write songs and to record backing tracks. He'd already started using the Wrecking Crew to add a bit of additional musical colour to some of the group's records, but from this point on, he'd use them to record the whole track, maybe getting Carl to add a bit of guitar as well if he happened to be around, but otherwise just using the group to provide vocals. It's important to note that this *was* a big change. A lot of general music history sources will say things like "the Beach Boys never played on their own records", and this is taken as fact by people who haven't investigated further. In fact, the basic tracks for all their early hits were performed by the group themselves -- "Surfin'", "Surfin' Safari", "409", "Surfer Girl", "Little Deuce Coupe", "Don't Worry Baby" and many more were entirely performed by the Beach Boys, while others like "I Get Around" featured the group with a couple of additional musicians augmenting them. The idea that the group never played on their records comes entirely from their recordings from 1965 and 66, and even there often Carl would overdub a guitar part. And at this point, the Beach Boys were still playing on the majority of their recordings, even on sophisticated-sounding records like "She Knows Me Too Well", which is entirely a group performance other than Brian's friend, Russ Titelman, the co-writer of "Guess I'm Dumb", adding some percussion by hitting a microphone stand with a screwdriver: [Excerpt: The Beach Boys, "She Knows Me Too Well"] So the plan to replace the group's instrumental performances in the studio was actually a bigger change than it might seem. But an even bigger change was the live performances, which of course required the group bringing in a permanent live replacement for Brian. They'd already tried this once before, when he'd quit the road for a while and they'd brought Al Jardine back in, but David Marks quitting had forced him back on stage. Now they needed someone to take his place for good. They phoned up their friend Bruce Johnston to see if he knew anyone, and after suggesting a couple of names that didn't work out, he volunteered his own services, and as of this recording he's spent more than fifty years in the band (he quit for a few years in the mid-seventies, but came back). We've seen Johnston turn up several times already, most notably in the episode on "LSD-25", where he was one of the musicians on the track we looked at, but for those of you who don't remember those episodes, he was pretty much *everywhere* in California music in the late fifties and early sixties. He had been in a band at school with Phil Spector and Sandy Nelson, and another band with Jan and Dean, and he'd played on Nelson's "Teen Beat", produced by Art Laboe: [Excerpt: Sandy Nelson, "Teen Beat"] He'd been in the house band at those shows Laboe put on at El Monte stadium we talked about a couple of episodes back, he'd been a witness to John Dolphin's murder, he'd been a record producer for Bob Keane, where he'd written and produced songs for Ron Holden, the man who had introduced "Louie Louie" to Seattle: [Excerpt: Ron Holden, "Gee But I'm Lonesome"] He'd written "The Tender Touch" for Richard Berry's backing group The Pharaos, with Berry singing backing vocals on this one: [Excerpt: The Pharaos, "The Tender Touch"] He'd helped Bob Keane compile Ritchie Valens' first posthumous album, he'd played on "LSD-25" and "Moon Dawg" by the Gamblers: [Excerpt: The Gamblers, "Moon Dawg"] He'd arranged and produced the top ten hit “Those Oldies but Goodies (Remind Me of You)” for Little Caesar and the Romans: [Excerpt Little Caesar and the Romans, "Those Oldies but Goodies (Remind Me of You)"] Basically, wherever you looked in the LA music scene in the early sixties, there was Bruce Johnston somewhere in the background. But in particular, he was suitable for the Beach Boys because he had a lot of experience in making music that sounded more than a little like theirs. He'd made cheap surf records as the Bruce Johnston Surfing Band: [Excerpt: Bruce Johnston, "The Hamptons"] And with his long-time friend and creative partner Terry Melcher he had, as well as working on several Paul Revere and the Raiders records, also recorded hit Beach Boys soundalikes both as their own duo, Bruce and Terry: [Excerpt: Bruce and Terry, "Summer Means Fun"] and under the name of a real group that Melcher had signed, but who don't seem to have sung much on their own big hit, the Rip Chords: [Excerpt: The Rip Chords, "Hey Little Cobra"] Johnston fit in well with the band, though he wasn't a bass player before joining, and had to be taught the parts by Carl and Al. But he's probably the technically strongest musician in the band, and while he would later switch to playing keyboards on stage, he was quickly able to get up to speed on the bass well enough to play the parts that were needed. He also wasn't quite as strong a falsetto singer as Brian Wilson, as can be heard by listening to this live recording of the group singing "I Get Around" in 1966: [Excerpt: The Beach Boys, "I Get Around (live 1966)"] Johnston is actually an excellent singer -- and can still hit the high notes today. He sings the extremely high falsetto part on "Fun Fun Fun" at the end of every Beach Boys show. But his falsetto was thinner than Wilson's, and he also has a distinctive voice which can be picked out from the blend in a way that none of the other Beach Boys' voices could -- the Wilson brothers and Mike Love all have a strong family resemblance, and Al Jardine always sounded spookily close to them. This meant that increasingly, the band would rearrange the vocal parts on stage, with Carl or Al taking the part that Brian had taken in the studio. Which meant that if, say, Al sang Brian's high part, Carl would have to move up to sing the part that Al had been singing, and then Bruce would slot in singing the part Carl had sung in the studio. This is a bigger difference than it sounds, and it meant that there was now a need for someone to work out live arrangements that were different from the arrangements on the records -- someone had to reassign the vocal parts, and also work out how to play songs that had been performed by maybe eighteen session musicians playing French horns and accordions and vibraphones with a standard rock-band lineup without it sounding too different from the record. Carl Wilson, still only eighteen when Brian retired from the road, stepped into that role, and would become the de facto musical director of the Beach Boys on stage for most of the next thirty years, to the point that many of the group's contracts for live performances at this point specified that the promoter was getting "Carl Wilson and four other musicians". This was a major change to the group's dynamics. Up to this point, they had been a group with a leader -- Brian -- and a frontman -- Mike, and three other members. Now they were a more democratic group on stage, and more of a dictatorship in the studio. This was, as you can imagine, not a stable situation, and was one that would not last long. But at first, this plan seemed to go very, very well. The first album to come out of this new hybrid way of working, The Beach Boys Today!, was started before Brian retired from touring, and some of the songs on it were still mostly or solely performed by the group, but as we heard with "She Knows Me Too Well" earlier, the music was still more sophisticated than on previous records, and this can be heard on songs like "When I Grow Up to Be a Man", where the only session musician is the harmonica player, with everything else played by the group: [Excerpt: The Beach Boys, "When I Grow Up to Be a Man"] But the newer sophistication really shows up on songs like "Kiss Me Baby", where most of the instrumentation is provided by the Wrecking Crew -- though Carl and Brian both play on the track -- and so there are saxophones, vibraphones, French horn, cor anglais, and multiple layers of twelve-string guitar: [Excerpt: The Beach Boys, "Kiss Me Baby"] Today had several hit singles on it -- "Dance, Dance, Dance", "When I Grow Up to be a Man", and their cover version of Bobby Freeman's "Do You Wanna Dance?" all charted -- but the big hit song on the album actually didn't become a hit in that version. "Help Me Ronda" was a piece of album filler with a harmonica part played by Billy Lee Riley, and was one of Al Jardine's first lead vocals on a Beach Boys record -- he'd only previously sung lead on the song "Christmas Day" on their Christmas album: [Excerpt: The Beach Boys, "Help Me Ronda"] While the song was only intended as album filler, other people saw the commercial potential in the song. Bruce Johnston was at this time still signed to Columbia records as an artist, and wasn't yet singing on Beach Boys records, and he recorded a version of the song with Terry Melcher as a potential single: [Excerpt: Bruce and Terry, "Help Me Rhonda"] But on seeing the reaction to the song, Brian decided to rerecord it as a single. Unfortunately, Murry Wilson turned up to the session. Murry had been fired as the group's manager by his sons the previous year, though he still owned the publishing company that published their songs. In the meantime, he'd decided to show his family who the real talent behind the group was by taking on another group of teenagers and managing and producing them. The Sunrays had a couple of minor hits, like "I Live for the Sun": [Excerpt: The Sunrays, "I Live for the Sun"] But nothing made the US top forty, and by this point it was clear, though not in the way that Murry hoped, who the real talent behind the group *actually* was. But he turned up to the recording session, with his wife in tow, and started trying to produce it: [Excerpt: Beach Boys and Murry Wilson "Help Me Rhonda" sessions] It ended up with Brian physically trying to move his drunk father away from the control panel in the studio, and having a heartbreaking conversation with him, where the twenty-two-year-old who is recovering from a nervous breakdown only a few months earlier sounds calmer, healthier, and more mature than his forty-seven-year-old father: [Excerpt: Beach Boys and Murry Wilson, "Help Me Rhonda" sessions] Knowing that this was the family dynamic helps make the comedy filler track on the next album, "I'm Bugged at My Old Man", seem rather less of a joke than it otherwise would: [Excerpt: The Beach Boys, "I'm Bugged at My Old Man"] But with Murry out of the way, the group did eventually complete recording "Help Me Rhonda" (and for those of you reading this as a blog post rather than listening to the podcast, yes they did spell it two different ways for the two different versions), and it became the group's second number one hit: [Excerpt: The Beach Boys, "Help Me, Rhonda"] As well as Murry Wilson, though, another figure was in the control room then -- Loren Daro (who at the time went by his birth surname, but I'm going to refer to him throughout by the name he chose).  You can hear, on the recording, Brian Wilson asking Daro if he could "turn him on" -- slang that was at that point not widespread enough for Wilson's parents to understand the meaning. Daro was an agent working for the William Morris Agency, and he was part of a circle of young, hip, people who were taking drugs, investigating mysticism, and exploring new spiritual ideas. His circle included the Byrds -- Daro, like Roger McGuinn, later became a follower of Subud and changed his name as a result -- as well as people like the songwriter and keyboard player Van Dyke Parks, who will become a big part of this story in subsequent episodes, and Stephen Stills, who will also be turning up again. Daro had introduced Brian to cannabis, in 1964, and in early 1965 he gave Brian acid for the first time -- one hundred and twenty-five micrograms of pure Owsley LSD-25. Now, we're going to be looking at acid culture quite a lot in the next few months, as we get through 1966 and 1967, and I'll have a lot more to say about it, but what I will say is that even the biggest proponents of psychedelic drug use tend not to suggest that it is a good idea to give large doses of LSD in an uncontrolled setting to young men recovering from a nervous breakdown. Daro later described Wilson's experience as "ego death" -- a topic we will come to in a future episode, and not considered entirely negative -- and "a beautiful thing". But he has also talked about how Wilson was so terrified by his hallucinations that he ran into the bedroom, locked the door, and hid his head under a pillow for two hours, which doesn't sound so beautiful to me. Apparently after those two hours, he came out of the bedroom, said "Well, that's enough of that", and was back to normal. After that first trip, Wilson wrote a piece of music inspired by his psychedelic experience. A piece which starts like this, with an orchestral introduction very different from anything else the group had released as a single: [Excerpt: The Beach Boys, "California Girls"] Of course, when Mike Love added the lyrics to the song, it became about far more earthly and sensual concerns: [Excerpt: The Beach Boys, "California Girls"] But leaving the lyrics aside for a second, it's interesting to look at "California Girls" musically to see what Wilson's idea of psychedelic music -- by which I mean specifically music inspired by the use of psychedelic drugs, since at this point there was no codified genre known as psychedelic music or psychedelia -- actually was. So, first, Wilson has said repeatedly that the song was specifically inspired by "Jesu, Joy of Man's Desiring" by Bach: [Excerpt: Bach, "Jesu, Joy of Man's Desiring"] And it's odd, because I see no real structural or musical resemblance between the two pieces that I can put my finger on, but at the same time I can totally see what he means. Normally at this point I'd say "this change here in this song relates to this change there in that song", but there's not much of that kind of thing here -- but I still. as soon as I read Wilson saying that for the first time, more than twenty years ago, thought "OK, that makes sense". There are a few similarities, though. Bach's piece is based around triplets, and they made Wilson think of a shuffle beat. If you remember *way* back in the second episode of the podcast, I talked about how one of the standard shuffle beats is to play triplets in four-four time. I'm going to excerpt a bit of recording from a YouTube drum tutorial (which I'll link in the liner notes) showing that kind of shuffle: [Excerpt: "3 Sweet Triplet Fills For Halftime Shuffles & Swung Grooves- Drum Lesson" , from https://www.youtube.com/watch?v=2CwlSaQZLkY ] Now, while Bach's piece is in waltz time, I hope you can hear how the DA-da-da DA-da-da in Bach's piece may have made Wilson think of that kind of shuffle rhythm. Bach's piece also has a lot of emphasis of the first, fifth, and sixth notes of the scale -- which is fairly common, and not something particularly distinctive about the piece -- and those are the notes that make up the bass riff that Wilson introduces early in the song: [Excerpt: The Beach Boys, "California Girls (track)"] That bass riff, of course, is a famous one. Those of you who were listening to the very earliest episodes of the podcast might remember it from the intros to many, many, Ink Spots records: [Excerpt: The Ink Spots, "We Three (My Echo, My Shadow, and Me)"] But the association of that bassline to most people's ears would be Western music, particularly the kind of music that was in Western films in the thirties and forties. You hear something similar in "The Trail of the Lonesome Pine", as performed by Laurel and Hardy in their 1937 film Way Out West: [Excerpt: Laurel and Hardy, "The Trail of the Lonesome Pine"] But it's most associated with the song "Tumbling Tumbleweeds", first recorded in 1934 by the Western group Sons of the Pioneers, but more famous in their 1946 rerecording, made after the Ink Spots' success, where the part becomes more prominent: [Excerpt: The Sons of the Pioneers, "Tumbling Tumbleweeds"] That song was a standard of the Western genre, and by 1965 had been covered by everyone from Gene Autry to the Supremes, Bob Wills to Johnnie Ray, and it would also end up covered by several musicians in the LA pop music scene over the next few years, including Michael Nesmith and Curt Boettcher, both people part of the same general scene as the Beach Boys. The other notable thing about "California Girls" is that it's one of the first times that Wilson was able to use multi-tracking to its full effect. The vocal parts were recorded on an eight-track machine, meaning that Wilson could triple-track both Mike Love's lead vocal and the group's backing vocals. With Johnston now in the group -- "California Girls" was his first recording session with them -- that meant that on the record there were eighteen voices singing, leading to some truly staggering harmonies: [Excerpt: The Beach Boys, "California Girls (Stack-O-Vocals)"] So, that's what the psychedelic experience meant to Brian Wilson, at least -- Bach, orchestral influences, using the recording studio to create thicker vocal harmony parts, and the old West. Keep that in the back of your mind for the present, but it'll be something to remember in eleven episodes' time. "California Girls" was, of course, another massive hit, reaching number three on the charts. And while some Beach Boys fans see the album it was included on, Summer Days... And Summer Nights!, as something of a step backward from the sophistication of Today!, this is a relative thing. It's very much of a part with the music on the earlier album, and has many wonderful moments, with songs like "Let Him Run Wild" among the group's very best. But it was their next studio album that would cement the group's artistic reputation, and which would regularly be acclaimed by polls of critics as the greatest album of all time -- a somewhat meaningless claim; even more than there is no "first" anything in music, there's no "best" anything. The impulse to make what became Pet Sounds came, as Wilson has always told the story, from hearing the Beatles album Rubber Soul. Now, we've not yet covered Rubber Soul -- we're going to look at that, and at the album that came after it, in three episodes' time -- but it is often regarded as a major artistic leap forward for the Beatles. The record Wilson heard, though, wasn't the same record that most people nowadays think of when they think of Rubber Soul. Since the mid-eighties, the CD versions of the Beatles albums have (with one exception, Magical Mystery Tour) followed the tracklistings of the original British albums, as the Beatles and George Martin intended. But in the sixties, Capitol Records were eager to make as much money out of the Beatles as they could. The Beatles' albums generally had fourteen songs on, and often didn't include their singles. Capitol thought that ten or twelve songs per album was plenty, and didn't have any aversion to putting singles on albums. They took the three British albums Help!, Rubber Soul, and Revolver, plus the non-album "Day Tripper"/"We Can Work It Out" single and Ken Thorne's orchestral score for the Help! film, and turned that into four American albums -- Help!, Rubber Soul, Yesterday and Today, and Revolver. In the case of Rubber Soul, that meant that they removed four tracks from the British album -- "Drive My Car", "Nowhere Man", "What Goes On" and "If I Needed Someone" -- and added two songs from the British version of Help!, "I've Just Seen a Face" and "It's Only Love". Now, I've seen some people claim that this made the American Rubber Soul more of a folk-rock album -- I may even have said that myself in the past -- but that's not really true. Indeed, "Nowhere Man" and "If I Needed Someone" are two of the Beatles' most overtly folk-rock tracks, and both clearly show the influence of the Byrds. But what it did do was remove several of the more electric songs from the album, and replace them with acoustic ones: [Excerpt: The Beatles, "I've Just Seen a Face"] This, completely inadvertently, gave the American Rubber Soul lineup a greater sense of cohesion than the British one. Wilson later said "I listened to Rubber Soul, and I said, 'How could they possibly make an album where the songs all sound like they come from the same place?'" At other times he's described his shock at hearing "a whole album of only good songs" and similar phrases. Because up to this point, Wilson had always included filler tracks on albums, as pretty much everyone did in the early sixties. In the American pop music market, up to the mid sixties, albums were compilations of singles plus whatever random tracks happened to be lying around. And so for example in late 1963 the Beach Boys had released two albums less than a month apart -- Surfer Girl and Little Deuce Coupe. Given that Brian Wilson wrote or co-wrote all the group's original material, it wasn't all that surprising that Little Deuce Coupe had to include four songs that had been released on previous albums, including two that were on Surfer Girl from the previous month. It was the only way the group could keep up with the demand for new product from a company that had no concept of popular music as art. Other Beach Boys albums had included padding such as generic surf instrumentals, comedy sketches like "Cassius" Love vs. "Sonny" Wilson, and in the case of The Beach Boys Today!, a track titled "Bull Session With the Big Daddy", consisting of two minutes of random chatter with the photographer Earl Leaf while they all ate burgers: [Excerpt: The Beach Boys and Earl Leaf, "Bull Session With the Big Daddy"] This is not to attack the Beach Boys. This was a simple response to the commercial pressures of the marketplace. Between October 1962 and November 1965, they released eleven albums. That's about an album every three months, as well as a few non-album singles. And on top of that Brian had also been writing songs during that time for Jan & Dean, the Honeys, the Survivors and others, and had collaborated with Gary Usher and Roger Christian on songs for Muscle Beach Party, one of American International Pictures' series of Beach Party films. It's unsurprising that not everything produced on this industrial scale was a masterpiece. Indeed, the album the Beach Boys released directly before Pet Sounds could be argued to be an entire filler album. Many biographies say that Beach Boys Party! was recorded to buy Brian time to make Pet Sounds, but the timelines don't really match up on closer investigation. Beach Boys Party! was released in November 1965, before Brian ever heard Rubber Soul, which came out later, and before he started writing the material that became Pet Sounds. Beach Boys Party! was a solution to a simple problem -- the group were meant to deliver three albums that year, and they didn't have three albums worth of material. Some shows had been recorded for a possible live album, but they'd released a live album in 1964 and hadn't really changed their setlist very much in the interim. So instead, they made a live-in-the-studio album, with the conceit that it was recorded at a party the group were holding. Rather than the lush Wrecking Crew instrumentation they'd been using in recent months, everything was played on acoustic guitars, plus some bongos provided by Wrecking Crew drummer Hal Blaine and some harmonica from Billy Hinsche of the boy band Dino, Desi, and Billy, whose sister Carl Wilson was shortly to marry. The album included jokes and false starts, and was overlaid with crowd noise, to give the impression that you were listening to an actual party where a few people were sitting round with guitars and having fun. The album consisted of songs that the group liked and could play without rehearsal -- novelty hits from a few years earlier like "Alley Oop" and "Hully Gully", a few Beatles songs, and old favourites like the Everly Brothers hit "Devoted to You" -- in a rather lovely version with two-part harmony by Mike and Brian, which sounds much better in a remixed version released later without the party-noise overdubs: [Excerpt: The Beach Boys, "Devoted to You (remix)"] But the song that defined the album, which became a massive hit, and which became an albatross around the band's neck about which some of them would complain for a long time to come, didn't even have one of the Beach Boys singing lead. As we discussed back in the episode on "Surf City", by this point Jan and Dean were recording their album "Folk 'n' Roll", their attempt at jumping on the folk-rock bandwagon, which included the truly awful "The Universal Coward", a right-wing answer song  to "The Universal Soldier" released as a Jan Berry solo single: [Excerpt: Jan Berry, "The Universal Coward"] Dean Torrence was by this point getting sick of working with Berry, and was also deeply unimpressed with the album they were making, so he popped out of the studio for a while to go and visit his friends in the Beach Boys, who were recording nearby. He came in during the Party sessions, and everyone was suggesting songs to perform, and asked Dean to suggest something. He remembered an old doo-wop song that Jan and Dean had recorded a cover version of, and suggested that. The group had Dean sing lead, and ran through a sloppy version of it, where none of them could remember the words properly: [Excerpt: The Beach Boys, "Barbara Ann"] And rather incredibly, that became one of the biggest hits the group ever had, making number two on the Billboard chart (and number one on other industry charts like Cashbox), number three in the UK, and becoming a song that the group had to perform at almost every live show they ever did, together or separately, for at least the next fifty-seven years. But meanwhile, Brian had been working on other material. He had not yet had his idea for an album made up entirely of good songs, but he had been experimenting in the studio. He'd worked on a handful of tracks which had pointed in new directions. One was a single, "The Little Girl I Once Knew": [Excerpt: The Beach Boys, "The Little Girl I Once Knew"] John Lennon gave that record a very favourable review, saying "This is the greatest! Turn it up, turn it right up. It's GOT to be a hit. It's the greatest record I've heard for weeks. It's fantastic." But the record only made number twenty -- a perfectly respectable chart placing, but nowhere near as good as the group's recent run of hits -- in part because its stop-start nature meant that the record had "dead air" -- moments of silence -- which made DJs avoid playing it, because they believed that dead air, even only a second of it here and there, would make people tune to another station. Another track that Brian had been working on was an old folk song suggested by Alan Jardine. Jardine had always been something of a folkie, of the Kingston Trio variety, and he had suggested that the group might record the old song "The Wreck of the John B", which the Kingston Trio had recorded. The Trio's version in turn had been inspired by the Weavers' version of the song from 1950: [Excerpt: The Weavers, "The Wreck of the John B"] Brian had at first not been impressed, but Jardine had fiddled with the chord sequence slightly, adding in a minor chord to make the song slightly more interesting, and Brian had agreed to record the track, though he left the instrumental without vocals for several months: [Excerpt: The Beach Boys, "Sloop John B (instrumental)"] The track was eventually finished and released as a single, and unlike "The Little Girl I Once Knew" it was a big enough hit that it was included on the next album, though several people have said it doesn't fit. Lyrically, it definitely doesn't, but musically, it's very much of a piece with the other songs on what became Pet Sounds: [Excerpt: The Beach Boys, "Sloop John B"] But while Wilson was able to create music by himself, he wasn't confident about his ability as a lyricist. Now, he's not a bad lyricist by any means -- he's written several extremely good lyrics by himself -- but Brian Wilson is not a particularly articulate or verbal person, and he wanted someone who could write lyrics as crafted as his music, but which would express the ideas he was trying to convey. He didn't think he could do it himself, and for whatever reason he didn't want to work with Mike Love, who had co-written the majority of his recent songs, or with any of his other collaborators. He did write one song with Terry Sachen, the Beach Boys' road manager at the time, which dealt obliquely with those acid-induced concepts of "ego death": [Excerpt: The Beach Boys, "Hang on to Your Ego"] But while the group recorded that song, Mike Love objected vociferously to the lyrics. While Love did try cannabis a few times in the late sixties and early seventies, he's always been generally opposed to the use of illegal drugs, and certainly didn't want the group to be making records that promoted their use -- though I would personally argue that "Hang on to Your Ego" is at best deeply ambiguous about the prospect of ego death.  Love rewrote some of the lyrics, changing the title to "I Know There's an Answer", though as with all such bowdlerisation efforts he inadvertently left in some of the drug references: [Excerpt: The Beach Boys, "I Know There's an Answer"] But Wilson wasn't going to rely on Sachen for all the lyrics. Instead he turned to Tony Asher. Asher was an advertising executive, who Wilson probably met through Loren Daro -- there is some confusion over the timeline of their meeting, with some sources saying they'd first met in 1963 and that Asher had introduced Wilson to Daro, but others saying that the introductions went the other way, and that Daro introduced Asher to Wilson in 1965. But Asher and Daro had been friends for a long time, and so Wilson and Asher were definitely orbiting in the same circles. The most common version of the story seems to be that Asher was working in Western Studios, where he was recording a jingle - the advertising agency had him writing jingles because he was an amateur songwriter, and as he later put it nobody else at the agency knew the difference between E flat and A flat. Wilson was also working in the studio complex, and Wilson dragged Asher in to listen to some of the demos he was recording -- at that time Wilson was in the habit of inviting anyone who was around to listen to his works in progress. Asher chatted with him for a while, and thought nothing of it, until he got a phone call at work a few weeks later from Brian Wilson, suggesting the two write together. Wilson was impressed with Asher, who he thought of as very verbal and very intelligent, but Asher was less impressed with Wilson. He has softened his statements in recent decades, but in the early seventies he would describe Wilson as "a genius musician but an amateur human being", and sharply criticise his taste in films and literature, and his relationship with his wife. This attitude seems at least in part to have been shared by a lot of the people that Wilson was meeting and becoming influenced by. One of the things that is very noticeable about Wilson is that he has no filters at all, and that makes his music some of the most honest music ever recorded. But that same honesty also meant that he could never be cool or hip. He was -- and remains -- enthusiastic about the things he likes, and he likes things that speak to the person he is, not things that fit some idea of what the in crowd like. And the person Brian Wilson is is a man born in 1942, brought up in a middle-class suburban white family in California, and his tastes are the tastes one would expect from that background. And those tastes were not the tastes of the hipsters and scenesters who were starting to become part of his circle at the time. And so there's a thinly-veiled contempt in the way a lot of those people talked about Wilson, particularly in the late sixties and early seventies. Wilson, meanwhile, was desperate for their approval, and trying hard to fit in, but not quite managing it. Again, Asher has softened his statements more recently, and I don't want to sound too harsh about Asher -- both men were in their twenties, and still  trying to find their place in the world, and I wouldn't want to hold anyone's opinions from their twenties against them decades later. But that was the dynamic that existed between them. Asher saw himself as something of a sophisticate, and Wilson as something of a hick in contrast, but a hick who unlike him had created a string of massive hit records. And Asher did, always, respect Wilson's musical abilities. And Wilson in turn looked up to Asher, even while remaining the dominant partner, because he respected Asher's verbal facility. Asher took a two-week sabbatical from his job at the advertising agency, and during those two weeks, he and Wilson collaborated on eight songs that would make up the backbone of the album that would become Pet Sounds. The first song the two worked on was a track that had originally been titled "In My Childhood". Wilson had already recorded the backing track for this, including the sounds of bicycle horns and bells to evoke the feel of being a child: [Excerpt: The Beach Boys, "You Still Believe in Me (instrumental track)"] The two men wrote a new lyric for the song, based around a theme that appears in many of Wilson's songs -- the inadequate man who is loved by a woman who is infinitely superior to him, who doesn't understand why he's loved, but is astonished by it. The song became "You Still Believe in Me": [Excerpt: The Beach Boys, "You Still Believe in Me"] That song also featured an instrumental contribution of sorts by Asher. Even though the main backing track had been recorded before the two started working together, Wilson came up with an idea for an intro for the song, which would require a particular piano sound. To get that sound, Wilson held down the keys on a piano, while Asher leaned into the piano and plucked the strings manually. The result, with Wilson singing over the top, sounds utterly lovely: [Excerpt: The Beach Boys, "You Still Believe in Me"] Note that I said that Wilson and Asher came up with new lyrics together. There has been some slight dispute about the way songwriting credits were apportioned to the songs. Generally the credits said that Wilson wrote all the music, while Asher and Wilson wrote the lyrics together, so Asher got twenty-five percent of the songwriting royalties and Wilson seventy-five percent. Asher, though, has said that there are some songs for which he wrote the whole lyric by himself, and that he also made some contributions to the music on some songs -- though he has always said that the majority of the musical contribution was Wilson's, and that most of the time the general theme of the lyric, at least, was suggested by Wilson. For the most part, Asher hasn't had a problem with that credit split, but he has often seemed aggrieved -- and to my mind justifiably -- about the song "Wouldn't it Be Nice". Asher wrote the whole lyric for the song, though inspired by conversations with Wilson, but accepted his customary fifty percent of the lyrical credit. The result became one of the big hits from the album: [Excerpt: The Beach Boys, "Wouldn't It Be Nice?"] But -- at least according to Mike Love, in the studio he added a single line to the song: [Excerpt: The Beach Boys, "Wouldn't it Be Nice?"] When Love sued Brian Wilson in 1994, over the credits to thirty-five songs, he included "Wouldn't it Be Nice" in the list because of that contribution. Love now gets a third of the songwriting royalties, taken proportionally from the other two writers. Which means that he gets a third of Wilson's share and a third of Asher's share. So Brian Wilson gets half the money, for writing all the music, Mike Love gets a third of the money, for writing "Good night baby, sleep tight baby", and Tony Asher gets a sixth of the money -- half as much as Love -- for writing all the rest of the lyric. Again, this is not any one individual doing anything wrong – most of the songs in the lawsuit were ones where Love wrote the entire lyric, or a substantial chunk of it, and because the lawsuit covered a lot of songs the same formula was applied to borderline cases like “Wouldn't it Be Nice” as it was to clearcut ones like “California Girls”, where nobody disputes Love's authorship of the whole lyric. It's just the result of a series of reasonable decisions, each one of which makes sense in isolation, but which has left Asher earning significantly less from one of the most successful songs he ever wrote in his career than he should have earned. The songs that Asher co-wrote with Wilson were all very much of a piece, both musically and lyrically. Pet Sounds really works as a whole album better than it does individual tracks, and while some of the claims made about it -- that it's a concept album, for example -- are clearly false, it does have a unity to it, with ideas coming back in different forms. For example, musically, almost every new song on the album contains a key change down a minor third at some point -- not the kind of thing where the listener consciously notices that an idea has been repeated, but definitely the kind of thing that makes a whole album hold together. It also differs from earlier Beach Boys albums in that the majority of the lead vocals are by Brian Wilson. Previously, Mike Love had been the dominant voice on Beach Boys records, with Brian as second lead and the other members taking few or none. Now Love only took two main lead vocals, and was the secondary lead on three more. Brian, on the other hand, took six primary lead vocals and two partial leads. The later claims by some people that this was a Brian Wilson solo album in all but name are exaggerations -- the group members did perform on almost all of the tracks -- but it is definitely much more of a personal, individual statement than the earlier albums had been. The epitome of this was "I Just Wasn't Made For These Times", which Asher wrote the lyrics for but which was definitely Brian's idea, rather than Asher's. [Excerpt: The Beach Boys, "I Just Wasn't Made For These Times"] That track also featured the first use on a Beach Boys record of the electro-theremin, an electronic instrument invented by session musician Paul Tanner, a former trombone player with the Glenn Miller band, who had created it to approximate the sound of a Theremin while being easier to play: [Excerpt: The Beach Boys, "I Just Wasn't Made For These Times"] That sound would turn up on future Beach Boys records... But the song that became the most lasting result of the Wilson/Asher collaboration was actually one that is nowhere near as personal as many of the other songs on the record, that didn't contain a lot of the musical hallmarks that unify the album, and that didn't have Brian Wilson singing lead. Of all the songs on the album, "God Only Knows" is the one that has the most of Tony Asher's fingerprints on it. Asher has spoken in the past about how when he and Wilson were writing, Asher's touchstones were old standards like "Stella By Starlight" and "How Deep is the Ocean?", and "God Only Knows" easily fits into that category. It's a crafted song rather than a deep personal expression, but the kind of craft that one would find in writers like the Gershwins, every note and syllable perfectly chosen: [Excerpt: The Beach Boys, "God Only Knows"] One of the things that is often wrongly said about the song is that it's the first pop song to have the word "God" in the title. It isn't, and indeed it isn't even the first pop song to be called "God Only Knows", as there was a song of that name recorded by the doo-wop group the Capris in 1954: [Excerpt: The Capris, "God Only Knows"] But what's definitely true is that Wilson, even though he was interested in creating spiritual music, and was holding prayer sessions with his brother Carl before vocal takes, was reluctant to include the word in the song at first, fearing it would harm radio play. He was probably justified in his fears -- a couple of years earlier he'd produced a record called "Pray for Surf" by the Honeys, a girl-group featuring his wife: [Excerpt: The Honeys, "Pray For Surf"] That record hadn't been played on the radio, in part because it was considered to be trivialising religion. But Asher eventually persuaded Wilson that it would be OK, saying "What do you think we should do instead? Say 'heck only knows'?" Asher's lyric was far more ambiguous than it may seem -- while it's on one level a straightforward love song, Asher has always pointed out that the protagonist never says that he loves the object of the song, just that he'll make her *believe* that he loves her. Coupled with the second verse, which could easily be read as a threat of suicide if the object leaves the singer, it would be very, very, easy to make the song into something that sounds like it was from the point of view of a narcissistic, manipulative, abuser. That ambiguity is also there in the music, which never settles in a strong sense of key. The song starts out with an A chord, which you'd expect to lead to the song being in A, but when the horn comes in, you get a D# note, which isn't in that key, and then when the verse starts, it starts on an inversion of a D chord, before giving you enough clues that by the end of the verse you're fairly sure you're in the key of E, but it never really confirms that: [Excerpt: The Beach Boys, "God Only Knows (instrumental)"] So this is an unsettling, ambiguous, song in many ways. But that's not how it sounds, nor how Brian at least intended it to sound. So why doesn't it sound that way? In large part it's down to the choice of lead vocalist. If Mike Love had sung this song, it might have sounded almost aggressive. Brian *did* sing it in early attempts at the track, and he doesn't sound quite right either -- his vocal attitude is just... not right: [Excerpt: The Beach Boys, "God Only Knows (Brian Wilson vocal)"] But eventually Brian hit on getting his younger brother Carl to sing lead. At this point Carl had sung very few leads on record -- there has been some dispute about who sang what, exactly,  because of the family resemblance which meant all the core band members could sound a little like each other, but it's generally considered that he had sung full leads on two album tracks -- "Pom Pom Play Girl" and "Girl Don't Tell Me" -- and partial leads on two other tracks, covers of "Louie Louie" and "Summertime Blues". At this point he wasn't really thought of as anything other than a backing vocalist, but his soft, gentle, performance on "God Only Knows" is one of the great performances: [Excerpt: The Beach Boys, "God Only Knows (vocals)"] The track was actually one of those that required a great deal of work in the studio to create the form which now seems inevitable. Early attempts at the recording included a quite awful saxophone solo: [Excerpt: The Beach Boys "God Only Knows (early version)"] And there were a lot of problems with the middle until session keyboard player Don Randi suggested the staccato break that would eventually be used: [Excerpt: The Beach Boys, "God Only Knows"] And similarly, the tag of the record was originally intended as a mass of harmony including all the Beach Boys, the Honeys, and Terry Melcher: [Excerpt: The Beach Boys, "God Only Knows (alternate version with a capella tag)"] Before Brian decided to strip it right back, and to have only three voices on the tag -- himself on the top and the bottom, and Bruce Johnston singing in the middle: [Excerpt: The Beach Boys, "God Only Knows"] When Pet Sounds came out, it was less successful in the US than hoped -- it became the first of the group's albums not to go gold on its release, and it only made number ten on the album charts. By any objective standards, this is still a success, but it was less successful than the record label had hoped, and was taken as a worrying sign. In the UK, though, it was a different matter. Up to this point, the Beach Boys had not had much commercial success in the UK, but recently Andrew Loog Oldham had become a fan, and had become the UK publisher of their original songs, and was interested in giving them the same kind of promotion that he'd given Phil Spector's records. Keith Moon of the Who was also a massive fan, and the Beach Boys had recently taken on Derek Taylor, with his strong British connections, as their publicist. Not only that, but Bruce Johnston's old friend Kim Fowley was now based in London and making waves there. So in May, in advance of a planned UK tour set for November that year, Bruce Johnston and Derek Taylor flew over to the UK to press the flesh and schmooze. Of all the group members, Johnston was the perfect choice to do this -- he's by far the most polished of them in terms of social interaction, and he was also the one who, other than Brian, had the least ambiguous feelings about the group's new direction, being wholeheartedly in favour of it. Johnston and Taylor met up with Keith Moon, Lennon and McCartney, and other pop luminaries, and played them the record. McCartney in particular was so impressed by Pet Sounds and especially "God Only Knows", that he wrote this, inspired by the song, and recorded it even before Pet Sounds' UK release at the end of June: [Excerpt: The Beatles, "Here, There, and Everywhere"] As a result of Johnston and Taylor's efforts, and the promotional work by Oldham and others, Pet Sounds reached number two on the UK album charts, and "God Only Knows" made number two on the singles charts. (In the US, it was the B-side to "Wouldn't it Be Nice", although it made the top forty on its own merits too). The Beach Boys displaced the Beatles in the readers' choice polls for best band in the NME in 1966, largely as a result of the album, and Melody Maker voted it joint best album of the year along with the Beatles' Revolver. The Beach Boys' commercial fortunes were slightly on the wane in the US, but they were becoming bigger than ever in the UK. But a big part of this was creating expectations around Brian Wilson in particular. Derek Taylor had picked up on a phrase that had been bandied around -- enough that Murry Wilson had used it to mock Brian in the awful "Help Me, Rhonda" sessions -- and was promoting it widely as a truism. Everyone was now agreed that Brian Wilson was a genius. And we'll see how that expectation plays out over the next few weeks.. [Excerpt: The Beach Boys, "Caroline, No"]

Ben takes a look at the lyrics of a Beach Boys classic. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

It's a party on this week's Catching A Wave!  We hear a trio of "party" themed tunes from Annette, The Surfrajettes and Los Straitjackets with The World Famous Pontani Sisters and Kaiser George.  We hear #5 and #4 in our Top 5 Countdown of YOUR favorite songs by The Beach Boys.  Beth Riley has a deep track from The Beach Boys as well in her Surf's Up: Beth's Beach Boys Break and we drop a coin in the Jammin' James Jukebox to hear our selection of the week (a song you may know by The Monkees but this band did it first).  Plus, we've got The Grip Weeds, La Luz, Little Kahuna, Black Flamingos, Supraphonics, Big Mick & The Curl, Southern Culture On The Skids, The B. Christopher Band, Twang Inspectors and The Surf Hermits all joining in on the party! Intro music bed: "Catch A Wave"- The Beach Boys   Big Mick & The Curl- "67 Impala" Black Flamingos- "Feathery" Little Kahuna- "Little Kahuna" Twang Inspectors- "Snails On Speed" The Surf Hermits- "Palaver In The Desert"   Trio of "Party" themed tunes: Annette- "Muscle Beach Party" The Surfrajettes- "Party Line" Los Straitjackets (with the World Famous Pontani Sisters & Kaiser George)- "Twist Party"   Surf's Up: Beth's Beach Boys Break: The Beach Boys- "A Casual Look" Follow "Surf's Up: Beth's Beach Boys Break" HERE   The B. Christopher Band- "Pool And A Pond" The Grip Weeds- "After The Sunrise" La Luz- "In The Country" Southern Culture On The Skids- "Run Baby Run"   Top 5 countdown of YOUR favorite songs by The Beach Boys: #5 The Beach Boys- "Don't Worry Baby" #4 The Beach Boys- "Surf's Up"   Jammin' James Jukebox selection of the week: The Astronauts- "Tomorrow's Gonna Be Another Day"   The Supraphonics- "Pedal Pusher"   Outro Music Bed:  Eddie Angel- "Mustang"

Huzzah, Lords & Ladies! This week we're taking a trip back to Ye Olde Taco times as we sit down and share some tasty TACOS EL TIO tacos with DAISY THE WASHING WELL WENCH, RICHARD TEACHOUT aka RICHARD THE PAUPER and SHAWN SHELLNUT aka VALIZAK The Adventure Trainer & The Tomato Guy at the Kansas City Renaissance Festival! Our guests tell us what we can expect out at the Ren Fest this year and we get to the bottom of the question: "Has anyone ever finished a Turkey Leg?" Dave brings up some fun Weekend Theme Ideas (Star Wars Weekend with Ewoks! Taco Swallowers!) and runs down lists of Fun and Saucy Renaissance Slang Words (Daggletails and Fopdoodles!) and Renaissance Era Foods! (Eels! Peacocks! And Swan! OH MY!) Shawn tells us about the emotional trauma of having tomatoes thrown at your head every day! Richard tells us what a Peasants Lunch is! In the TACO TICKER we discuss the new futuristic Taco Bell Drive Thru design that looks like a Taco bank! We also touch upon the new RUSTY TACO location opening up in Lawrence, Kansas and the new Tacoholics Restaurant opening up in Lee's Summit! And we try to unravel the MCDonalds McFlurry Fiasco! Why are all the McFlurry Machines breaking down? And why is the government stepping in?! Shawn also tells us about an amazing Taco Bell Cantina experience he had! ALL THIS AND: Taco Eating Renaissance Capes! Eating Tacos with the King! Dream Eating Taco Eating Destinations! The Secret Meaning Behind the Beach Boys song 'Don't Worry Baby'! In RANDOM TACO QUESTIONS OF THE WEEK, Daisy shows us the proper way to hold and eat a Taco! What topping should never be put on a Taco! AND What's the longest you've ever gone without eating a taco?! Step back in time with us this week to a simpler time when everyone wore tights, ate pigeons and mush and tacos were only the stuff of Renaissance dreams! Editor: MATT ALLEN. Music: SUNEATERS courtesy of Lotuspool Records.

It's been 6 years since Stan Walker released an album, and to make up for it he's about to release two.One is called Te Aroha Nui, an album named after his grandmother featuring some of his greatest hits and new songs all sung in te reo Maori, set to be released during Maori Language Week.  It includes single Tau Te Marire – a reworked te reo version of his massive hit Take it Easy. Stan has released this song in line with Waiata Anthems Week which kicks off tomorrow. He also has an upcoming soul and R&B album, which will include recently released single Don't Worry Baby.LISTEN ABOVE

Boom bow that's how you fix that. www.UPIHC.org Hot Goss 5:05 Jacinda Ardern 5:22 Allyson Felix 12:45 Five women to be minted on the Quarter 17:25 www.pacificislanderhealth.org 23:58 GEMZ Silk Sonic, Bruno Mars, Anderson .Paak- "Skate" 24:31 Durand Jones & The Indications, Aaron Frazer- "Ride or Die" 26:32 Aaron Frazer- "Lover Girl" 28:29 Snoh Aalegra- "Tangerine Dream" 30:56 Stan Walker, Celina Sharma- "Don't Worry Baby" 36:02  

Today, we take a close look at the latest guidelines from the Association of Anaesthetists of Great Britain and Ireland that address the provision of anaesthesia and sedation in breastfeeding patients. We discuss the author's recommendations for each of the 10 guidelines put forth in this latest publication. Feel free to email us at deepbreathspod@gmail.com if you have any questions, comments or suggestions. We love hearing from you!Thanks for listening, and happy studying.Resources for today's episode: Guideline on anaesthesia and sedation in breastfeeding women 2020: https://doi.org/10.1111/anae.15179  LactMed: https://www.ncbi.nlm.nih.gov/books/NBK501922/  Red Nose Co-sleeping Guidelines: https://rednose.org.au/article/Co-sleeping_with_your_baby  

Stream Stan's New Single "Don't Worry Baby feat. Celina Sharma" : https://open.spotify.com/track/6tRyCt9gs9dmkwnol4yCIP?si=8d3f2e3075024d9b See omnystudio.com/listener for privacy information.

The KISS Show!! With Gilbert Neal and Ken Ray Wilemon:   Wicked Lester - She (1972) Lips - Beck (1971?) The original version of “Beth”, obviously from a cassette. This band never released anything. Lips was born the night Criss's previous band Chelsea died.  While the material they would develop was similar to the material Chelsea had done, several later KISS songs were born in this period.  "I know you love complainin'..." Crazy Joe and the Variable Speed Band - Eugene (1981) Co-written and produced by Ace Frehley. "Crazy Joe" was actually Joe Renda, White Plains NY producer and recording studio owner linked to the local Ren-Vell Records and North Lake Sound studio. He is perhaps best remembered for...this..., but his roots extend back to early 60s garage rock. Gilbert Neal and Ken Ray Wilemon - Beth  Gene Simmons - Black Tongue (2004) Garbage. Utter trash.  Kiss - Bad Lovin' (1978) (“Dr. Love” demo) Peter Criss - Hooked On Rock and Roll (1978) Gilbert Neal and Ken Ray Wilemon - I Was Made For Loving You Kiss - Watchin' You (1972-73) Paul Stanley - Tracks Of My Tears (2021) Wicked Lester - Too Many Mondays (1972) Turn up the volume to hear at comparable volume. It speaks to how Kiss would have turned out if they hadn't decided on the gimmick we all know.  Gilbert Neal and Ken Ray Wilemon - Dr. Love   Potpourri featuring some bad Jan and Dean:   The Free Design - You Could Be Born Again (1968) Bernie Waldon - Bright Lights And Go-Go Girls (1968) Obituary: Bernard E. “Bernie” Waldon, age 77, passed away June 27, 2012, in Brooksville, Fla. He was born in Crawfordsville to Floyd and Agnes Waldon. He graduated from Crawfordsville High School and moved to Indianapolis in 1965. Bernie worked in radio for several years at WILO, WHOW and WIRE in Indianapolis, and WZIP in Cincinnati. He was a musician working with several Country and Bluegrass groups mainly the Indiana Band and Bluegrass Partners. He appeared on radio and television, was a guest on the Grand Ole Opry and Renfro Valley Barn Dance. Bernie retired from Emery Worldwide in 1977, prior to that he worked for Purolator Courier. Bernie was a private pilot and past president of the Indiana chapter of the Antique Airplane Association of which he was a national lifetime member. He also belonged to the Aircraft Owners and Pilots Associations, the Experimental Airplane Association and the Luscombe Association. He served eight years in the Indiana National Guard. Billy Dee Williams - A Taste Of Honey (1961) This was the first version of what would become a very popular war-horse for singers all over the world. Another trivia question! Who did it first? Lando California.  Jean DuShon - For Once In My Life (1966) This was the first version of what would become a very popular war-horse for singers all over the world. Another trivia question! Who did it first? Jean DuShon.    Jerry Jeff Walker - Mr. Bojangles (1968) This was the first version of what would become a very popular war-horse for singers all over the world. Another trivia question! Who did it first? Jerry Jeff Walker. He also wrote it.  Rod Rogers & The Swinging Strings - Beatle Crawl (1965) Tony Bruno - Rhoda Mendelbaum (1969) How I love Tony Bruno.  Gianfranco & Gian Piero Reverberi - Nel Cimitero Di Tucson (1968) From the movie "Django, Prepare a Coffin". Starring Terrence Hill.  The Jackson Five - Doctor My Eye (1973) Jan and Dean - Laurel and Hardy (1966-1969) In response to market forces, Jan and Dean decided to go all out and record a psychedelic album of their own. In the process, Jan got into a car crash that left him somewhat debilitated. The album was finished by 1969. While presented as a Jan and Dean album, Jan Berry (even though he wrote and produced the material) only played and sang on a few songs due to complications from his car accident. Dean Torrence, who by that time had become disillusioned with the duo's prospects, only appears on one song. Glen Campbell made some contributions to the sessions, and singer Tom Bahler performed lead vocals on several songs. Tom Bahler wrote "She's Out of My Life" for Frank Sinatra. He never sang it, but Michael Jackson did on Off The Wall. Bahler also wrote the Bobby Sherman hit "Julie, Do Ya Love Me". A song I wrote and sang in my mind for Julie Pawlowski of Emporium Avenue, West Seneca, NY, 14224. This song was co-written by Roger Christian, who co-wrote several songs for The Beach Boys, mostly about cars, including "Ballad of Ole' Betsy", "Car Crazy Cutie", "Cherry, Cherry Coupe", "Don't Worry Baby", "In the Parkin' Lot", "Little Deuce Coupe", "No-Go Showboat", "Shut Down", and "Spirit of America", all of them penned with Brian Wilson. And Roger Christian was from Buffalo, NY. We rule.  Jan and Dean - The Universal Coward (1965) You have to hear this to believe it.  Jan and Dean - Yesterday (1965) Kathy McCord - She's (I'm) Leaving Home (1970) Kathleen McCord was born to Bill and Ann McCord. Both of them were in the show business: Bill was a radio and television announcer at NBC, whilst Ann was a singer who sang backup on Perry Como's TV show and hit records like "Catch a Falling Star", "Round and Round" and "Magic Moments". She was introduced to Chip Taylor by her brother, Billy Vera (who had a big weepy hit with "If I Could Just Hold You Again") when she was 16 years old. She has something to do with Kiss. I forgot. 

Episode one hundred and twenty-eight of A History of Rock Music in Five Hundred Songs looks at "Mr. Tambourine Man" by the Byrds, and the start of LA folk-rock. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "I Got You Babe" by Sonny and Cher. 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/ Erratum The version of this originally uploaded got the date of the Dylan tour filmed for Don't Look Back wrong. I edited out the half-sentence in question when this was pointed out to me very shortly after uploading. Resources As usual, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode (with the exception of the early Gene Clark demo snippet, which I've not been able to find a longer version of). For information on Dylan and the song, I've mostly used these books: Bob Dylan: All The Songs by Phillipe Margotin and Jean-Michel Guesdon is a song-by-song look at every song Dylan ever wrote, as is Revolution in the Air, by Clinton Heylin. Heylin also wrote the most comprehensive and accurate biography of Dylan, Behind the Shades. I've also used Robert Shelton's No Direction Home, which is less accurate, but which is written by someone who knew Dylan. While for the Byrds, I relied mostly on Timeless Flight Revisited by Johnny Rogan, with some information from Chris Hillman's autobiography. This three-CD set is a reasonable way of getting most of the Byrds' important recordings, while this contains the pre-Byrds recordings the group members did with Jim Dickson. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we're going to take a look at one of the pivotal recordings in folk-rock music, a track which, though it was not by any means the first folk-rock record, came to define the subgenre in the minds of the listening public, and which by bringing together the disparate threads of influence from Bob Dylan, the Searchers, the Beatles, and the Beach Boys, manages to be arguably the record that defines early 1965. We're going to look at "Mr. Tambourine Man" by the Byrds: [Excerpt: The Byrds, "Mr. Tambourine Man"] Folk-rock as a genre was something that was bound to happen sooner rather than later. We've already seen how many of the British R&B bands that were becoming popular in the US were influenced by folk music, with records like "House of the Rising Sun" taking traditional folk songs and repurposing them for a rock idiom. And as soon as British bands started to have a big influence on American music, that would have to inspire a reassessment by American musicians of their own folk music. Because of course, while the British bands were inspired by rock and roll, they were all also coming from a skiffle tradition which saw Woody Guthrie, Lead Belly, Big Bill Broonzy, and the rest as being the people to emulate, and that would show up in their music. Most of the British bands came from the bluesier end of the folk tradition -- with the exception of the Liverpool bands, who pretty much all liked their Black music on the poppy side and their roots music to be more in a country vein -- but they were still all playing music which showed the clear influence of country and folk as well as blues. And that influence was particularly obvious to those American musicians who were suddenly interested in becoming rock and roll stars, but who had previously been folkies. Musicians like Gene Clark. Gene Clark was born in Missouri, and had formed a rock and roll group in his teens called Joe Meyers and the Sharks. According to many biographies, the Sharks put out a record of Clark's song "Blue Ribbons", but as far as I've been able to tell, this was Clark embellishing things a great deal -- the only evidence of this song that anyone has been able to find is a home recording from this time, of which a few seconds were used in a documentary on Clark: [Excerpt: Gene Clark, "Blue Ribbons"] After his period in the Sharks, Clark became a folk singer, starting out in a group called the Surf Riders. But in August 1963 he was spotted by the New Christy Minstrels, a fourteen-piece ultra-commercial folk group who had just released a big hit single, "Green Green", with a lead sung by one of their members, Barry McGuire: [Excerpt: The New Christy Minstrels, "Green Green"] Clark was hired to replace a departing member, and joined the group, who as well as McGuire at that time also included Larry Ramos, who would later go on to join The Association and sing joint lead on their big hit "Never My Love": [Excerpt: The Association, "Never My Love"] Clark was only in the New Christy Minstrels for a few months, but he appeared on several of their albums -- they recorded four albums during the months he was with the group, but there's some debate as to whether he appeared on all of them, as he may have missed some recording sessions when he had a cold. Clark didn't get much opportunity to sing lead on the records, but he was more prominent in live performances, and can be seen and heard in the many TV appearances the group did in late 1963: [Excerpt: The New Christy Minstrels, "Julianne"] But Clark was not a good fit for the group -- he didn't put himself forward very much, which meant he didn't get many lead vocals, which meant in turn that he seemed not to be pulling his weight. But the thing that really changed his mind came in late 1963, on tour in Canada, when he heard this: [Excerpt: The Beatles, "She Loves You"] Clark knew instantly that that was the kind of music he wanted to be making, and when "I Want to Hold Your Hand" came out in the US soon afterwards, it was the impetus that Clark needed in order to quit the group and move to California. There he visited the Troubadour club in Los Angeles, and saw another performer who had been in an ultra-commercial folk group until he had been bitten by the Beatle bug -- Roger McGuinn. One note here -- Roger McGuinn at this point used his birth name, but he changed it for religious reasons in 1967.  I've been unable to find out his views on his old name -- whether he considers it closer to a trans person's deadname which would be disrespectful to mention, or to something like Reg Dwight becoming Elton John or David Jones becoming David Bowie. As I presume everyone listening to this has access to a search engine and can find out his birth name if at all interested, I'll be using "Roger McGuinn" throughout this episode, and any other episodes that deal with him, at least until I find out for certain how he feels about the use of that name. McGuinn had grown up in Chicago, and become obsessed with the guitar after seeing Elvis on TV in 1956, but as rockabilly had waned in popularity he had moved into folk music, taking lessons from Frank Hamilton, a musician who had played in a group with Ramblin' Jack Elliot, and who would later go on to join a 1960s lineup of the Weavers. Hamilton taught McGuinn Lead Belly and Woody Guthrie songs, and taught him how to play the banjo. Hamilton also gave McGuinn an enthusiasm for the twelve-string guitar, an instrument that had been popular among folk musicians like Lead Belly, but which had largely fallen out of fashion. McGuinn became a regular in the audience at the Gate of Horn, a folk club owned by Albert Grossman, who would later become Bob Dylan's manager, and watched performers like Odetta and Josh White. He also built up his own small repertoire of songs by people like Ewan MacColl, which he would perform at coffee shops. At one of those coffee shops he was seen by a member of the Limeliters, one of the many Kingston Trio-alike groups that had come up during the folk boom. The Limeliters were after a guitarist to back them, and offered McGuinn the job. He turned it down at first, as he was still in school, but as it turned out the job was still open when he graduated, and so young McGuinn found himself straight out of school playing the Hollywood Bowl on a bill including Eartha Kitt. McGuinn only played with the Limeliters for six weeks, but in that short time he ended up playing on a top five album, as he was with them at the Ash Grove when they recorded their live album Tonight in Person: [Excerpt: The Limeliters, "Madeira, M'Dear"] After being sacked by the Limeliters, McGuinn spent a short while playing the clubs around LA, before being hired by another commercial folk group, the Chad Mitchell Trio, who like the Limeliters before them needed an accompanist. McGuinn wasn't particularly happy working with the trio, who in his telling regarded themselves as the stars and McGuinn very much as the hired help. He also didn't respect them as musicians, and thought they were little to do with folk music as he understood the term. Despite this, McGuinn stayed with the Chad Mitchell Trio for two and a half years, and played on two albums with them -- Mighty Day on Campus, and Live at the Bitter End: [Excerpt: The Chad Mitchell Trio, "The John Birch Society" ] McGuinn stuck it out with the Chad Mitchell trio until his twentieth birthday, and he was just about to accept an offer to join the New Christy Minstrels himself when he got a better one. Bobby Darin was in the audience at a Chad Mitchell Trio show, and approached McGuinn afterwards. Darin had started out in the music business as a songwriter, working with his friend Don Kirshner, but had had some success in the late fifties and early sixties as one of the interchangeable teen idol Bobbies who would appear on American Bandstand, with records like "Dream Lover" and "Splish Splash": [Excerpt: Bobby Darin, "Splish Splash"] But Darin had always been more musically adventurous than most of his contemporaries, and with his hit version of "Mack the Knife" he had successfully moved into the adult cabaret market. And like other singers breaking into that market, like Sam Cooke, he had decided to incorporate folk music into his act. He would do his big-band set, then there would be a fifteen-minute set of folk songs, backed just by guitar and stand-up bass. Darin wanted McGuinn to be his guitarist and backing vocalist for these folk sets, and offered to double what the Chad Mitchell Trio was paying him. Darin wasn't just impressed with McGuinn's musicianship -- he also liked his showmanship, which came mostly from McGuinn being bored and mildly disgusted with the music he was playing on stage. He would pull faces behind the Chad Mitchell Trio's back, the audience would laugh, and the trio would think the laughter was for them. For a while, McGuinn was happy playing with Darin, who he later talked about as being a mentor. But then Darin had some vocal problems and had to take some time off the road. However, he didn't drop McGuinn altogether -- rather, he gave him a job in the Brill Building, writing songs for Darin's publishing company. One of the songs he wrote there was "Beach Ball", co-written with Frank Gari. A knock-off of "Da Doo Ron Ron", retooled as a beach party song, the recording released as by the City Surfers apparently features McGuinn, Gari, Darin on drums and Terry Melcher on piano: [Excerpt: The City Surfers, "Beach Ball"] That wasn't a hit, but a cover version by Jimmy Hannan was a local hit in Melbourne, Australia: [Excerpt: Jimmy Hannan “Beach Ball”] That record is mostly notable for its backing vocalists, three brothers who would soon go on to become famous as the Bee Gees. Darin soon advised McGuinn that if he really wanted to become successful, he should become a rock and roll singer, and so McGuinn left Darin's employ and struck out as a solo performer, playing folk songs with a rock backbeat around Greenwich Village, before joining a Beatles tribute act playing clubs around New York. He was given further encouragement by Dion DiMucci, another late-fifties singer who like Darin was trying to make the transition to playing for adult crowds. DiMucci had been lead singer of Dion and the Belmonts, but had had more success as a solo act with records like "The Wanderer": [Excerpt: Dion, "The Wanderer"] Dion was insistent that McGuinn had something -- that he wasn't just imitating the Beatles, as he thought, but that he was doing something a little more original. Encouraged by Dion, McGuinn made his way west to LA, where he was playing the Troubadour supporting Roger Miller, when Gene Clark walked in. Clark saw McGuinn as a kindred spirit -- another folkie who'd had his musical world revolutionised by the Beatles -- and suggested that the two become a duo, performing in the style of Peter and Gordon, the British duo who'd recently had a big hit with "World Without Love", a song written for them by Paul McCartney: [Excerpt: Peter and Gordon, "World Without Love"] The duo act didn't last long though, because they were soon joined by a third singer, David Crosby. Crosby had grown up in LA -- his father, Floyd Crosby, was an award-winning cinematographer, who had won an Oscar for his work on Tabu: A Story of the South Seas, and a Golden Globe for High Noon, but is now best known for his wonderfully lurid work on a whole series of films starring Vincent Price, including The Pit and the Pendulum, House of Usher, Tales of Terror, and Comedy of Terrors. Like many children of privilege, David had been a spoiled child, and he had taken to burglary for kicks, and had impregnated a schoolfriend and then run off rather than take responsibility for the child. Travelling across the US as a way to escape the consequences of his actions, he had spent some time hanging out with musicians like Fred Neil, Paul Kantner, and Travis Edmondson, the latter of whom had recorded a version of Crosby's first song, "Cross the Plains": [Excerpt: Travis Edmondson, "Cross the Plains"] Edmondson had also introduced Crosby to cannabis, and Crosby soon took to smoking everything he could, even once smoking aspirin to see if he could get high from that. When he'd run out of money, Crosby, like Clark and McGuinn, had joined an ultra-commercial folk group. In Crosby's case it was Les Baxter's Balladeers, put together by the bandleader who was better known for his exotica recordings. While Crosby was in the Balladeers, they were recorded for an album called "Jack Linkletter Presents A Folk Festival", a compilation of live recordings hosted by the host of Hootenanny: [Excerpt: Les Baxter's Balladeers, "Ride Up"] It's possible that Crosby got the job with Baxter through his father's connections -- Baxter did the music for many films made by Roger Corman, the producer and director of those Vincent Price films. Either way, Crosby didn't last long in the Balladeers. After he left the group, he started performing solo sets, playing folk music but with a jazz tinge to it -- Crosby was already interested in pushing the boundaries of what chords and melodies could be used in folk. Crosby didn't go down particularly well with the folk-club crowds, but he did impress one man. Jim Dickson had got into the music industry more or less by accident -- he had seen the comedian Lord Buckley, a white man who did satirical routines in a hipsterish argot that owed more than a little to Black slang, and had been impressed by him. He had recorded Buckley with his own money, and had put out Buckley's first album Hipsters, Flipsters and Finger Poppin' Daddies, Knock Me Your Lobes on his own label, before selling the rights of the album to Elektra records: [Excerpt: Lord Buckley, "Friends, Romans, Countrymen"] Dickson had gone on to become a freelance producer, often getting his records put out by Elektra, making both jazz records with people like Red Mitchell: [Excerpt: Red Mitchell, "Jim's Blues"] And country, folk, and bluegrass records, with people like the Dillards, whose first few albums he produced: [Excerpt: The Dillards, "Duelling Banjos"] Dickson had also recently started up a publishing company, Tickson Music, with a partner, and the first song they had published had been written by a friend of Crosby's, Dino Valenti, with whom at one point Crosby had shared a houseboat: [Excerpt: Dino Valenti, "Get Together"] Unfortunately for Dickson, before that song became a big hit for the Youngbloods, he had had to sell the rights to it, to the Kingston Trio's managers, as Valenti had been arrested and needed bail money, and it was the only way to raise the funds required. Dickson liked Crosby's performance, and became his manager. Dickson had access to a recording studio, and started recording Crosby singing traditional songs and songs to which Dickson owned the copyright -- at this point Crosby wasn't writing much, and so Dickson got him to record material like "Get Together": [Excerpt: David Crosby, "Get Together"] Unfortunately for Crosby, Dickson's initial idea, to get him signed to Warner Brothers records as a solo artist using those recordings, didn't work out. But Gene Clark had seen Crosby perform live and thought he was impressive. He told McGuinn about him, and the three men soon hit it off -- they were able to sing three-part harmony together as soon as they met. ( This is one characteristic of Crosby that acquaintances often note -- he's a natural harmony singer, and is able to fit his voice into pre-existing groups of other singers very easily, and make it sound natural). Crosby introduced the pair to Dickson, who had a brainwave. These were folkies, but they didn't really sing like folkies -- they'd grown up on rock and roll, and they were all listening to the Beatles now. There was a gap in the market, between the Beatles and Peter, Paul, and Mary, for something with harmonies, a soft sound, and a social conscience, but a rock and roll beat. Something that was intelligent, but still fun, and which could appeal to the screaming teenage girls and to the college kids who were listening to Dylan. In Crosby, McGuinn, and Clark, Dickson thought he had found the people who could do just that. The group named themselves The Jet Set -- a name thought up by McGuinn, who loved flying and everything about the air, and which they also thought gave them a certain sophistication -- and their first demo recording, with all three of them on twelve-string guitars, shows the direction they were going in. "The Only Girl I Adore", written by McGuinn and Clark, has what I can only assume is the group trying for Liverpool accents and failing miserably, and call and response and "yeah yeah" vocals that are clearly meant to evoke the Beatles. It actually does a remarkably good job of evoking some of Paul McCartney's melodic style -- but the rhythm guitar is pure Don Everly: [Excerpt: The Jet Set, "The Only Girl I Adore"] The Jet Set jettisoned their folk instruments for good after watching A Hard Day's Night -- Roger McGuinn traded in his banjo and got an electric twelve-string Rickenbacker just like the one that George Harrison played, and they went all-in on the British Invasion sound, copying the Beatles but also the Searchers, whose jangly sound was perfect for the Rickenbacker, and who had the same kind of solid harmony sound the Jet Set were going for. Of course, if you're going to try to sound like the Beatles and the Searchers, you need a drummer, and McGuinn and Crosby were both acquainted with a young man who had been born Michael Dick, but who had understandably changed his name to Michael Clarke. He was only eighteen, and wasn't a particularly good drummer, but he did have one huge advantage, which is that he looked exactly like Brian Jones. So the Jet Set now had a full lineup -- Roger McGuinn on lead guitar, Gene Clark on rhythm guitar, David Crosby was learning bass, and Michael Clarke on drums. But that wasn't the lineup on their first recordings. Crosby was finding it difficult to learn the bass, and Michael Clarke wasn't yet very proficient on drums, so for what became their first record Dickson decided to bring in a professional rhythm section, hiring two of the Wrecking Crew, bass player Ray Pohlman and drummer Earl Palmer, to back the three singers, with McGuinn and Gene Clark on guitars: [Excerpt: The Beefeaters, "Please Let Me Love You"] That was put out on a one-single deal with Elektra Records, and Jim Dickson made the deal under the condition that it couldn't be released under the group's real name -- he wanted to test what kind of potential they had without spoiling their reputation. So instead of being put out as by the Jet Set, it was put out as by the Beefeaters -- the kind of fake British name that a lot of American bands were using at the time, to try and make themselves seem like they might be British. The record did nothing, but nobody was expecting it to do much, so they weren't particularly bothered. And anyway, there was another problem to deal with. David Crosby had been finding it difficult to play bass and sing -- this was one reason that he only sang, and didn't play, on the Beefeaters single. His bass playing was wooden and rigid, and he wasn't getting better. So it was decided that Crosby would just sing, and not play anything at all. As a result, the group needed a new bass player, and Dickson knew someone who he thought would fit the bill, despite him not being a bass player. Chris Hillman had become a professional musician in his teens, playing mandolin in a bluegrass group called the Scottsville Squirrel Barkers, who made one album of bluegrass standards for sale through supermarkets: [Excerpt: The Scottsville Squirrel Barkers, "Shady Grove"] Hillman had moved on to a group called the Golden State Boys, which featured two brothers, Vern and Rex Gosdin. The Golden State Boys had been signed to a management contract by Dickson, who had renamed the group the Hillmen after their mandolin player -- Hillman was very much in the background in the group, and Dickson believed that he would be given a little more confidence if he was pushed to the front. The Hillmen had recorded one album, which wasn't released until many years later, and which had featured Hillman singing lead on the Bob Dylan song "When the Ship Comes In": [Excerpt: The Hillmen, "When the Ship Comes In"] Hillman had gone on from there to join a bluegrass group managed by Randy Sparks, the same person who was in charge of the New Christy Minstrels, and who specialised in putting out ultra-commercialised versions of roots music for pop audiences. But Dickson knew that Hillman didn't like playing with that group, and would be interested in doing something very different, so even though Hillman didn't play bass, Dickson invited him to join the group. There was almost another lineup change at this point, as well. McGuinn and Gene Clark were getting sick of David Crosby's attitude -- Crosby was the most technically knowledgeable musician in the group, but was at this point not much of a songwriter. He was not at all shy about pointing out what he considered flaws in the songs that McGuinn and Clark were writing, but he wasn't producing anything better himself. Eventually McGuinn and Clark decided to kick Crosby out of the group altogether, but they reconsidered when Dickson told them that if Crosby went he was going too. As far as Dickson was concerned, the group needed Crosby's vocals, and that was an end of the matter. Crosby was back in the group, and all was forgotten. But there was another problem related to Crosby, as the Jet Set found out when they played their first gig, an unannounced spot at the Troubadour. The group had perfected their image, with their Beatles suits and pose of studied cool, but Crosby had never performed without an instrument before. He spent the gig prancing around the stage, trying to act like a rock star, wiggling his bottom in what he thought was a suggestive manner. It wasn't, and the audience found it hilarious. Crosby, who took himself very seriously at this point in time, felt humiliated, and decided that he needed to get an instrument to play. Obviously he couldn't go back to playing bass, so he did the only thing that seemed possible -- he started undermining Gene Clark's confidence as a player, telling him he was playing behind the beat. Clark -- who was actually a perfectly reasonable rhythm player -- was non-confrontational by nature and believed Crosby's criticisms. Soon he *was* playing behind the beat, because his confidence had been shaken. Crosby took over the rhythm guitar role, and from that point on it would be Gene Clark, not David Crosby, who would have to go on stage without an instrument. The Jet Set were still not getting very many gigs, but they were constantly in the studio, working on material. The most notable song they recorded in this period is "You Showed Me", a song written by Gene Clark and McGuinn, which would not see release at the time but which would later become a hit for both the Turtles and the Lightning Seeds: [Excerpt: The Jet Set, "You Showed Me"] Clark in particular was flourishing as a songwriter, and becoming a genuine talent. But Jim Dickson thought that the song that had the best chance of being the Jet Set's breakout hit wasn't one that they were writing themselves, but one that he'd heard Bob Dylan perform in concert, but which Dylan had not yet released himself. In 1964, Dylan was writing far more material than he could reasonably record, even given the fact that his albums at this point often took little more time to record than to listen to. One song he'd written but not yet put out on an album was "Mr. Tambourine Man". Dylan had written the song in April 1964, and started performing it live as early as May, when he was on a UK tour that would later be memorialised in D.A. Pennebaker's film Don't Look Back. That performance was later released in 2014 for copyright extension purposes on vinyl, in a limited run of a hundred copies. I *believe* this recording is from that: [Excerpt: Bob Dylan, "Mr. Tambourine Man (live Royal Festival Hall 1964)"] Jim Dickson remembered the song after seeing Dylan perform it live, and started pushing Witmark Music, Dylan's publishers, to send him a demo of the song. Dylan had recorded several demos, and the one that Witmark sent over was a version that was recorded with Ramblin' Jack Elliot singing harmony, recorded for Dylan's album Another Side of Bob Dylan, but left off the album as Elliot had been off key at points: [Excerpt: Bob Dylan and Ramblin' Jack Elliot, "Mr. Tambourine Man" (from Bootleg Series vol 7)] There have been all sorts of hypotheses about what "Mr. Tambourine Man" is really about. Robert Shelton, for example, suspects the song is inspired by Thomas de Quincey's Confessions of an Opium Eater. de Quincey uses a term for opium, "the dark idol", which is supposedly a translation of the Latin phrase "mater tenebrarum", which actually means "mother of darkness" (or mother of death or mother of gloom). Shelton believes that Dylan probably liked the sound of "mater tenebrarum" and turned it into "Mister Tambourine Man". Others have tried to find links to the Pied Piper of Hamelin, or claimed that Mr. Tambourine Man is actually Jesus. Dylan, on the other hand, had a much more prosaic explanation -- that Mr. Tambourine Man was a friend of his named Bruce Langhorne, who was prominent in the Greenwich Village folk scene. As well as being a guitarist, Langhorne was also a percussionist, and played a large Turkish frame drum, several feet in diameter, which looked and sounded quite like a massively oversized tambourine. Dylan got that image in his head and wrote a song about it. Sometimes a tambourine is just a tambourine. (Also, in a neat little coincidence, Dylan has acknowledged that he took the phrase “jingle jangle” from a routine by Jim Dickson's old client, Lord Buckley.) Dickson was convinced that "Mr. Tambourine Man" would be a massive hit, but the group didn't like it. Gene Clark, who was at this point the group's only lead singer, didn't think it fit his voice or had anything in common with the songs he was writing. Roger McGuinn was nervous about doing a Dylan song, because he'd played at the same Greenwich Village clubs as Dylan when both were starting out -- he had felt a rivalry with Dylan then, and wasn't entirely comfortable with inviting comparisons with someone who had grown so much as an artist while McGuinn was still very much at the beginning of his career. And David Crosby simply didn't think that such a long, wordy, song had a chance of being a hit. So Dickson started to manipulate the group. First, since Clark didn't like singing the song, he gave the lead to McGuinn. The song now had one champion in the band, and McGuinn was also a good choice as he had a hypothesis that there was a space for a vocal sound that split the difference between John Lennon and Bob Dylan, and was trying to make himself sound like that -- not realising that Lennon himself was busily working on making his voice more Dylanesque at the same time. But that still wasn't enough -- even after Dickson worked with the group to cut the song down so it was only two choruses and one verse, and so came in under two minutes, rather than the five minutes that Dylan's original version lasted, Crosby in particular was still agitating that the group should just drop the song. So Dickson decided to bring in Dylan himself. Dickson was acquainted with Dylan, and told him that he was managing a Beatles-style group who were doing one of Dylan's songs, and invited him to come along to a rehearsal. Dylan came, partly out of politeness, but also because Dylan was as aware as anyone of the commercial realities of the music business. Dylan was making most of his money at this point as a songwriter, from having other people perform his songs, and he was well aware that the Beatles had changed what hit records sounded like. If the kids were listening to beat groups instead of to Peter, Paul, and Mary, then Dylan's continued commercial success relied on him getting beat groups to perform his songs. So he agreed to come and hear Jim Dickson's beat group, and see what he thought of what they were doing with his song. Of course, once the group realised that Dylan was going to be coming to listen to them, they decided that they had better actually work on their arrangement of the song. They came up with something that featured McGuinn's Searchers-style twelve-string playing, the group's trademark harmonies, and a rather incongruous-sounding marching beat: [Excerpt: The Jet Set, "Mr. Tambourine Man (early version)"] Dylan heard their performance, and was impressed, telling them "You can DANCE to it!" Dylan went on a charm offensive with the group, winning all of them round except Crosby -- but even Crosby stopped arguing the point, realising he'd lost. "Mr. Tambourine Man" was now a regular part of their repertoire. But they still didn't have a record deal, until one came from an unexpected direction. The group were playing their demos to a local promoter, Benny Shapiro, when Shapiro's teenage daughter came in to the room, excited because the music sounded so much like the Beatles. Shapiro later joked about this to the great jazz trumpet player Miles Davis, and Davis told his record label about this new group, and suddenly they were being signed to Columbia Records. "Mr. Tambourine Man" was going to be their first single, but before that they had to do something about the group's name, as Columbia pointed out that there was already a British group called the Jet Set. The group discussed this over Thanksgiving turkey, and the fact that they were eating a bird reminded Gene Clark of a song by the group's friend Dino Valenti, "Birdses": [Excerpt: Dino Valenti, "Birdses"] Clark suggested "The Birdses", but the group agreed it wasn't quite right -- though McGuinn, who was obsessed with aviation, did like the idea of a name that was associated with flight. Dickson's business partner Eddie Tickner suggested that they just call themselves "The Birds", but the group saw a problem with that, too -- "bird" being English slang for "girl", they worried that if they called themselves that people might think they were gay. So how about messing with the vowels, the same way the Beatles had changed the spelling of their name? They thought about Burds with a "u" and Berds with an "e", before McGuinn hit on Byrds with a y, which appealed to him because of Admiral Byrd, an explorer and pioneering aviator. They all agreed that the name was perfect -- it began with a "b", just like Beatles and Beach Boys, it was a pun like the Beatles, and it signified flight, which was important to McGuinn. As the group entered 1965, another major event happened in McGuinn's life -- the one that would lead to him changing his name. A while earlier, McGuinn had met a friend in Greenwich Village and had offered him a joint. The friend had refused, saying that he had something better than dope. McGuinn was intrigued to try this "something better" and went along with his friend to what turned out to be a religious meeting, of the new religious movement Subud, a group which believes, among other things, that there are seven levels of existence from gross matter to pure spirit, and which often encourages members to change their names. McGuinn was someone who was very much looking for meaning in his life -- around this time he also became a devotee of the self-help writer Norman Vincent Peale thanks to his mother sending him a copy of Peale's book on positive thinking -- and so he agreed to give the organisation a go. Subud involves a form of meditation called the laithan, and on his third attempt at doing this meditation, McGuinn had experienced what he believed was contact with God -- an intense hallucinatory experience which changed his life forever. McGuinn was initiated into Subud ten days before going into the studio to record "Mr. Tambourine Man", and according to his self-description, whatever Bob Dylan thought the song was about, he was singing to God when he sang it -- in earlier interviews he said he was singing to Allah, but now he's a born-again Christian he tends to use "God". The group had been assigned by CBS to Terry Melcher, mostly because he was the only staff producer they had on the West Coast who had any idea at all about rock and roll music, and Melcher immediately started to mould the group into his idea of what a pop group should be. For their first single, Melcher decided that he wasn't going to use the group, other than McGuinn, for anything other than vocals. Michael Clarke in particular was still a very shaky drummer (and would never be the best on his instrument) while Hillman and Crosby were adequate but not anything special on bass and guitar. Melcher knew that the group's sound depended on McGuinn's electric twelve-string sound, so he kept that, but other than that the Byrds' only contribution to the A-side was McGuinn, Crosby, and Clark on vocals. Everything else was supplied by members of the Wrecking Crew -- Jerry Cole on guitar, Larry Knechtel on bass, Leon Russell on electric piano, and Hal Blaine on drums: [Excerpt: The Byrds, "Mr. Tambourine Man"] Indeed, not everyone who performed at the session is even clearly audible on the recording. Both Gene Clark and Leon Russell were actually mixed out by Melcher -- both of them are audible, Clark more than Russell, but only because of leakage onto other people's microphones. The final arrangement was a mix of influences. McGuinn's twelve-string sound was clearly inspired by the Searchers, and the part he's playing is allegedly influenced by Bach, though I've never seen any noticeable resemblance to anything Bach ever wrote. The overall sound was an attempt to sound like the Beatles, while Melcher always said that the arrangement and feel of the track was inspired by "Don't Worry Baby" by the Beach Boys. This is particularly noticeable in the bass part -- compare the part on the Beach Boys record: [Excerpt: The Beach Boys, "Don't Worry Baby (instrumental mix with backing vocals)"] to the tag on the Byrds record: [Excerpt: The Byrds, "Mr. Tambourine Man"] Five days before the Byrds recorded their single, Bob Dylan had finally recorded his own version of the song, with the tambourine man himself, Bruce Langhorne, playing guitar, and it was released three weeks before the Byrds' version, as an album track on Dylan's Bringing it All Back Home: [Excerpt: Bob Dylan, "Mr. Tambourine Man"] Dylan's album would become one of the most important of his career, as we'll discuss in a couple of weeks, when we next look at Dylan. But it also provided an additional publicity boost for the Byrds, and as a result their record quickly went to number one in both the UK and America, becoming the first record of a Dylan song to go to number one on any chart. Dylan's place in the new pop order was now secured; the Byrds had shown that American artists could compete with the British Invasion on its own terms -- that the new wave of guitar bands still had a place for Americans; and folk-rock was soon identified as the next big commercial trend. And over the next few weeks we'll see how all those things played out throughout the mid sixties.

En El Guateque de Onda Regional de Murcia (orm.es; domingos, 22,05h) rescatamos olvidadas melodías del ayer. LES SURFS era un grupo de Madagascar que tuvo mucho éxito en los sesenta, sobre todo en Francia, aquí en España también fueron muy populares. Micky, junto al grupo instrumental Los Relàmpagos. Con el seudònimo de Tony & The Showmen. «Don't Worry Baby» es una canción escrita por Brian Wilson y Roger Christian, producida por Brian Wilson y grabada por The Beach Boys. Brian Wilson la considera como la respuesta masculina a la canción "Be My Baby" de The Ronettes. María Ostiz conseguiría con una sencilla canción, “N'a veiriña do mar”, el mayor triunfo de su carrera si nos atenemos al número de ventas. La canción que necesitas para combatir la ola de calor es 'Heat Wave', de Martha and the Vandellas. Casi 60 años después sigue siendo la cumbre del Sonido Motown y el himno de todos los veranos. Brenda Lee es una verdadera reina de la música country, tras de sí una carrera de más de 60 años, de hecho, está catalogada como la tercera intérprete estadounidense más exitosa de la década de 1960, después Elvis y Ray Charles. "Botón de Ancla" es una película que lo tenía todo: música, alegría, amor, desamor y drama y con el mensaje de dos importantes valores... el honor y la amistad. En ella el Dúo Dinámico brilló no sólo por sus canciones sino que además demostraron que eran dos grandes actores. Los 3 Sudamericanos tuvieron un gran éxito con un cover del tema "In summer" que el cantante inglès Billy Fury dio a conocer en 1963. Conocida como BB, Bardot es considerada la personificación del mito erótico de los años 50. La banda sonora de Easy Come Easy Go se editó en Ep en el año 67, no entró en las listas de USA, pues este formato ya estaba obsoleto, y no despertó el interés al gran público, funcionó mucho mejor en Reino Unido, donde fue número 1 en las listas de EP, y donde además Elvis Presley consiguió el disco de oro. Roberto Carlos es considerado el Elvis Presley de Brasil. Palito Ortega llegó a España en medio del éxito de "Corazon Contento" y apenas bajaba del avión cuando los ejecutivos de su discográfica le pidieron que ese mismo día necesitaban que grabara otro hit en el verano español... asi fue que en unas pocas horas, Palito compuso este simple pero pegadizo tema, "te vas a enamorar". Tony Gray canta a la determinación de ser moderno y meterse a tocar en un conjunto. Lo primero que se nos viene a la mente al evocar a Carmen Miranda es la cornucopia de frutas sobre su cabeza. Ni Bruno Martino ni Estate (“Verano”), la estupenda canción que este autor y pianista de jazz italiano compuso y se animó a cantar él mismo en 1960, son nombres hoy demasiado conocidos fuera de su pais natal. Y sin embargo, Estate es una de las canciones más representativas de una época y de un modo de hacer que empezaba en aquellos años a abrirse paso, y que, al ser descubierta y grabada por Joao Gilberto unos años después, se convirtió en un estándar universal del jazz y uno de los lentorros imprescindibles.

This episode is with Steve Berlin who plays saxophone, flute, percussion & keyboard, and is one of the members of the band, Los Lobos. Los Lobos is an iconic East Los Angeles band that has been together for almost 50 years. With hits like "Will the Wolf Survive", "Come On Let's Go", "Don't Worry Baby" and "LaBamba" they have followed their roots all the way to their new album; "Native Sons". This new album is a collection of the most influential Los Angeles based bands that have impacted Los Lobos throughout their career. Including Jackson Browne, War, Buffalo Springfield and many more. Steve talks not only about the new album, but some of the bands highlight over the years.

Puntata 27 – Playlist: 01 – Oasis – Who Feels Love..02 – John Grant – Billy..03 – Doors – I Will Never be Untrue..04 – Otis Taylor – Black Witch..05 – Julie Driscoll and Brian Auger – This Wheels on Fire..06 – Vincent Gallo – Laura..07 – Lucio Battisti – Straniero..08 – Psychic Temple – Dream Dictionary..09 – Vines – Amnesia..10 – Beach Boys – Don't Worry Baby..11 – Alexi Murdoch – All My Days..12 – The Polish Song and Dance Ensamble – Helokonie..13 – David Bowie – Warsawa..14 – Frank Zappa – Crew Slut

Puntata 27 – Playlist: 01 – Oasis – Who Feels Love..02 – John Grant – Billy..03 – Doors – I Will Never be Untrue..04 – Otis Taylor – Black Witch..05 – Julie Driscoll and Brian Auger – This Wheels on Fire..06 – Vincent Gallo – Laura..07 – Lucio Battisti – Straniero..08 – Psychic Temple – Dream Dictionary..09 – Vines – Amnesia..10 – Beach Boys – Don't Worry Baby..11 – Alexi Murdoch – All My Days..12 – The Polish Song and Dance Ensamble – Helokonie..13 – David Bowie – Warsawa..14 – Frank Zappa – Crew Slut

In this podcast Tony Gyenis talks about what worry energies and how it relates to heredity and past lives.  Tony will give you a new perspective on how to look at worrying so you understand the authority you are giving your mind and how inadequate it is in handling worry.Please listen to Part 1 of "Don't Worry Baby" where Tony defines what worry energies are and get you set up to release it.  Once you have listened to this episode you can go over to Part 3 in the meditation segment.Subscribe to our YouTube Channel at https://www.youtube.com/user/susanneandtony17 for Tony the Tuneman Tuning Fork meditations and others to help clear your energies.Tony Gyenis conducts a free weekly on-line Tuning Fork meditation class called Group Tuning Class with Tony on is private Facebook group. Check it out if and join his class if you are looking for on-going insight to help you through these difficult times.

This podcast goes right into the WORRYING energies through meditation.  This is an effective exercise to get you passed the negativity when you want a positive outcome and Tony shows you how.  Turn off your phones and get into a quiet space so you won't be interrupted as this time is for you.  Please don't listen to this while driving or operating any type of machinery as it will alter your state of mind and may cause injury.  Being in a state of receiving only.This edition is the meditation portion.  Please listen to Part 1 and Part 2 first to give you a proper briefing on how to move through and get you to this meditation part.  Enjoy!Subscribe to our YouTube Channel at https://www.youtube.com/user/susanneandtony17 for Tony's Tuning Fork meditations with different chakras to help clear your energies.Tony Gyenis conducts a free weekly on-line Tuning Fork meditation class called Group Tuning Class with Tony on is private Facebook group. Check it out and join his class if you are looking for on-going insight to help you through these difficult times.  See Spirit in action through the class or listen to the podcasts everyday to either start or end your day.

In this podcast Tony Gyenis talks about what worry energies are because it is made up of several energies all wrapped into one.  Tony will give you a new perspective on how to look at worrying so you understand the authority you are giving your mind that is hurting you.Subscribe to our YouTube Channel at https://www.youtube.com/user/susanneandtony17 for Tony the Tuneman Tuning Fork meditations and others to help clear your energies.Tony Gyenis conducts a free weekly on-line Tuning Fork meditation class called Group Tuning Class with Tony on is private Facebook group. Check it out if and join his class if you are looking for on-going insight to help you through these difficult times.

Another exciting instalment of Sending Signals is here! This week I talk to David Marks about his time in The Beach Boys. David was only about 12 when he joined the band, and grew up across the street from the Wilson brothers. I get David’s take on whether Brian Wilson is being exploited, whether Mike Love gets a bad rap, and the truth about the guitar stabs on “Don’t Worry Baby”. My other guest is David Brewis from one of Britain’s finest bands Field Music. I’ve loved this band for a long time, and David is such nice company. Their latest album “Flat White Moon” is out now and it’s predictably great. Unfortunately the circumstances that inspired the album were less than great, and David and I have a candid conversation about loss and the nature of memory. It’s a good one. davidleemarks.comfield-music.co.ukTwitter: @signalspodcastInstagram: @sendingsignalspodcast

#380-376Intro/Outro: Jenny Wren by Paul McCartney380. Chasing Cars by Snow Patrol379. Let's Stay Together by Al Green378. Somebody Like You by Keith Urban377. Don't Worry Baby by The Beach Boys376. Life in Technicolor II by ColdplayDecade Update:30's - 140's - 150's - 1260's - 2370's - 3080's - 990's - 2400's - 1410's - 1020's - 1Top years:1966 - 71970 - 61994 - 5

Back to Tony… Derek from Virginia follows up from his last call where he was a stay at home dad. He describes growing up without a father. --- Mama will take care of you…; Aurora… Austin from Florida speaks on South America in America. Jay from Alabama

Episode one hundred and seventeen of A History of Rock Music in Five Hundred Songs looks at “Don’t Worry Baby” by the Beach Boys, and how the years 1963 and 1964 saw a radical evolution in the sound and subject matter of the Beach Boys’ work. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “You’re No Good” by the Swinging Blue Jeans. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ (more…)

Episode one hundred and seventeen of A History of Rock Music in Five Hundred Songs looks at "Don't Worry Baby" by the Beach Boys, and how the years 1963 and 1964 saw a radical evolution in the sound and subject matter of the Beach Boys' work. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "You're No Good" by the Swinging Blue Jeans. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ ----more---- ERRATA: I say that the Surfin' USA album was released only four months after Surfin' Safari. It was actually over five months. Also, for some reason I pronounce Nik Venet's name as if he were French here. I believe that's incorrect and his name is actually pronounced “Vennit”, though I'm not 100% sure. More importantly, I say that "Sweet Little Sixteen" wasn't a big hit, when of course it made number two on the charts.    Resources There is no Mixcloud this week, because there were too many Beach Boys songs in the episode. I used many resources for this episode, most of which will be used in future Beach Boys episodes too. It's difficult to enumerate everything here, because I have been an active member of the Beach Boys fan community for twenty-four years, and have at times just used my accumulated knowledge for this. But the resources I list here are ones I've checked for specific things. Becoming the Beach Boys by James B. Murphy is an in-depth look at the group's early years, up to the end of 1963. Stephen McParland has published many, many books on the California surf and hot-rod music scenes, including several on both the Beach Boys and Gary Usher.  His books can be found at https://payhip.com/CMusicBooks Andrew Doe's Bellagio 10452 site is an invaluable resource. Jon Stebbins' The Beach Boys FAQ is a good balance between accuracy and readability. Stebbins also co-wrote The Lost Beach Boy, David Marks' autobiography. And Philip Lambert's Inside the Music of Brian Wilson is an excellent, though sadly out of print, musicological analysis of Wilson's music from 1962 through 67. The Beach Boys' Morgan recordings and all the outtakes from them can be found on this 2-CD set. As a good starting point for the Beach Boys' music, I would recommend this budget-priced three-CD set, which has a surprisingly good selection of their material on it. Transcript Today, we're going to take our second look at the Beach Boys, and we're going to look at their evolution through 1963 and 1964, as they responded to the threat from the Beatles by turning to ever more sophisticated music, even as they went through a variety of personal crises. We're going to look at a period in which they released four albums a year, had three lineup changes, and saw their first number one – and at a song which, despite being a B-side, regularly makes lists of the best singles of all time. We're going to look at “Don't Worry Baby”: [Excerpt: The Beach Boys, "Don't Worry Baby"] When we left the Beach Boys, they had just secured a contract with Capitol Records, and released their first national hit, "Surfin' Safari" backed with "409". Since then we've also seen Brian Wilson working with several songwriting collaborators to write hits for Jan and Dean. But now we need to double back and look at what Brian was doing with his main band in that time.  After "Surfin' Safari" was a hit, in one of the many incomprehensible decisions made in the Beach Boys' career, Capitol decided to follow it up with an album track that Brian and Gary Usher had written, "Ten Little Indians". That track, a surf-rock version of the nursery rhyme with the group chanting "Kemo sabe" in the backing vocals, made only number forty-nine on the charts, and frankly didn't deserve to do even that well. Some have suggested, in fact that the record was released at the instigation of Murry Wilson, who was both Brian, Carl, and Dennis Wilson's father and the group's manager, as a way of weakening Usher's influence with the group, as Murry didn't want outsiders interfering in what he saw as a family business.  After realising the folly of deviating from the formula, the group's next single followed the same pattern as their first hit. The B-side was "Shut Down", a car song co-written by Brian and Roger Christian, who you may remember from the episode on "Surf City" as having been brought in to help Brian with car lyrics. "Shut Down" is most notable for being one of the very small number of Beach Boys records to feature an instrumental contribution from Mike Love, the group's lead singer. His two-note saxophone solo comes in for some mockery from the group's fans, but actually fits the record extremely well: [Excerpt: The Beach Boys, "Shut Down"]  "Shut Down" was a top thirty hit, but it was the A-side that was the really big hit. Just as their first hit had had a surf song on the A-side and a car song on the B-side, so did this single. Brian Wilson had been inspired by Chuck Berry's "Sweet Little Sixteen", and in particular the opening verse, which had just listed a lot of places: [Excerpt: Chuck Berry, "Sweet Little Sixteen"] He might well also have been thinking of Chubby Checker's minor hit, "Twistin' USA", which listed places in America where people might be twisting: [Excerpt: Chubby Checker, "Twistin' USA"] Brian had taken Berry's melody and the place-name recitation, and with the help of his girlfriend's brother, and some input from Mike Love, had turned it into a song listing all the places that people could be surfing -- at least, they could "if everybody had an ocean": [Excerpt: The Beach Boys, "Surfin' USA"] "Surfin' USA" became a huge hit, reaching number two on the charts, and later being named by Billboard as the biggest hit of 1963, but unfortunately for Brian that didn't result in a financial windfall for him as the songwriter. As the song was so close to "Sweet Little Sixteen", Chuck Berry got the sole songwriting credit -- one of the only times in rock music history where a white artist has ripped off a Black one and the Black artist has actually benefited from it. And Berry definitely did benefit -- "Sweet Little Sixteen", while a great record, had never been a particularly big hit, while "Surfin' USA" is to this day regularly heard on oldies radio and used in commercials and films. But that success meant extra work, and a lot of it. "Surfin' USA" was the title song of the group's second album, released in March 1963 only four months after their first, and they would release two more albums before the end of the year -- Surfer Girl in September and Little Deuce Coupe in October. Not only were they having to churn out a quite staggering amount of product -- though Little Deuce Coupe featured four songs recycled from their earlier albums -- but Brian Wilson, as well as writing or co-writing all their original material, started producing the records as well, as he was unhappy with Nik Venet's production on the first album. Not only that, but as well as making the Beach Boys' records, Wilson was also writing for Jan and Dean, and he had also started making records on the side with Gary Usher, doing things like making a "Loco-Motion" knock-off, "The Revolution", released under the name Rachel and the Revolvers: [Excerpt: Rachel and the Revolvers, "The Revolution"] According to some sources, Usher and Wilson found the singer for that track by the simple expedient of driving to Watts and asking the first Black teenage girl they saw if she could sing. Other sources say they hired a professional session singer -- some say it was Betty Everett, but given that that's the name of a famous singer from the period who lived in the Mid-West, I think people are confusing her for Betty Willis, another singer who gets named as a possibility, who lived in LA and who certainly sounds like the same person: [Excerpt: Betty Willis, "Act Naturally"] Wilson was also in the process of breaking up with his girlfriend and starting a relationship with a young woman named Marilyn Rovell. Rovell, along with her sister Diane, and their cousin, Ginger Blake, had formed a girl group, and Brian was writing and producing records for them as well: [Excerpt: The Honeys, "The One You Can't Have"] As well as making all these records, the Beach Boys were touring intensively, to the point that on one day in June the group were actually booked in for four shows in the same day.  Unsurprisingly, Brian decided that this was too much for one person, and so in April 1963, just after the release of "Surfin' USA", he decided to quit touring with the group. Luckily, there was a replacement on hand. Alan Jardine had been a member of the Beach Boys on their very first single, but had decided to quit the group to go off to university. A year later, that seemed like a bad decision, and when Brian called him up and asked him to rejoin the band, he eagerly agreed. For now, Alan was not going to be a proper member of the group, but he would substitute for Brian on the group's tour of the Midwest that Spring, and on many of the shows they performed over the summer -- he could play the bass, which was the instrument that Brian played on stage, and he could sing Brian's parts, and so while the Beach Boys still officially consisted of Brian, Carl, and Dennis Wilson, Mike Love, and David Marks, the group that was on tour was Carl, Dennis, Mike, David, and Alan, though Brian would sometimes appear for important shows. Jardine also started recording with the group, though he would not get credited on the covers of the first couple of albums on which he appeared. This made a huge change to the sound of the Beach Boys in the studio, as Jardine playing bass allowed Brian Wilson to play keyboards, while Jardine also added to the group's vocal harmonies. And this was a major change. Up to this point, the Beach Boys' records had had only rudimentary harmonies. While Brian was an excellent falsetto singer, and Mike a very good bass, the other three members of the group were less accomplished. Carl would grow to be one of the great vocalists of all time, but at this point was still in his early teens and had a thin voice. Dennis' voice was also a little thin at this point, and he was behind the drum kit, which meant he didn't get to sing live, and David Marks was apparently not allowed to sing on the records at all, other than taking a single joint lead with Carl on the first album. With the addition of Jardine, Brian now had another singer as strong as himself and Love, and the Surfer Girl album, the first one on which Jardine appears, sees Brian expanding from the rather rudimentary vocal arrangements of the first two albums to something that incorporates a lot more of the influence of the Four Freshmen. You can hear this most startlingly on "In My Room". This is one of the first songs on which Jardine took part in the studio, though he's actually not very audible in the vocal arrangement, which instead concentrates on the three brothers. "In My Room" is a major, major, step forward in the group's sound, in the themes that would appear in their songwriting for the next few years, and in the juxtaposition of the lyrical theme and the musical arrangement.  The song's lyrics, written by Gary Usher but inspired by Wilson's experiences, are about solitude, and the song starts out with Brian singing alone, but then Brian moves up to the third note of the scale and Carl comes in under him, singing the note Brian started on. Then they both move up again, Brian to the fifth and Carl to the third, with Dennis joining in on the note that Brian had started on, before Mike and Alan finally also join in. Brian is singing about being alone, but he has his family with him, supporting him:  [Excerpt: The Beach Boys, "In My Room"] This new lineup of the group, with Alan augmenting the other five, might even have lasted, except for a chain of events that started on David Marks' fifteenth birthday. Murry Wilson, who was still managing the group at this point, had never liked the idea of someone from outside the family being an equal member, and was particularly annoyed at David because Murry had tried to have an affair with David's mother, which hadn't worked out well for him.  But then on Marks' fifteenth birthday, he and Dennis Wilson both caught a sexually transmitted infection from the same sex worker, and when Murry Wilson found this out -- as he had to, as he needed to pay their doctor's bills -- he became furious and started screaming at the whole group.  At that point, David had had enough. His mother had been telling him that he was the real talent in the group and he didn't need those Wilsons, and as a fifteen-year-old kid he didn't have the understanding to realise that this might not be entirely true. He said "OK, I quit". At first, the rest of the group thought that he was joking, and even he wasn't at all sure that he wanted to leave the group altogether. He remained in the band for the next month, but Murry Wilson kept reminding his sons that Marks had quit and that they'd all heard him, and refused to speak directly to him -- anything that Murry wanted to say to David, he said to Carl, who passed the message on.  And even though the rest of the group definitely wanted David to stay -- especially Brian, who liked having the freedom not to go out on tour, and Carl, who had been the one who'd lobbied to bring his friend into the group in the first place -- David was still, as the youngest member, the only one who didn't sing, and the only one not part of the family, regarded by the others as somewhat lesser than the rest of the band.  David became increasingly frustrated, especially when they were recording the Little Deuce Coupe album. That album was made up entirely of songs about cars, and the group were so short of material that the album ended up being filled out with four songs from earlier albums, including two from the Surfer Girl album released only the previous month. Yet when David tried to persuade Brian to have the group record his song "Kustom Kar Show", Brian told David that he wasn't ready to be writing songs for the group.  All this, plus pressure from David's parents to make him more of a focal point of the group, led to his resignation eventually being accepted, and backdated to the original date he quit. He played his last show with the group on October the fifth 1963, and then formed his own band, the Marksmen, who signed to A&M:  [Excerpt: Dave and the Marksmen, "Kustom Kar Show"] There have been rumours that Murry Wilson threatened DJs that the Beach Boys wouldn't co-operate with them if they played Marksmen records, but in truth, listening to the records the Marksmen made during their two years of existence, it's quite obvious why they weren't played -- they were fairly shoddy-sounding garage rock records, with little to commend them. Indeed, they actually sound somewhat better now than they would have done at the time -- some of Marks' flatter and more affectless vocals prefigure the sound of some punk singers, but not in a way that would have had any commercial potential in 1963. Meanwhile, the Beach Boys continued, with Alan Jardine buying a Stratocaster and switching to rhythm guitar, and Brian Wilson resigning himself to having to perform live, at least at the moment, and returning to his old role on the bass. Jardine was now, for publicity purposes, a full member of the group, though he would remain on a salary rather than an equal partner for many years -- Murry Wilson didn't want to make the same mistake with him that he had with Marks. And there was still the constant need for new material, which didn't let up. Brian's songwriting was progressing at a furious pace, and that can be seen nowhere better than on "The Warmth of the Sun", a song he wrote, with Love writing the lyrics, around the time of the Kennedy assassination -- the two men have differed over the years over whether it was written the night before or the night after the assassination. "The Warmth of the Sun" is quite staggeringly harmonically sophisticated. We've talked before in this podcast about the standard doo-wop progression -- the one, minor sixth, minor second, fifth progression that you get in about a million songs: [demonstrates] "The Warmth of the Sun" starts out that way -- its first two chords are C, Am, played in the standard arpeggiated way one expects from that kind of song: [demonstrates] You'd expect from that  that the song would go C, Am, Dm, G or C, Am, F, G. But instead of moving to Dm or F, as one normally would, the song moves to E flat, and *starts the progression over*, a minor third up, so you have: [demonstrates] It then stops that progression after two bars, moves back to the Dm one would expect from the original progression, and stays there for twice as long as normal, before moving on to the normal G -- and then throwing in a G augmented at the end, which is a normal G chord but with the D note raised to E flat, so it ties in to that original unexpected chord change. And it does all this *in the opening line of the song*: [Excerpt: The Beach Boys, "The Warmth of the Sun"] This is harmonic sophistication on a totally different order from anything else that was being done in teen pop music at the time -- it was far closer to the modern jazz harmonies of the Four Freshmen that Brian loved than to doo-wop. The new five-piece lineup of the group recorded that on January the first, 1964, and on the same day they recorded a song that combined two of Brian's other big influences. "Fun Fun Fun" had lyrics by Mike Love -- some of his wittiest -- and starts out with an intro taken straight from "Johnny B. Goode": [Excerpt: The Beach Boys, "Fun Fun Fun"] But while the rest of the track keeps the same feel as the Chuck Berry song, the verse goes in a different harmonic direction, and actually owes a lot to "Da Doo Ron Ron". Instead of using a blues progression, as Berry normally would, the verse uses the same I-IV-I-V progression that "Da Doo Ron Ron"'s chorus does, but uses it to very different effect: [Excerpt: The Beach Boys, "Fun Fun Fun"] That became the group's fourth top ten hit, and made number five on the charts -- but the group suddenly had some real competition. At numbers one, two, and three were the Beatles. Brian Wilson realised that he needed to up his game if he was going to compete, and he did. In April 1964 he started working on a new single. By this time, while the Beach Boys themselves were still playing most of the instruments, Brian was bringing in additional musicians to augment them, and expanding his instrumental palette. The basic track was the core members of the band -- Carl playing both lead and rhythm guitar, Alan playing bass, and Dennis playing drums, with Brian on keyboards -- but there were two further bass players, Glen Campbell and Ray Pohlman, thickening the sound on six-string bass, plus two saxophones, and Hal Blaine adding percussion.  And the main instrument providing chordal support wasn't guitar or organ, as it usually had been, but a harpsichord, an instrument Brian would use a lot over the next few years: [Excerpt: The Beach Boys, "I Get Around (backing track)"] The recording session for that backing track was also another breaking point for the band. Murry Wilson, himself a frustrated songwriter and producer, was at the session and kept insisting that there was a problem with the bassline. Eventually, Brian had enough of his father's interference, and fired him as the band's manager. Murry would continue to keep trying to interfere in his children's career, but this was the point at which the Beach Boys finally took control over their own futures. A few days later, they reconvened in the studio to record the vocals for what would become their first number one hit: [Excerpt: The Beach Boys, "I Get Around"] It's fascinating to see that even this early in the group's career, and on one of their biggest, summeriest hits, there's already a tension in the lyrics, a sense of wanting to move on -- "I'm getting bugged driving up and down the same old strip/I've got to find a new place where the kids are hip". The lyrics are Love's, but as is so often the case with Brian Wilson's collaborations, Love seems to have been expressing something that Wilson was feeling at the time. The Beach Boys had risen to the challenge from the Beatles, in a way that few other American musicians could, and "I Get Around" was good enough that it made the top ten in the UK, and became a particular favourite in the Mod subculture in London. The group would only become more popular over the next few years in the UK, a new place where the kids were hip. "I Get Around" is a worthy classic, but the B-side, "Don't Worry Baby", is if anything even better. It had been recorded in January, and had already been released on their Shut Down vol 2 album in March. It had originally been intended for the Ronettes, and was inspired by "Be My Baby", which had astonished Brian Wilson when it had been released a few months earlier. He would later recall having to pull over to the side of the road when he first heard the drum intro to that record: [Excerpt: The Ronettes, "Be My Baby"] Brian would play that record over and over, on repeat, for days at a time, and would try to absorb every nuance of the record and its production, and he tried to come up with something that could follow it. Wilson took the basic rhythm and chord sequence of the song, plus melodic fragments like the line "Be my little baby", and reworked them into a song that clearly owes a lot to its inspiration, but which stands on its own: [Excerpt: The Beach Boys, "Don't Worry Baby"] Phil Spector turned the song down, and so the Beach Boys recorded it themselves, and I have to say that this was only a good thing -- Ronnie Spector recorded a solo version of it many decades later, and it's a fine performance, but the lyric misses something when it's sung by a woman rather than a man. That lyric was by Roger Christian, and in it we see the tension between the more emotional themes that Wilson wanted to explore and the surf and car lyrics that had made up the majority of their singles to this point. The lyric is ostensibly about a car race, and indeed it seems to be setting up precisely the kind of situation that was common in teen tragedy records of the period. The protagonist sings "I guess I should have kept my mouth shut when I started to brag about my car,  but I can't back down now because I pushed the other guys too far", and the whole lyric is focused on his terror of an upcoming race.  This seems intended to lead to the kind of situation that we see in "Dead Man's Curve", or “Tell Laura I Love Her”, or in another teen tragedy song we'll be looking at in a couple of weeks, with the protagonist dead in a car crash. But instead, this is short-circuited. The protagonist's fears are allayed by his girlfriend: [Excerpt: The Beach Boys, "Don't Worry Baby"] What we have here is someone trying to deal with a particular kind of anxiety brought about by what we now refer to as toxic masculinity. The protagonist has been showing off about his driving skills in front of his peers, and has now found himself in a situation that he can't cope with. He's saved by a figure we'll see a lot more of in Brian's songs, whoever the lyricist, the supernaturally good woman who understands the protagonist and loves him despite, or because of, his faults, even though she's too good for him. Obviously, one can point to all sorts of reasons why this figure might be considered problematic -- the idea that the man is unable to deal with his own emotional problems without a woman fixing him -- but there's an emotional truth to it that one doesn't get in much music of the era, and even if it's a somewhat flawed view of gender relations, it speaks to a very particular kind of insecurity at the inability to live up to traditional masculine roles, and is all the more affecting when it's paired with the braggadocio of the A-side. The combination means we see the bragging and posturing on the A-side as just a facade, covering over the real emotional fragility of the narrator. Each side reinforces the other, and the combination is one of the most perfect pairings ever released as a single. "Don't Worry Baby", released as "I Get Around”'s B-side, made the charts in its own right peaking at number twenty-four. The B-side to the next single further elaborated on the themes of "Don't Worry Baby": [Excerpt: The Beach Boys, "She Knows Me Too Well"] This repurposing of the emotional and musical style of girl-group songs to deal with the emotional vulnerability that comes from acknowledging and attempting to process toxic masculinity is something that few other songwriters were capable of at this point – only some of John Lennon's work a couple of years later comes close to dealing with this very real area of the emotional landscape, and Lennon, like Wilson, often does so by using the figure of the perfect woman who will save the protagonist. In 1964, the group once again released four albums – Shut Down vol.2, All Summer Long, a live album, and a Christmas album – and they also did most of the work on yet another album, The Beach Boys Today!, which would be released in early 1965. As these recordings progressed, Brian Wilson was more and more ambitious, both in terms of the emotional effect of the music and his arrangements, increasingly using session musicians to augment the group, and trying for a variant on Phil Spector's production style, but one which emphasised gentle fragility rather than sturm und drang. Possibly the greatest track he created in 1964 ended up not being used by the Beach Boys, though, but was given to Glen Campbell: [Excerpt: Glen Campbell, "Guess I'm Dumb"] Campbell got given that track because of an enormous favour he'd done the group. The mental strain of touring had finally got too much for Brian, and in December, on a plane to Texas, he'd had a breakdown, screaming on the plane and refusing to get off. Eventually, they coaxed him off the plane, and he'd managed to get through that night's show, but had flown back to LA straight after. Campbell, who was a session guitarist who had played on a number of the Beach Boys' recordings, and had a minor career as a singer at this point, had flown out at almost no notice and for the next five months he replaced Brian on stage for most of their shows, before the group got a permanent replacement in. Brian Wilson had retired from the road, and the hope was that by doing so, he would reduce the strain on himself enough that he could keep writing and producing for the group without making his mental health worse. And for a while, at least, that seemed to be how it worked out. We'll take a look at the results in a few weeks' time.

Episode one hundred and seventeen of A History of Rock Music in Five Hundred Songs looks at “Don’t Worry Baby” by the Beach Boys, and how the years 1963 and 1964 saw a radical evolution in the sound and subject matter of the Beach Boys’ work. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “You’re No Good” by the Swinging Blue Jeans. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—- ERRATA: I say that the Surfin’ USA album was released only four months after Surfin’ Safari. It was actually over five months. Also, for some reason I pronounce Nik Venet’s name as if he were French here. I believe that’s incorrect and his name is actually pronounced “Vennit”, though I’m not 100% sure. More importantly, I say that “Sweet Little Sixteen” wasn’t a big hit, when of course it made number two on the charts.    Resources There is no Mixcloud this week, because there were too many Beach Boys songs in the episode. I used many resources for this episode, most of which will be used in future Beach Boys episodes too. It’s difficult to enumerate everything here, because I have been an active member of the Beach Boys fan community for twenty-four years, and have at times just used my accumulated knowledge for this. But the resources I list here are ones I’ve checked for specific things. Becoming the Beach Boys by James B. Murphy is an in-depth look at the group’s early years, up to the end of 1963. Stephen McParland has published many, many books on the California surf and hot-rod music scenes, including several on both the Beach Boys and Gary Usher.  His books can be found at https://payhip.com/CMusicBooks Andrew Doe’s Bellagio 10452 site is an invaluable resource. Jon Stebbins’ The Beach Boys FAQ is a good balance between accuracy and readability. Stebbins also co-wrote The Lost Beach Boy, David Marks’ autobiography. And Philip Lambert’s Inside the Music of Brian Wilson is an excellent, though sadly out of print, musicological analysis of Wilson’s music from 1962 through 67. The Beach Boys’ Morgan recordings and all the outtakes from them can be found on this 2-CD set. As a good starting point for the Beach Boys’ music, I would recommend this budget-priced three-CD set, which has a surprisingly good selection of their material on it. Transcript Today, we’re going to take our second look at the Beach Boys, and we’re going to look at their evolution through 1963 and 1964, as they responded to the threat from the Beatles by turning to ever more sophisticated music, even as they went through a variety of personal crises. We’re going to look at a period in which they released four albums a year, had three lineup changes, and saw their first number one – and at a song which, despite being a B-side, regularly makes lists of the best singles of all time. We’re going to look at “Don’t Worry Baby”: [Excerpt: The Beach Boys, “Don’t Worry Baby”] When we left the Beach Boys, they had just secured a contract with Capitol Records, and released their first national hit, “Surfin’ Safari” backed with “409”. Since then we’ve also seen Brian Wilson working with several songwriting collaborators to write hits for Jan and Dean. But now we need to double back and look at what Brian was doing with his main band in that time.  After “Surfin’ Safari” was a hit, in one of the many incomprehensible decisions made in the Beach Boys’ career, Capitol decided to follow it up with an album track that Brian and Gary Usher had written, “Ten Little Indians”. That track, a surf-rock version of the nursery rhyme with the group chanting “Kemo sabe” in the backing vocals, made only number forty-nine on the charts, and frankly didn’t deserve to do even that well. Some have suggested, in fact that the record was released at the instigation of Murry Wilson, who was both Brian, Carl, and Dennis Wilson’s father and the group’s manager, as a way of weakening Usher’s influence with the group, as Murry didn’t want outsiders interfering in what he saw as a family business.  After realising the folly of deviating from the formula, the group’s next single followed the same pattern as their first hit. The B-side was “Shut Down”, a car song co-written by Brian and Roger Christian, who you may remember from the episode on “Surf City” as having been brought in to help Brian with car lyrics. “Shut Down” is most notable for being one of the very small number of Beach Boys records to feature an instrumental contribution from Mike Love, the group’s lead singer. His two-note saxophone solo comes in for some mockery from the group’s fans, but actually fits the record extremely well: [Excerpt: The Beach Boys, “Shut Down”]  “Shut Down” was a top thirty hit, but it was the A-side that was the really big hit. Just as their first hit had had a surf song on the A-side and a car song on the B-side, so did this single. Brian Wilson had been inspired by Chuck Berry’s “Sweet Little Sixteen”, and in particular the opening verse, which had just listed a lot of places: [Excerpt: Chuck Berry, “Sweet Little Sixteen”] He might well also have been thinking of Chubby Checker’s minor hit, “Twistin’ USA”, which listed places in America where people might be twisting: [Excerpt: Chubby Checker, “Twistin’ USA”] Brian had taken Berry’s melody and the place-name recitation, and with the help of his girlfriend’s brother, and some input from Mike Love, had turned it into a song listing all the places that people could be surfing — at least, they could “if everybody had an ocean”: [Excerpt: The Beach Boys, “Surfin’ USA”] “Surfin’ USA” became a huge hit, reaching number two on the charts, and later being named by Billboard as the biggest hit of 1963, but unfortunately for Brian that didn’t result in a financial windfall for him as the songwriter. As the song was so close to “Sweet Little Sixteen”, Chuck Berry got the sole songwriting credit — one of the only times in rock music history where a white artist has ripped off a Black one and the Black artist has actually benefited from it. And Berry definitely did benefit — “Sweet Little Sixteen”, while a great record, had never been a particularly big hit, while “Surfin’ USA” is to this day regularly heard on oldies radio and used in commercials and films. But that success meant extra work, and a lot of it. “Surfin’ USA” was the title song of the group’s second album, released in March 1963 only four months after their first, and they would release two more albums before the end of the year — Surfer Girl in September and Little Deuce Coupe in October. Not only were they having to churn out a quite staggering amount of product — though Little Deuce Coupe featured four songs recycled from their earlier albums — but Brian Wilson, as well as writing or co-writing all their original material, started producing the records as well, as he was unhappy with Nik Venet’s production on the first album. Not only that, but as well as making the Beach Boys’ records, Wilson was also writing for Jan and Dean, and he had also started making records on the side with Gary Usher, doing things like making a “Loco-Motion” knock-off, “The Revolution”, released under the name Rachel and the Revolvers: [Excerpt: Rachel and the Revolvers, “The Revolution”] According to some sources, Usher and Wilson found the singer for that track by the simple expedient of driving to Watts and asking the first Black teenage girl they saw if she could sing. Other sources say they hired a professional session singer — some say it was Betty Everett, but given that that’s the name of a famous singer from the period who lived in the Mid-West, I think people are confusing her for Betty Willis, another singer who gets named as a possibility, who lived in LA and who certainly sounds like the same person: [Excerpt: Betty Willis, “Act Naturally”] Wilson was also in the process of breaking up with his girlfriend and starting a relationship with a young woman named Marilyn Rovell. Rovell, along with her sister Diane, and their cousin, Ginger Blake, had formed a girl group, and Brian was writing and producing records for them as well: [Excerpt: The Honeys, “The One You Can’t Have”] As well as making all these records, the Beach Boys were touring intensively, to the point that on one day in June the group were actually booked in for four shows in the same day.  Unsurprisingly, Brian decided that this was too much for one person, and so in April 1963, just after the release of “Surfin’ USA”, he decided to quit touring with the group. Luckily, there was a replacement on hand. Alan Jardine had been a member of the Beach Boys on their very first single, but had decided to quit the group to go off to university. A year later, that seemed like a bad decision, and when Brian called him up and asked him to rejoin the band, he eagerly agreed. For now, Alan was not going to be a proper member of the group, but he would substitute for Brian on the group’s tour of the Midwest that Spring, and on many of the shows they performed over the summer — he could play the bass, which was the instrument that Brian played on stage, and he could sing Brian’s parts, and so while the Beach Boys still officially consisted of Brian, Carl, and Dennis Wilson, Mike Love, and David Marks, the group that was on tour was Carl, Dennis, Mike, David, and Alan, though Brian would sometimes appear for important shows. Jardine also started recording with the group, though he would not get credited on the covers of the first couple of albums on which he appeared. This made a huge change to the sound of the Beach Boys in the studio, as Jardine playing bass allowed Brian Wilson to play keyboards, while Jardine also added to the group’s vocal harmonies. And this was a major change. Up to this point, the Beach Boys’ records had had only rudimentary harmonies. While Brian was an excellent falsetto singer, and Mike a very good bass, the other three members of the group were less accomplished. Carl would grow to be one of the great vocalists of all time, but at this point was still in his early teens and had a thin voice. Dennis’ voice was also a little thin at this point, and he was behind the drum kit, which meant he didn’t get to sing live, and David Marks was apparently not allowed to sing on the records at all, other than taking a single joint lead with Carl on the first album. With the addition of Jardine, Brian now had another singer as strong as himself and Love, and the Surfer Girl album, the first one on which Jardine appears, sees Brian expanding from the rather rudimentary vocal arrangements of the first two albums to something that incorporates a lot more of the influence of the Four Freshmen. You can hear this most startlingly on “In My Room”. This is one of the first songs on which Jardine took part in the studio, though he’s actually not very audible in the vocal arrangement, which instead concentrates on the three brothers. “In My Room” is a major, major, step forward in the group’s sound, in the themes that would appear in their songwriting for the next few years, and in the juxtaposition of the lyrical theme and the musical arrangement.  The song’s lyrics, written by Gary Usher but inspired by Wilson’s experiences, are about solitude, and the song starts out with Brian singing alone, but then Brian moves up to the third note of the scale and Carl comes in under him, singing the note Brian started on. Then they both move up again, Brian to the fifth and Carl to the third, with Dennis joining in on the note that Brian had started on, before Mike and Alan finally also join in. Brian is singing about being alone, but he has his family with him, supporting him:  [Excerpt: The Beach Boys, “In My Room”] This new lineup of the group, with Alan augmenting the other five, might even have lasted, except for a chain of events that started on David Marks’ fifteenth birthday. Murry Wilson, who was still managing the group at this point, had never liked the idea of someone from outside the family being an equal member, and was particularly annoyed at David because Murry had tried to have an affair with David’s mother, which hadn’t worked out well for him.  But then on Marks’ fifteenth birthday, he and Dennis Wilson both caught a sexually transmitted infection from the same sex worker, and when Murry Wilson found this out — as he had to, as he needed to pay their doctor’s bills — he became furious and started screaming at the whole group.  At that point, David had had enough. His mother had been telling him that he was the real talent in the group and he didn’t need those Wilsons, and as a fifteen-year-old kid he didn’t have the understanding to realise that this might not be entirely true. He said “OK, I quit”. At first, the rest of the group thought that he was joking, and even he wasn’t at all sure that he wanted to leave the group altogether. He remained in the band for the next month, but Murry Wilson kept reminding his sons that Marks had quit and that they’d all heard him, and refused to speak directly to him — anything that Murry wanted to say to David, he said to Carl, who passed the message on.  And even though the rest of the group definitely wanted David to stay — especially Brian, who liked having the freedom not to go out on tour, and Carl, who had been the one who’d lobbied to bring his friend into the group in the first place — David was still, as the youngest member, the only one who didn’t sing, and the only one not part of the family, regarded by the others as somewhat lesser than the rest of the band.  David became increasingly frustrated, especially when they were recording the Little Deuce Coupe album. That album was made up entirely of songs about cars, and the group were so short of material that the album ended up being filled out with four songs from earlier albums, including two from the Surfer Girl album released only the previous month. Yet when David tried to persuade Brian to have the group record his song “Kustom Kar Show”, Brian told David that he wasn’t ready to be writing songs for the group.  All this, plus pressure from David’s parents to make him more of a focal point of the group, led to his resignation eventually being accepted, and backdated to the original date he quit. He played his last show with the group on October the fifth 1963, and then formed his own band, the Marksmen, who signed to A&M:  [Excerpt: Dave and the Marksmen, “Kustom Kar Show”] There have been rumours that Murry Wilson threatened DJs that the Beach Boys wouldn’t co-operate with them if they played Marksmen records, but in truth, listening to the records the Marksmen made during their two years of existence, it’s quite obvious why they weren’t played — they were fairly shoddy-sounding garage rock records, with little to commend them. Indeed, they actually sound somewhat better now than they would have done at the time — some of Marks’ flatter and more affectless vocals prefigure the sound of some punk singers, but not in a way that would have had any commercial potential in 1963. Meanwhile, the Beach Boys continued, with Alan Jardine buying a Stratocaster and switching to rhythm guitar, and Brian Wilson resigning himself to having to perform live, at least at the moment, and returning to his old role on the bass. Jardine was now, for publicity purposes, a full member of the group, though he would remain on a salary rather than an equal partner for many years — Murry Wilson didn’t want to make the same mistake with him that he had with Marks. And there was still the constant need for new material, which didn’t let up. Brian’s songwriting was progressing at a furious pace, and that can be seen nowhere better than on “The Warmth of the Sun”, a song he wrote, with Love writing the lyrics, around the time of the Kennedy assassination — the two men have differed over the years over whether it was written the night before or the night after the assassination. “The Warmth of the Sun” is quite staggeringly harmonically sophisticated. We’ve talked before in this podcast about the standard doo-wop progression — the one, minor sixth, minor second, fifth progression that you get in about a million songs: [demonstrates] “The Warmth of the Sun” starts out that way — its first two chords are C, Am, played in the standard arpeggiated way one expects from that kind of song: [demonstrates] You’d expect from that  that the song would go C, Am, Dm, G or C, Am, F, G. But instead of moving to Dm or F, as one normally would, the song moves to E flat, and *starts the progression over*, a minor third up, so you have: [demonstrates] It then stops that progression after two bars, moves back to the Dm one would expect from the original progression, and stays there for twice as long as normal, before moving on to the normal G — and then throwing in a G augmented at the end, which is a normal G chord but with the D note raised to E flat, so it ties in to that original unexpected chord change. And it does all this *in the opening line of the song*: [Excerpt: The Beach Boys, “The Warmth of the Sun”] This is harmonic sophistication on a totally different order from anything else that was being done in teen pop music at the time — it was far closer to the modern jazz harmonies of the Four Freshmen that Brian loved than to doo-wop. The new five-piece lineup of the group recorded that on January the first, 1964, and on the same day they recorded a song that combined two of Brian’s other big influences. “Fun Fun Fun” had lyrics by Mike Love — some of his wittiest — and starts out with an intro taken straight from “Johnny B. Goode”: [Excerpt: The Beach Boys, “Fun Fun Fun”] But while the rest of the track keeps the same feel as the Chuck Berry song, the verse goes in a different harmonic direction, and actually owes a lot to “Da Doo Ron Ron”. Instead of using a blues progression, as Berry normally would, the verse uses the same I-IV-I-V progression that “Da Doo Ron Ron”‘s chorus does, but uses it to very different effect: [Excerpt: The Beach Boys, “Fun Fun Fun”] That became the group’s fourth top ten hit, and made number five on the charts — but the group suddenly had some real competition. At numbers one, two, and three were the Beatles. Brian Wilson realised that he needed to up his game if he was going to compete, and he did. In April 1964 he started working on a new single. By this time, while the Beach Boys themselves were still playing most of the instruments, Brian was bringing in additional musicians to augment them, and expanding his instrumental palette. The basic track was the core members of the band — Carl playing both lead and rhythm guitar, Alan playing bass, and Dennis playing drums, with Brian on keyboards — but there were two further bass players, Glen Campbell and Ray Pohlman, thickening the sound on six-string bass, plus two saxophones, and Hal Blaine adding percussion.  And the main instrument providing chordal support wasn’t guitar or organ, as it usually had been, but a harpsichord, an instrument Brian would use a lot over the next few years: [Excerpt: The Beach Boys, “I Get Around (backing track)”] The recording session for that backing track was also another breaking point for the band. Murry Wilson, himself a frustrated songwriter and producer, was at the session and kept insisting that there was a problem with the bassline. Eventually, Brian had enough of his father’s interference, and fired him as the band’s manager. Murry would continue to keep trying to interfere in his children’s career, but this was the point at which the Beach Boys finally took control over their own futures. A few days later, they reconvened in the studio to record the vocals for what would become their first number one hit: [Excerpt: The Beach Boys, “I Get Around”] It’s fascinating to see that even this early in the group’s career, and on one of their biggest, summeriest hits, there’s already a tension in the lyrics, a sense of wanting to move on — “I’m getting bugged driving up and down the same old strip/I’ve got to find a new place where the kids are hip”. The lyrics are Love’s, but as is so often the case with Brian Wilson’s collaborations, Love seems to have been expressing something that Wilson was feeling at the time. The Beach Boys had risen to the challenge from the Beatles, in a way that few other American musicians could, and “I Get Around” was good enough that it made the top ten in the UK, and became a particular favourite in the Mod subculture in London. The group would only become more popular over the next few years in the UK, a new place where the kids were hip. “I Get Around” is a worthy classic, but the B-side, “Don’t Worry Baby”, is if anything even better. It had been recorded in January, and had already been released on their Shut Down vol 2 album in March. It had originally been intended for the Ronettes, and was inspired by “Be My Baby”, which had astonished Brian Wilson when it had been released a few months earlier. He would later recall having to pull over to the side of the road when he first heard the drum intro to that record: [Excerpt: The Ronettes, “Be My Baby”] Brian would play that record over and over, on repeat, for days at a time, and would try to absorb every nuance of the record and its production, and he tried to come up with something that could follow it. Wilson took the basic rhythm and chord sequence of the song, plus melodic fragments like the line “Be my little baby”, and reworked them into a song that clearly owes a lot to its inspiration, but which stands on its own: [Excerpt: The Beach Boys, “Don’t Worry Baby”] Phil Spector turned the song down, and so the Beach Boys recorded it themselves, and I have to say that this was only a good thing — Ronnie Spector recorded a solo version of it many decades later, and it’s a fine performance, but the lyric misses something when it’s sung by a woman rather than a man. That lyric was by Roger Christian, and in it we see the tension between the more emotional themes that Wilson wanted to explore and the surf and car lyrics that had made up the majority of their singles to this point. The lyric is ostensibly about a car race, and indeed it seems to be setting up precisely the kind of situation that was common in teen tragedy records of the period. The protagonist sings “I guess I should have kept my mouth shut when I started to brag about my car,  but I can’t back down now because I pushed the other guys too far”, and the whole lyric is focused on his terror of an upcoming race.  This seems intended to lead to the kind of situation that we see in “Dead Man’s Curve”, or “Tell Laura I Love Her”, or in another teen tragedy song we’ll be looking at in a couple of weeks, with the protagonist dead in a car crash. But instead, this is short-circuited. The protagonist’s fears are allayed by his girlfriend: [Excerpt: The Beach Boys, “Don’t Worry Baby”] What we have here is someone trying to deal with a particular kind of anxiety brought about by what we now refer to as toxic masculinity. The protagonist has been showing off about his driving skills in front of his peers, and has now found himself in a situation that he can’t cope with. He’s saved by a figure we’ll see a lot more of in Brian’s songs, whoever the lyricist, the supernaturally good woman who understands the protagonist and loves him despite, or because of, his faults, even though she’s too good for him. Obviously, one can point to all sorts of reasons why this figure might be considered problematic — the idea that the man is unable to deal with his own emotional problems without a woman fixing him — but there’s an emotional truth to it that one doesn’t get in much music of the era, and even if it’s a somewhat flawed view of gender relations, it speaks to a very particular kind of insecurity at the inability to live up to traditional masculine roles, and is all the more affecting when it’s paired with the braggadocio of the A-side. The combination means we see the bragging and posturing on the A-side as just a facade, covering over the real emotional fragility of the narrator. Each side reinforces the other, and the combination is one of the most perfect pairings ever released as a single. “Don’t Worry Baby”, released as “I Get Around”’s B-side, made the charts in its own right peaking at number twenty-four. The B-side to the next single further elaborated on the themes of “Don’t Worry Baby”: [Excerpt: The Beach Boys, “She Knows Me Too Well”] This repurposing of the emotional and musical style of girl-group songs to deal with the emotional vulnerability that comes from acknowledging and attempting to process toxic masculinity is something that few other songwriters were capable of at this point – only some of John Lennon’s work a couple of years later comes close to dealing with this very real area of the emotional landscape, and Lennon, like Wilson, often does so by using the figure of the perfect woman who will save the protagonist. In 1964, the group once again released four albums – Shut Down vol.2, All Summer Long, a live album, and a Christmas album – and they also did most of the work on yet another album, The Beach Boys Today!, which would be released in early 1965. As these recordings progressed, Brian Wilson was more and more ambitious, both in terms of the emotional effect of the music and his arrangements, increasingly using session musicians to augment the group, and trying for a variant on Phil Spector’s production style, but one which emphasised gentle fragility rather than sturm und drang. Possibly the greatest track he created in 1964 ended up not being used by the Beach Boys, though, but was given to Glen Campbell: [Excerpt: Glen Campbell, “Guess I’m Dumb”] Campbell got given that track because of an enormous favour he’d done the group. The mental strain of touring had finally got too much for Brian, and in December, on a plane to Texas, he’d had a breakdown, screaming on the plane and refusing to get off. Eventually, they coaxed him off the plane, and he’d managed to get through that night’s show, but had flown back to LA straight after. Campbell, who was a session guitarist who had played on a number of the Beach Boys’ recordings, and had a minor career as a singer at this point, had flown out at almost no notice and for the next five months he replaced Brian on stage for most of their shows, before the group got a permanent replacement in. Brian Wilson had retired from the road, and the hope was that by doing so, he would reduce the strain on himself enough that he could keep writing and producing for the group without making his mental health worse. And for a while, at least, that seemed to be how it worked out. We’ll take a look at the results in a few weeks’ time.

American Forces Vietnam Network (AFVN) was created as a morale-boosting military radio station for servicemen and women in Vietnam. AFVN broadcast 24 hours a day, seven days a week for over 10 years; it began broadcasting on August 15, 1962 and ended in March of 1973. At the height of American involvement in the war, Armed Forces Vietnam Network served more than 500,000 fighting men and women at one time. Perhaps the best-known program became the morning "Dawn Buster" program, thanks to the popularity of the sign-on slogan "Gooooood Morning, Vietnam" (which was initiated by Adrian Cronauer (1965) and later became the basis for the film Good Morning, Vietnam (1987) starring Robin Williams). “Good Morning, Vietnam!” (the movie) earned Williams an Oscar nomination as best actor and was his breakout film performance. Among the notable people who were AFVN disc jockeys were "Scotty" Brink, Pat Sajak (Wheel of Fortune - TV), and Denny Woytek (now on WSRQ radio in Sarasota, Florida). ----- Join the conversation on Facebook at ----- https://www.facebook.com/profile.php?id=100008232395712 ---- or by email at ---- dannymemorylane@gmail.com ----- You’ll hear: 1) I Get Around by The Beach Boys 2) Nowhere To Run by Martha & The Vandellas 3) Game Of Love by Wayne Fontana & The Mindbenders 4) Sugar & Spice by The Searchers 5) Liar, Liar by The Castaways 6) I Got You (I Feel Good) by James Brown & The Famous Flames 7) Baby, Please Don't Go by Them 8) Danger Heartbreak Dead Ahead by The Marvelettes 9) Five O'Clock World by The Vogues 10) California Sun by The Rivieras 11) Ballad Of A Thin Man (Mr. Jones) by The Grass Roots 12) Don't Worry Baby by The Beach Boys 13) In The Midnight Hour by Wilson Pickett 14) It's Alright by Adam Faith 15) Yeah, Yeah by Georgie Fame & The Blue Flames 16) My Boyfriend's Back by The Angels 17) Puff (The Magic Dragon) by Peter, Paul And Mary 18) Get a Job by The Silhouettes 19) You Keep Me Hangin' On by The Supremes 20) Rawhide by Frankie Laine 21) The Warmth Of The Sun by The Beach Boys 22) What A Wonderful World by Louis Armstrong 23) Cast Your Fate To The Wind by Sounds Orchestral

Bleeding during pregnancy is a common complaint and while most causes are benign, some can be deadly! In this episode we'll discuss dangerous causes of vaginal bleeding during pregnancy including ectopic pregnancy, placenta previa, and placenta abruptia.Madison Programs Brooklyn CPR and First Aid training in New York. Available to train your personnel at your locationOneKit First Aid Kits More than ever, you need to be prepared. Get your OneKit First Aid Kit today!

10:00 PM | The Replacements | Can't Hardly Wait 10:03 PM | St. Vincent | Savior 10:07 PM | Grateful Dead | Estimated Prophet 10:13 PM | Gang of Four | I Love a Man in a Uniform 10:17 PM | The Mothers of Invention | Who Needs the Peace Corps? 10:19 PM | Elvis Costello & The Attractions | ( What's So Funny 'Bout ) Peace Love And Understanding 10:23 PM | The Beach Boys | Don't Worry Baby (Mono) 10:26 PM | Los Lobos | Don't Worry Baby 10:29 PM | Jason Mraz | The Remedy (I Won't Worry) 10:34 PM | Pretenders | Maybe Love Is in NYC 10:37 PM | Bruce Springsteen | Janey Needs A Shooter 10:44 PM | Stevie Wonder | If You Really Love Me 10:47 PM | Chicano Batman | Friendship (Is a Small Boat in a Storm) 10:50 PM | Michael Franti & Spearhead | Hey Hey Hey 10:55 PM | Engelwood | Sunset Grove 

Features selections from their 2013 live release “DISCONNECTED IN NEW YORK” incudes Set Me Free (Rosa Lee), Maria Christina, The Neighborhood, Don’t Worry Baby, La Venganza De Los Pelodos, Tin can Trust, Bertha, Chuco’s Cumbia, Malaque, and Mas Y Mas.

David is calm and quiet, more like a weaned child than an anxious and worried nursing infant. (Pastor Gene Pensiero)

David is calm and quiet, more like a weaned child than an anxious and worried nursing infant. (Pastor Gene Pensiero)

As broadcast on August 14, 2020.  We welcome Nashville rockers Blackout Balter to the show & a trio of the quintet in Christina, Phil & Marco joined us to share their favorite influences and jams with cuts from David Bowie, Ric Ocasek, and ohmme amongst other worthies.  First hour we basically just warmed things up for their arrival, but in a true twist of fate you cannot write without people laughing in your face unless in fact true, the radio station had an ACTUAL blackout this afternoon.  #Destiny.  The band are out with a full length LP in October called Animal so keep an eye out for that little number.#feelthegravityTracklisting:Part I & II (00:00)Florence + The Machine – Shake It OutThe Cars – Let The Good Times RollDavid Bowie – Queen BitchDilliger Four – Fuzzy Pink HandcuffsBroken Baby – Manic Panic Sugar Fitz – Skin Sparks Beach Boys – Don't Worry Baby? and The Mysterians – 96 TearsElliott Smith – Son of SamCourtney Barnett – Small TalkTelevision – Marquee MoonBlackout Balter – Burn The ShipsBlackout Balter – Red Letter Part III & IV (60:12)Blackout Balter – Wild OneBlack Flag – Nervous BreakdownDavid Bowie – Sound & VisionLightnin' Hopkins – Moving On Out BoogieKelley Stoltz – Prank CallsOhmme – GhostJeff Lynne – What Would It TakeBlackout Balter – SurfWeezer – Across The SeaBuzzcocks – I Don't MindRic Ocasek – Keep On Laughin'Regina Spektor – The Flowers 

Playlist: 1. Nirvana - Smells Like Teen Spirit..2. Elliot Murphy - Rock Ballad..3. Aerosmith - Janie's Got A Gun..4. Emerson, Lake and Palmer - Lucky Man..5. Tim Hardin - If I Were A Carpenter..6. Audience - Heaven Was An Island..7. NAS - Hip Hop is Dead..8. Cream – Badge..9. Jim Croce – Operator..10. Alicia Keys - Fallin'..11. Crazy Town – Butterfly..12. New Radicals - You Get What You Give..13. Streets - Never Went To Church..14. Ruth Brown - A Good Day For The Blues..15. Beach Boys - Don't Worry Baby..16. Van Morrison - Gloria

Playlist: 1. Nirvana - Smells Like Teen Spirit..2. Elliot Murphy - Rock Ballad..3. Aerosmith - Janie's Got A Gun..4. Emerson, Lake and Palmer - Lucky Man..5. Tim Hardin - If I Were A Carpenter..6. Audience - Heaven Was An Island..7. NAS - Hip Hop is Dead..8. Cream – Badge..9. Jim Croce – Operator..10. Alicia Keys - Fallin'..11. Crazy Town – Butterfly..12. New Radicals - You Get What You Give..13. Streets - Never Went To Church..14. Ruth Brown - A Good Day For The Blues..15. Beach Boys - Don't Worry Baby..16. Van Morrison - Gloria

Playlist: 1. Nirvana - Smells Like Teen Spirit..2. Elliot Murphy - Rock Ballad..3. Aerosmith - Janie's Got A Gun..4. Emerson, Lake and Palmer - Lucky Man..5. Tim Hardin - If I Were A Carpenter..6. Audience - Heaven Was An Island..7. NAS - Hip Hop is Dead..8. Cream – Badge..9. Jim Croce – Operator..10. Alicia Keys - Fallin'..11. Crazy Town – Butterfly..12. New Radicals - You Get What You Give..13. Streets - Never Went To Church..14. Ruth Brown - A Good Day For The Blues..15. Beach Boys - Don't Worry Baby..16. Van Morrison - Gloria

Listen to Elana share how her relationship to food and work and how it has and hasn't changed during this time. If you were working online and from home before the pandemic would anything change for you now? Elana shares her feelings around needing to "problem solving" around unexpected produce in the CSA Box (Community Supported Agriculture) and eating your comfort food that was held on reserve not realizing that this is when comfort is needed. And how can the Beach Boys' "Don't Worry Baby" be a really great wedding song with a really great chorus that is full of great reminders for us right now too.

This episode of BTR originally aired worldwide on Sunday February 2nd, I hope you enjoy it. As you can see, by the playlist below, it was full of great music. Cheers! Biggdaddy Ray Blues Therapy Radio #756 2-02-20 Screamin’ John & TD Lind…”Way Past Midnight”…(Mr. Little Big Man) Screamin’ John & TD Lind…”Rollin’ Joanna”…(Mr. Little Big Man) Brody Buster’s One Man Band…”Alligator Blues”…(Damn! I Spilled the Blues) Brody Buster’s One Man Band…”The Hustle”…(Damn! I Spilled the Blues) Janiva Magness…”Bad Moon Rising”…(Change in the Weather) Janiva Magness…”Fortunate Son”…(Change in the Weather) Janiva Magness…”A Hundred and Ten in the Shade”…(Change in the Weather) Blues Meets Girl…”I’m Your Handyman”…(Blues Meets Girl) Blues Meets Girl…”Home to My Baby”…(Blues Meets Girl) Scotty Dennis…”It’s Crying Time”…(Back to the Blues) Scotty Dennis…”I’ve Got the Blues for You”…(Back to the Blues) Tinsley Ellis…”Ice Cream in Hell”…(Ice Cream in Hell) Tinsley Ellis…”Last One to Know”…(Ice Cream in Hell) Jimmy “Duck” Holmes…”Catfish Blues”…(Cypress Grove) Jimmy “Duck” Holmes…”Gonna Get Old Some Day”…(Cypress Grove) Sunny Lowdown…”Sad Letter”…(Shady Deal) Sunny Lowdown…”Chicken in a Basket”…(Shady Deal) Los Lobos…”Don’t Worry Baby”…(2013 Crossroads Guitar Festival) Robert Cray…”Great Big Old House”…(2013 Crossroads Guitar Festival) Kansas…”Lonely Street”…(Song for America) Chris “Bad News” Barnes…”Hungry & Horny”…(Live) Chris “Bad News” Barnes…”Back in A Cadillac”…(Live) Johnny Burgin…”You Got to Make A Change”…(Live) Johnny Burgin…”I Got to Find Me A Woman”…(Live) Troy Gonyea…”(Do the) Curl Up and Die”…(Click Click Spark) Troy Gonyea…”That’s Why I’m Crying”…(Click Click Spark) Teresa James & the Rhythm Tramps…”In the Pink”…(Live!) Teresa James & the Rhythm Tramps…”I Like it Like That”…(Live!) Scotty Dennis…”I’m Gone”…(Back to the Blues) Blues Therapy Radio is hosted by official Blues Hall of Fame broadcaster Biggdaddy Ray Hansen. This weekly radio program is heard on FM radio in multiple cities as well as via online audio stream. Each show is rebroadcast twice a week on KCOR (www.kconlineradio.com) (Kansas City, KS) and every Sunday on Radio Paradijs (Amsterdam. Netherlands). Podcasts can be heard on multiple services by following this gateway https://anchor.fm/ray-l-hansen Sponsorships of this podcast are appreciated. We report our original playlist to Radio Direct, Roots Music Report and to Living Blues. Blues Therapy Radio is a 14-time finalist for Best Blues Radio Show (Spokane IEBS Awards). We accept all submissions for consideration. --- Support this podcast: https://anchor.fm/ray-l-hansen/support

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Comedian and podcaster Patrick Ehlers (Nintendo Cartridge Society, Same Day Shipping) joins Kelly and Katai read and interrupt Barbara Constants The Sound of Silence, and to deliver measured discussion on well-known pop culture figure Paul Chapman, why its important to feed Worry Baby, and the Bullying School of Psychiatric Care.THIS EPISODE SPONSORED BY ZOLA AND EVERLANE:www.zola.com/public $50 OFF!www.everlane.com/public FREE SHIPPING!CHECK OUT PATRICKS PODCASTS:https://itunes.apple.com/us/podcast/nintendo-cartridge-society/id1163990138?mt=2https://itunes.apple.com/us/podcast/same-day-shipping-real-love-fake-relationships/id1288433971?mt=2Follow Public Domain Theater on Instagram and Twitter to submit stories for the pod:http://twitter.com/publicdomainpodhttp://instagram.com/publicdomainpodPublic Domain Theater is a Forever Dog Podcasthttp://foreverdogproductions.com/fdpn/podcasts/public-domain-theater

By faith a Hebrew mother puts her baby boy in a waterproofed basket and places him in the reeds of the Nile River (Pastor Gene Pensiero)

By faith a Hebrew mother puts her baby boy in a waterproofed basket and places him in the reeds of the Nile River (Pastor Gene Pensiero)

By faith a Hebrew mother puts her baby boy in a waterproofed basket and places him in the reeds of the Nile River (Pastor Gene Pensiero)

By faith a Hebrew mother puts her baby boy in a waterproofed basket and places him in the reeds of the Nile River (Pastor Gene Pensiero)

De 2ª a 6ª feira às 21h - ou em podcast, a qualquer hora - o "Chichi, Cama" da Rádio Comercial ajuda-o a meter os miúdos na caminha. Esta semana, a portuense Marta Ren¿ trouxe uma versão de “Don’t Worry Baby”, dos The Beach Boys¿.

Talia Balsam has had a fascinating career on stage and in film and television. Some of her TV roles include the new HBO Series - Divorce, Zelda, The Newsroom, Mad Men, The Good Wife, Homeland, Nurse Jackie, Elementary, Treme, K Street, Without A Trace, Larry Sanders Show, Calamity Jane, Consenting Adults and Kent State.  Films include Ira Sachs' Little Men, Don’t Worry Baby, Girl In The Book, No Strings Attached, The Cake Eaters, All The King’s Men, Little Manhattan, Line Of Fire, In The Mood, Mass Appeal and The Wackness. On stage she has starred on Broadway in Jake’s Women (Theater World Award winner) and Originated roles in John Patrick Shanley's Psychopathia Sexualis, Snake Bit , F2M - Good Television, Cedar City Falls, Vicious ( Theater World Award and LA Weekly Award winner) and the Ladies Room.  She is married to actor John Slattery and has a son and a dog.   

Jeff & Krissy discuss why #HollyMustLive, Ghost and Tommy's blindspots, Jeff's theory on Karen Bassett and Jukebox's true motives, whether you would allow your spouse to accept an "indecent proposal" 50 Cent vs. Courtney A. Kemp and much more!

Jeff & Krissy discuss why #HollyMustLive, Ghost and Tommy's blindspots, Jeff's theory on Karen Bassett and Jukebox's true motives, whether you would allow your spouse to accept an "indecent proposal" 50 Cent vs. Courtney A. Kemp and much more!

AFTERBUZZ TV -- Power edition, is a weekly "after show" for fans of Starz's Power. In this show, hosts Kennelia Stradwick, Robin Ayers, Bamm Ericsen, and Janeisha John discuss episode 4 with special guest Rotimi. ABOUT POWER: The series follows James St. Patrick, nicknamed "Ghost", owner of a popular New York City nightclub. In addition, he is a major player in one of the city's biggest illegal drug networks. He struggles to balance these two lives, and the balance topples when he realizes he wants to leave the drug ring in order to support his legitimate business. It appears James "Ghost" St. Patrick has it all -- a drop-dead gorgeous wife, a stunning Manhattan penthouse, and the power and success that come with owning hot new nightclub Truth. But a closer look reveals a man living a double life. When Ghost isn't tending to his Fortune 500 business, he's catering to clients of another operation: a drug empire that serves only the rich and influential. While loyal --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app · The Colin and Samir Podcast: The Colin and Samir Podcast hosted by LA - based friends and filmmakers Colin and Samir takes a look into what it’s like to make creativity your career. https://open.spotify.com/show/5QaSbbv2eD4SFrlFR6IyY7?si=Dj3roVoJTZmOime94xhjng

Luke reports on his time at the Wooden Boat Festival and Andrew has some unorthodox methods for trying to reduce the stress in his life.

Show #9 Featuring our 100th Facebook fan and Posh Oli The Psychedelic Furs - Pretty In Pink Billy Bragg & Wilco - Way Over Yonder In The Minor Key Tune-Yards - Bizness Kid Canaveral - And Another Thing!! Nicolas Jaar - Space Is Only Noise Pere Ubu - Ubu Dance Party The Beach Boys - Don’t Worry Baby The Smiths - Frankly, Mr. Shankly The Phoenix Foundation - Pot The Delgados - American Trilogy Download Subscribe in iTunes