Group 4 Created with Sketch.

Popular "Pop Music" Stations

DJ FUri Drum´s Tribal POP House Music Podcast DJ and producer from Madrid.
Former Opera singer I put my lyrism into melody and harmony of my mixes and my passion into it´s drums.

My style is Tribal House with elements of progressive, deep house, as well as trap sounds. The kind of music you might hear at WE party Madrid, Muccassassina , Circuit festival Barcelona, XLsior Festival Mykonos, The Week.

Listen, Share, Follow!
Thanks for your support!

Love Music! Be happy!


If you wish to listen to my original tracks and remixes look up my other profile
www.soundcloud.com/furidrums

I am open to collaboration with other DJs producers and performers. Send me your project!
The Positive Psychology of Pop Music Join Wesley Ryan as he interviews your favorite artists and explores their favorite songs and the positive messages in their music and lives!
Switched on Pop A podcast all about the making and meaning of popular music. Musicologist Nate Sloan & songwriter Charlie Harding pull back the curtain on how pop hits work magic on our ears & our culture. From Vulture and the Vox Media Podcast Network.
Pop Music Mixshow Pop Music Mixshow is a Mix of Pop Hits from Today, Yesterday & TomorrowMixed by DJ Danny CeeTwitter: @djdannycee1Facebook: Facebook.com/Top40mixshowwebsite: www.top40mixshow.com
Popcast The Popcast is hosted by Jon Caramanica, a pop music critic for The New York Times. It covers the latest in popular music criticism, trends and news.
Pop Music For Smart People Ever wondered what's down the rabbit hole when you get to the end of pop music today?? ... WELL FOLLOW ME your host Ryan Courtney every week as I guide you through the musical wonderland me and my magical friends have created.

Popular "Pop Music" Playlists

Past Daily: World of Music Listen to World of Music as Vurbl Partner Past Daily shares recordings the L.A. Philharmonic, Steel Mill, Stan Kenton, Dizzy Gillespie, Peter, Paul & Mary.

Gordon Skene, two-time Grammy Nominee and archivist runs The Gordon Skene Sound Archive and this website, which is dedicated to preserving and encouraging an interest in history and historic news, events, and cultural aspects of our society. Past Daily is the only place on the Internet where you can hear a Nixon speech, listen to an interview with John Cassavettes or play a broadcast of Charles Munch rehearsing the Boston Symphony in 1950, all in the same place. It's living history and it's timeless.
Past Daily: Amazing Historical Concerts & News
New Test 123 katemartem
My playlist with favorite audio All audio I like so much_ katemartem
Some playlist the best playlist katemartem
Tell Laura I Love Her I have always liked good female singers with pin point accuracy....for example Celine
Dion with her gentle delivery...Gladys Knight with her perfect phrasing....Aretha
Franklin with her sharp jagged delivery ....Dionne Warwick with her faultless voice
(Heartbreaker being one of my favourite songs)....and of course Tina Turner with her
fabulous range.....a lot can be learned by up and coming girl singers from the likes of
these legends....and at the opposite end of the scale I would like to introduce one of
the worst records ever made...only .in my opinion of course....Tell Laura I Love Her by
Ricky Valance....which reached number one back in the day....but to me it is one of
the worst records ever.
Vince Tracy, Don Woods and our Memories in Music

All "Pop Music" Audio

Take That (ft. Nkasi Ogbonnah) This episode friend of the pod (and Aba’s fake daughter) Nkasi Ogbonnah joins us to talk about her fave band Take That! We talk about Britain’s REAL royal family, their tax issues, and their impact on the UK. We also interrogate Nkasi’s obsession with space in general.
Brought to you By: The Sonar Network
Sean Paul (ft. Alex Ateah) Today we’re talking to friend of the pod Alex Ateah about- you guessed it!- Sean Paul! Aba talks about getting daggered into a hole, Ben talks dropping it low, and Alex goes off about grinding among many other middle school sins!
Don’t forget to check out her comedy album, Experiencing Discomfort! Brought to you By: The Sonar Network
Sir Andrew Lloyd Webber (ft. Brandon Hackett) This week we are blessed and truly highly favoured to have Second City’s very own (and friend of the pod) Brandon Hackett on the show! He’s one of Toronto’s most dynamic and engaging comedians and he gives us a crash course on being a theatre kid, the conception of Webber’s truly wild ideas, and being the odd one out.
Brought to you By: The Sonar Network
Blink-182 (ft. Mike Mildon & Jackson Rowe) This week Aba and Ben are joined by the iconic duo and creators of Paramount/CBC Gem’s hit comedic true crime series, For Heaven’s Sake, Mike Mildon and Jackson Rowe! I dare you to make that sentence make sense! We talk about small dicks being chic, the shithead influence of Blink-182 and being a poser! 😂 Make sure to watch their show (pretty sure cbc gem is free hunty!) Brought to you By: The Sonar Network
Solange (ft. Tyra Banda) In this episode we talk about discovering Solange, friend of the pod Paige introducing Ben to Chyna McClain, and Tyras Banda’s impressive improv career! 🙂 Brought to you By: The Sonar Network
Cher (ft. Viza Decline) In this gloriously hilarious episode we are joined by Toronto Drag Queen and icon, Viza Decline! We talk about how the ugly boyfriend, hot girlfriend trend started with Sunny and Cher, doing drag in the city and about Viza’s pod, You’re Doing it Wrong! Check it out!
Brought to you By: The Sonar Network
Fergie (ft. Joeley Pulver) Twitter legend, Tik Tok Queen, comedy gawdess Joeley joins us to talk all things Fergie, being a pretentious theatre kid,and we find out why she’s called the DUTCHESS Brought to you By: The Sonar Network
Sublime (ft. Dana Smith and Rory Fallis of HUNKS) *Britney voice* It’s been a while… (#freeher). The dolls are back back back again with a new episode! In this new instalment Rory and Dana talk about Sublime’s influence on youth, weed (duh!) and walking the streets of Winnipeg! Make sure you check out their content and their podcast!
http://www.hunkscomedy.com
Brought to you By: The Sonar Network
Amy Winehouse (ft. Jade Niles-Craig) Long time friend of the pod and phenomenal comedian, producer, and event host Jade Niles-Craig joins us to gab gab gab about the iconic legend, Amy Whinehouse, microdosing, and we enjoy the gorgeous background noise of Jade’s audio 💕
Brought to you By: The Sonar Network
Courtney Love (ft. Emily Richardson) In this episode Emily Richardson spills all the tea about Courtney’s chaotic upbringing, the tabloid war against her, and obviously there’s conversation about weed wine. 😈😈😈😈
Brought to you By: The Sonar Network
Bruce Springsteen (ft. Matt Wright) This week gorgeous and hilarious friend of the pod AND JUNO AWARD NOMINEE Matt Wright joins us to discuss American icon, Bruce THEE Springsteen!! We gab about Momento the movie, and euthanasia!!!
Brought to you By: The Sonar Network
Incubus (ft. Shohana Sharmin) We’re joined by writer, comedian, and thespian Shohan Sharmin this week to talk about Incubus! We talk about being weird teens, being sent away to boarding school, and why the hell do we all relate to Incubus! Listen to her podcast Finders Grievers which is also on the Sonar Network.
Brought to you By: The Sonar Network
Bjork (ft. Mitch Duncan) Today we have Bjork’s son’s doppelgänger, Mitch Duncan! We talk about her influence on pop music, lashing out at a reporter, and can someone confirm whether or not she said the N-word???
Brought to you By: The Sonar Network
One Direction (ft. Carley Thorne) Sorry One Direction stans! But Ms. Carley is here to GO IN! about the boy band formerly known as One Direction. We unpack everything from their style to their demographic and truly… it is a drag. Anyways, Carley Thorne is a star and you should check out her channel Uncarley on youtube (ps. she’s famousse honey).
Brought to you By: The Sonar Network
Radio Intro from 1944 Introduces Frank Sinatra Your Hit Parade intro from 1994 broadcast that included Frank Sinatra.
Our Lady Peace (ft. Chris Wilson) In this episode of Nostalgique we talk to pod sister Chris Wilson about his fave band Our Lady peace. We recap our splendid time in Halifax (RIP), how OLP made Chris cool, and that thing of like, hanging out with skaters despite not being one.
Make sure to check out Chris’s pod This Time It’s Different!
Brought to you By: The Sonar Network
Pink Floyd (ft. Kelly McCormack) Brought to you By: The Sonar Network
Alanis Morissette (ft.Lauren Mitchell) This episode iconic ACTIVIST, Toronto comedian and fellow podcaster Lauren Mitchell joins us to explain how we Canadians have our own thing going on!That thing? Alanis Morrisette honey! We talk about her cultural influence, her poetry and how men have been trash for literally ever!
Brought to you By: The Sonar Network
Hannah Montana (ft. Rob Lewin) In this explosive and are we say EPIC episode, friend of the pod, restaurant owner, improviser and sweet darling angel Rob Lewin joins us to discuss the one and the only Hannah Montana! We discuss Miley’s best bops, her era of appropriation, to her iconic relationship with Nick Jonas (RIP). Make sure to check out Sweet Po!
Brought to you By: The Sonar Network
Robert Glasper (ft. Ayaka Kinugawa) In this extra special episode, Second City Music Director, producer, composer, and all around super star Ayaka Kinugawa joins us to discuss her favourite artist! She truly takes us to school and explains Glasper’s influence, her music journey, and being a MEMBER OF A REGGAE BAND!?!
Brought to you By: The Sonar Network
Weird Al Yankovic (ft. Emily Milling) In this fun and silly episode Podcaster extraordinaire, Emily Milling shares with us her love of the iconic artist, Weird Al! We talk about how he influenced the industry, his childhood, and how Aba’s last haircut looked exactly like his :/
Check out Emily’s other podcasts and projects including, Big Chick Energy Sketch Troupe, Ya Gotta Laugh, and The Ultimate Creative. Brought to you By: The Sonar Network
Selena (ft. Monica Garrido) In this new episode we get into the life and legacy of the Mexican icon herself, Selena Quintanilla. We talk about ouija boards, being catholic, and the joy of family parties <3 Monica shares with us the influence of the Texan popstar and how it shaped her youth. You can check out Monica’s Podcast on Aluna Theatre’s website along with lots of other theatre content!
Brought to you By: The Sonar Network
The Killers (ft. Jordan Foisy) Today on the pod we are lucky enough to have stand up comedian, award winning writer, and friend of the pod Jordan Foisy! We unpack the enigma that is the killers, investigate as to whether or not they are real murderers, Jordan drags our age, and we drag Dua Lipa’s boyfriend for no damn reason 😈 Brought to you By: The Sonar Network
Lady Gaga (ft. Patrick Murray) This is hands down the most insane and chaotic episode we have ever recorded. We will never again have a white gay on the podcast because Patrick THEE Murray shut IT DOWN! We love and stan this episode where we UNPACK Lady Gaga’s iconic career, life, and shenanigans. Brought to you By: The Sonar Network
Linkin Park (ft. Guled Abdi) In this episode we have 1/4th of Tall Boys, Guled Abdi on the pod! We talk about finding new music as a kid, HMV, and reminisce about the people we miss the most 💕💕💕💕
Brought to you By: The Sonar Network
Jennifer Lopez (ft. Aisha Brown) In this EXPLOSIVE live episode, the queen of comedy herself, Aisha Brown joins us to gab, drag, and unpack the enigma that is JLo! Aisha is a writer, stand up, and sketch comedian who has a special on Crave, as well as countless credits on some of your fave Canadian shows; but she’s also a teacher because she SCHOOLED US on JLo’s life and career 😌
Brought to you By: The Sonar Network
Nelly and The St.Lunatics (ft. Cody Crain) Brought to you By: The Sonar Network
Ariana Grande (ft. Masooma Hussain) This week we have the incredibly amazing Masooma Hussain as our guest! Masooma is a writer, and truly curator of all things tasteful as you’ll hear in this episode. We talk about the annoying existence of Ben Affleck, black fishing, and of course Ariana’s prolific career! Brought to you By: The Sonar Network
David Bowie (ft. Shannon Lahaie) In this amazing new episode we have improviser, fellow podcast sis, and general angel Shannon Lahaie with us to talk about David Bowie! We talk about sexual agency, Bowie’s impact on queerness, and Shannon’s audition for teh upcoming Bowie biopic! Did you know Shannon helped raise thousands of dollars for Bad Dog Comedy Theatre by hosting a 24 hour game of Among Us? Check out her podcast Escape Capade on Sonar!
Brought to you By: The Sonar Network
Radiohead (ft. Meg MacKay) Trust us when we say that Meg may be a witch, because she’s MAGICAL! She’s our special guest this week as she joins us to talk about Radiohead, queer identity, and growing up in a small town! Don’t forget to check out Meg’s album ‘Probably a Witch’ on all streaming platforms: https://smarturl.it/probwitch.
Brought to you By: The Sonar Network
Oasis (ft. Steve Sladkowski) This week PUP’s guitarist, Steve Sladkowski joins us to talk about his all time fave Oasis! We gab about Liam and Noel’s iconic feud, saying goodbye to Toronto music venues, and you guessed it! Foot masks! Buy PUP’s new album ‘This Place Sucks Ass’.
Brought to you By: The Sonar Network
Lana Del Rey (ft. Randee Neumeyer) In this super hilarious episode Randee Neumeyer goes off about her long time fave, Lana Del Rey! We talk about her iconic aesthetic (both sad sugar baby looks and Kohl’s looks), her cop bf, and we talk about Randee’s new comedy album! Stream and buy Bad Baby here: https://www.randeeneumeyer.com/album
Brought to you By: The Sonar Network
Kanye West (ft. Tamara Shevon) This week international comedian, and nugget heiress Tamara Shevon joins us to defend and pop off on her absolute fave, Kanye West. We talk about his music, cult stuff, and you know we unpack the issue of Kim! Don’t forget to check out Tamara’s podcast Sunday Best, here: https://anchor.fm/tamara-shevon1
Brought to you By: The Sonar Network
Cèline Dion (ft. Pat Gourdeau) In this EXPLOSIVE episode, friend of the pod and comedian Pat Gourdeau joins us to discuss the life and times of Celine Dion! We talk weirdo husbands, Montreal as a whole, and of course we go off on the francophone bops!
Brought to you By: The Sonar Network
Holiday Heauxs In this very special episode of Nostalgique, Ben, Aba, and sweet Aidan take a walk through memory lane as they unpack their favourite Christmas memories. They ponder what’s going on with Kate Walsh, and run down their top 3 Xmas songs!
Brought to you By: The Sonar Network
My Chemical Romance (ft. Griffin Toplitsky and Steve Cooke) In this week’s episode we are joined by the iconic host of Sonar’s Killed To Death podcast! Friends of the pod Griffin and Steve paint us a picture of what it was like growing up as a boy who grew up in a small town, and a boy who respects his mom ❤️❤️❤️
Brought to you By: The Sonar Network
TLC (ft. Daphney Joseph) Long time friend of the pod, improviser, and goddess Daphney Joseph joins us to talk about her absolute fave TLC! Daphney is one half of the iconic duo Coko and Daphney, and she came here to set the record straight about TLC! Give them their coins! Aba gets cancelled for confusing TLC with Salt N Peppa (guillotine!!!!)
Brought to you By: The Sonar Network
Marina and The Diamonds (ft. Sam Sferrazza) Sam Sferrazza joins the team to give the audience a lecture on Tumblr queen, and gay icon Marina and The Diamonds! We also give a quick update on our love lives, and Aba gets cancelled for not knowing how to draw!!
Brought to you By: The Sonar Network
Tina Turner (ft. Brandon Ash Mohammed) In this week’s live recording, Brandon Ash Mohammed joins the gang to GAB about his debut comedy album and PREACH! about rockstar and inventor of wigs, Ms. Tina Turner!
Brought to you By: The Sonar Network
Fiona Apple (ft. Ajahnis Charley) In this week’s live recording of Nostalgique, Fiona Apple gawd himself, Ajhanis Charley joins us to give a SERMON on the career and life of Fiona Thee Apple. If you’re a fan of Nostalgique then you’ll love AJ’s show, High Tea on Bad Dog TV. We continue to stan!
Brought to you By: The Sonar Network
Arcade Fire This week it’s just the OG’s! Benny and Aba reminisce about Arcade Fire, a staple in the annoying theatre kid community, and coincidentally, one of their faves…Isn’t it obvious that your hosts have theatre backgrounds!? 😔
Brought to you By: The Sonar Network
Alexisonfire (ft. xBummerxBoysx) This episode Toronto’s OG sad boys join us to talk about our mutual fave, Alexisonfire! Are they pop? No! Do they rock? Yes! And you know in true Nostalgique fashion we go on hella tangents 🤪 Make sure you check out their podcasts xBummerxBoysx, and Shh!I’m Watching a Movie.
Brought to you By: The Sonar Network
Heart (ft. Chelsea Larkin) Hey lovies! This week we are talking to improv and sketch extraordinaire, and our personal fave, Chelsea Larkin! In this episode Chelsea expertly teaches us about the iconic and legendary 80’s mom band, HEART! We talk about they’re rocker auntie aesthetics, and Chelsea’s extensive experiences at their live shows 💕 Brought to you By: The Sonar Network
Carly Rae Jepsen (ft. Celeste Yim) This week, we have super star and new Saturday Night Live writer, Celeste Yim on the pod! We talk about their super cringe fave Carly Rae, and we have a light fun convo about our pubes.
Brought to you By: The Sonar Network
Madonna (ft. Tranna Wintour) Years ago Madonna BEGGED us to confirm whether or not love is true… we are here to confirm that it is! If it isn’t then why do we feel so much love for our iconic guest Tranna Wintour! She’s an iconique Montreal based comedian who has an amazing CBC podcast titled Chosen Family that you’d be UGLY not to listen to! Check it out, and don’t forget to subscribe! Brought to you By: The Sonar Network
It's August 24, 1974 - You're A Teenager - You Live In L.A. - Summer Is Almost Over - You Didn't Know It Started Where did Summer go? You have hunches.



August 24, 1974 - KHJ-AM - Machine Gun Kelly - Gordon Skene Sound Collection -
Where did Summer go? It's like that every year. June happens - finals, grades, clean out the locker. Head to the beach - road trips, blank spots - Friday turns into Monday and then Friday again. You make good on your pledge of falling in love at least once a day - it's the Summer and clothing is mostly optional - and the girls you knew at 14 look a whole lot different at 17. They know and you know and you know they know. They say and they do things and you are fascinated.

It's all going by fast - and even you've started to notice.

But the new semester is only two weeks away - there's still time - still time to party - still time for a road trip somewhere.

Of course, aside from the Summer going by really fast, it's been a strange one. 1974 has been epic in a lot of ways - even you got interested in politics when Nixon was resigning. Watergate was something else and you started watching Walter Cronkite a lot. You missed Vietnam and all the protests - you heard about them, but you didn't really know what they actually were.

Maybe that's what getting older is about - you pay attention to things you didn't just a few years earlier. All of a sudden you notice what you didn't notice before. Just like you notice time is going by fast - and you're one year older and it will be the Fall soon - and how did that happen?

At least there's music and you have your radio - and you don't think about it all that much. As long as there are tunes, life is good - and you can't ask for more than that. Even if the future is a little hazy from time to time.
To get an idea what August was all about in 1974 (aside from Nixon and Watergate) here's a little under 90 minutes worth of Machine Gun Kelly as he was holding court on KHJ on August 24, 1974. Just so's ya know.
Getting The Fear - In Session - 1984 - Past Daily Soundbooth Bee of Getting The Fear - Post-Punk gender-bending with a side order of Pop.





Getting the Fear were an English band of the 1980s. Its members were Barry (Jepson), Buzz (David Burrows), Aki Nawaz (Haq Quershi), and Bee (Paul Hampshire). The band was formed largely of former members of Southern Death Cult, with the exception of the singer Bee who replaced Ian Astbury on vocals.

A few words via their Demo tape on YouTube:
Bee, an ex member of Danse Society joined the back-line of Southern Death Cult namely Buzz, Barry and Aky.

Bee at the time was an on/off member of Thee Temple Ov Psychic Youth and friend of Psychic TV. The band got a lot of attention from Kill Your Pet Puppy’s fanzine’s successor in all things - colour-musu-politikal-magick - wise, Vague fanzine. Tom Vague was, in general, around the same squats and run down gig venues, that the Kill Your Pet Puppy collective would have been around.

There was a real buzz about this band and Tom who had a finger in both the Southern Death Cult and Thee Temple Ov Psychick Youth camps, went onto champion this band and was rightly expecting huge potential from them.

RCA signed up this extremely good looking bunch of alternative boys in 1985 and sold them, as one would imagine, as a flat sounding, over made up pop band ready for the then dwindling Smash Hits magazine market.

Not quite as gritty as Vague fanzine or anyone that saw some of the celebrations that were the concerts that Getting The Fear performed imagined them to be.

Still…

RCA released one 12″ single entitled ‘Last Salute’ (with the B side ‘We Struggle’ being the pick of the tracks).

Getting The Fear seemed to be a band that were destined to burn out very quickly which of course they did.

1986 saw Bee and Barry start up Into A Circle and Aky got Fun-Da-Mental together.

Bee went to Thailand where he still resides and Buzz went to France where he may well still be…

So there you have it. The BBC session comes from October31, 1984 and is not from John Peel. Enjoy it anyway.
It's 1978 - You're A Teenager - You Live In L.A. - You Got Your First Job - Look Out World. The manager at Thriftimart is thinking maybe Produce would be a good starting job for you instead.



KMET - Bob Coburn - November 18, 1978 - Mike Devich Collection -


The ritual of getting your first job - whether you were heading into your first semester of Junior High (or Middle School, if you're so inclined) or your first semester of high school, there was something about joining the ranks of the employed that was just naturally a rite of passage. Unless you were a trust-fund baby or were born to well-heeled people, getting a job in order to sustain your life was essential. If you got an allowance, chances are it was considered a princely sum around the turn of the century, but not in 1978. Everything cost - and if you had vices, they cost even more - if you had eyes on taking Drivers Ed, getting a learners permit and heading into the hallowed halls of car ownership, you couldn't do it on 50 cents a week. In 1978 gas prices alone were going up and just filling the tank alone would set you back several months of parent-controlled wages alone.

Nope - you had places to go, things to do, people to impress. You were starting to look twice at yourself in the mirror and you were beginning to realize the 60s had been over for a while and Disco was fading fast.

You needed threads, you needed tunes, you needed gas, you needed supplements - and let's get honest; you bought a lid every now and then and the occasional gram of Philadelphia Marching Powder was pricey. And even though it was non-habit forming you found out it was the rat's drug of choice - but you only did it on special occasions like date night or a Kiss concert.

So you and half the underage worker-wannabes in the city of Los Angeles were all clamoring for almost the same jobs - something with short hours, lots of pay and lots of benefits. In short, working at either The May Company or McDonald's or a place like The Gap or London Britches. But under the circumstances, the best you got was working at a supermarket - stocking shelves, wrangling baskets, bagging groceries. It was a job, after all.

Yep - that was you. And face it, you were just a little proud of that - and at least they had the radio on in the employees lunchroom and you all liked KMET.

Life wasn't so bad after all.

And to remind you, here's an hour's worth of Bob Coburn from KMET, exactly as he was heard on November 18, 1978.
Go West - Live in Concert - 1985 - Past Daily Soundbooth Go West - Putting electronic Dance Pop on the map.



Go West - in concert via BBC - December 5, 1985 - Gordon Skene Sound Collection -


Go West in concert. Continuing our dive into the '80 for a look back to see what we've missed, what was embedded in our psyche's and what we're still listening to, all these years later.

In 1982, Cox and Drummie formed the band Go West, with Cox as lead singer and Drummie on guitar and backing vocals. Go West had a publishing deal and possessed a portastudio, but lacked a band or recording company. Cox and Drummie decided, with support from John Glover, their manager, to find a musical producer, and record just two of their songs. The tracks "We Close Our Eyes" and "Call Me" found Go West landing a recording contract with Chrysalis Records.

Go West's debut single, "We Close Our Eyes", was released in 1985 and reached No. 5 on the UK Singles Chart, No. 5 on the US Dance Club Play chart and No. 41 on the Billboard Hot 100. The video for the song, directed by Godley & Creme, became an early favorite on MTV. "We Close Our Eyes" would prove to be the band's highest-placed UK single, and their only appearance in the UK Singles Chart's top ten.

The duo's eponymous debut album was released in 1985. It included "We Close Our Eyes" and "Call Me" as well as "Don't Look Down", which served as the prequel to what would be their first top 40 hit in the US. The album peaked at no. 8 in the United Kingdom.

Bangs and Crashes, an album of remixes, B-sides and live tracks, was released in 1986, and included the track "One Way Street" which was part of the Rocky IV soundtrack.

Go West were voted "Best Newcomer" at the 1986 Brit Awards.

Okay - now you know, if you didn't already - hit the play button and head back to the 80s for the next half-hour or so.
Solex In Session - 1998 - Past Daily Soundbooth Solex (aka: Elizabeth Esselink) - Naming your band after a Hungarian motor scooter just seemed perfect.




Solex in session for John Peel - recorded May 5, 1998 - broadcast June 9 - BBC Radio 1 - -


Solex in session tonight - recorded for John Peel at BBC RAdio 1's Maida Vale Studio 5 on May 5, 1998 and broadcast on June 9.

Heather Phares at AllMusic pretty much nails it. So here's what you need to know about Solex and its creator Elizabeth Esselink:



Named after a small, Hungarian-made motor scooter, Solex is the project of Amsterdam-based record-shop owner and songwriter Elisabeth Esselink. Formerly a member of Dutch indie pop group Sonetic Vet, Esselink wanted to express her musical ideas more completely; after purchasing an 8-track recorder and a vintage sampler, Esselink began recording songs on her own. Combing the racks of her own store for kitschy records, Esselink took snippets of old records to make new ones, creating her own style of lo-fi techno-pop. Solex's debut, Solex vs. the Hitmeister, came out on Matador in 1998; Pick Up followed a year later. Low Kick and Hard Bop arrived in 2001, and three years later, Solex resurfaced with The Laughing Stock of Indie Rock on Arena Rock Recording Co. Early in 2005, In the Fishtank arrived. For her next album, Esselink teamed up with Jon Spencer and Cristina Martinez of Boss Hog, mixing her sampling skills with the duo's brash vocals. Amsterdam Throwdown King Street Showdown! arrived in 2010. For her next project, Esselink and her collaborator Bart van Poppel sailed through all 12 provinces of the Netherlands, recording with musicians at each stop as well as collecting sounds that would become sampling fodder. The results appeared on 2013's The Sound Map of the Netherlands, a soundtrack to the documentary of the same name.

This is the first of what were four sessions done for John Peel; the last one in 2002.

Crank it up and enjoy.
The Flaming Stars - in Session - 1996 - Past Daily Soundbooth The Flaming Stars - Legends in the UK Underground - vacant stares and shrugged shoulders here in the States.



The Flaming Stars - in session for John Peel - Recorded April 9, 1996 - broadcast April 20 - BBC Radio 1 -


The Flaming Stars to get the week rolling. Their second of six sessions recorded for John Peel at BBC Radio 1.

The Flaming Stars was formed in November 1994 in Camden, London, England, by lead singer and Ex-Gallon Drunk drummer Max Décharné, guitarists Johnny Johnson (replaced in 1996 by Huck Whitney) and Mark Hosking, bassist Paul Dempsey, and Joe Whitney on the drums. They took their name from an Elvis Presley film title. The band was signed to the London-based, but Japanese owned, Vinyl Japan UK Ltd. The band first gained attention in Europe when they released their EP "Hospital, Heaven or Hell" which received praise from well-known English radio personalities John Peel and Steve Lamacq. Because of this, they recorded six John Peel Sessions which were released throughout the 1990s and eventually released together in 2000 on a double album, The Six John Peel Sessions.

In 1996, the Flaming Stars released their first album, Songs From the Bar Room Floor, which was followed by Sell Your Soul to the Flaming Stars in 1997. In 2001, The Flaming Stars released A Walk on the Wired Side, a slight departure from their previous works. The album took less from 1960s style garage rock and instead focused more on creating their own unique sound. The Stars gained a minor hit in the UK from their album A Walk on the Wired Side with the song, "Some Things You Don't Forget". The band received considerable attention in the UK's underground scene while remaining fairly unknown in the United States. The Flaming Stars released their fifth studio album, Sunset & Void, in 2002.

Two years later in 2004, they released Named and Shamed, their 10th anniversary album. In early 2006, Vinyl Japan went into receivership and the Stars were signed to Big Beat Records, which is owned by Ace Records. On 16 March that year, they released their first effort on Big Beat, a 42 track compilation album London After Midnight: Singles, Rarities and Bar Room Floor-Fillers 1995-2005. In September 2006, they released their seventh studio album, Born Under A Bad Neon Sign.

The Flaming Stars played a comeback gig supporting The Nightingales at Dublin Castle, Camden on 26 October 2016.

If you aren't familiar (and shame on you if you aren't) here is their second session for Peel as it was broadcast on April 20, 1996.

Crank this one up - it's got a lot going for it.
UB40 - In Concert - Brighton Pavilion - 1985 - Past Daily Backstage Pass UB40 - Turning unemployment into a calling (photo: Getty Images).




UB40 - In Concert - Brighton Pavilion - 1985 - BBC Radio 1 -


UB40 this weekend. Recorded at Brighton Pavilion in 1985 for BBC Radio 1's In Concert series.

The band members began as friends who knew each other from various schools across Birmingham, England. The name "UB40" was selected in reference to a form issued to people claiming unemployment benefits from the UK government's Department of Employment. The designation UB40 stood for Unemployment Benefit, Form 40.

The origins of what would become UB40 began when in mid-1978 guitarist Ali Campbell, together with the rhythm section of drummer Jimmy Brown and bassist Earl Falconer, began rehearsing charting reggae songs in addition to some of their own original compositions. They were soon joined by several of their friends, firstly percussionists Yomi Babayemi and Norman Hassan, and then saxophonist Brian Travers and keyboardist Jimmy Lynn. Robin Campbell, although initially reluctant to commit to forming a band with the others, was invited to join once again by his brother and bought a guitar with which to do so in December of that year. Once Robin had joined the others in their jamming sessions, the eight musicians formed a band, deciding on the name 'UB40' after a friend suggested it was an appropriate name given the unemployed status of all of the band members. Prior to this, Travers had work as an electrical apprentice for NG Bailey; whilst Robin Campbell had been an apprentice toolmaker.

This lineup of the band lasted long enough to play their first show at the Hare & Hounds pub in Kings Heath in February 1979 and one other, before the band underwent its first lineup change in the form of Babyemi and Lynn leaving the band and Mickey Virtue joining in place of Lynn. A month later UB40's classic lineup was rounded out with the inclusion of percussionist and vocalist Astro. Astro had previously been working for Duke Alloy's sound system attending reggae dances in Birmingham. Before some of them could play their instruments, Ali Campbell and Brian Travers travelled around Birmingham promoting the band, putting up UB40 posters. Their sound was created and honed through many long jam sessions at various locations in Birmingham.

Their first gig took place on 9 February 1979 at The Hare & Hounds Pub in Kings Heath, Birmingham for a friend's birthday party. This was commemorated in October 2011 by the unveiling of a plaque at the venue, indicating the band receiving the Performing Rights Society's Music Heritage Award. UB40 caught their first break when Chrissie Hynde saw them at a pub and gave them an opportunity as a support act to her band, The Pretenders. UB40's first single, "King"/"Food for Thought" was released on Graduate Records, a local independent label run by David Virr. It reached No. 4 on the UK Singles Chart.

The title of their first album, Signing Off, indicates the band was signing off from, or ending, their claim for unemployment benefits. It was recorded in a bedsit in Birmingham and was produced by Bob Lamb. Norman Hassan said of the recording: "if you stripped my track down, you could hear the birds in the background." This is because his tracks were recorded outside in the garden. Signing Off was released on 29 August 1980. It entered the UK Albums Chart on 2 October 1980, and spent 71 weeks in total on the chart. Signing Off is now a Platinum album. As UB40 grew in popularity, they encouraged and supported local musicians and bands from Birmingham, such as Beshara, often bringing them on tour.

After great success in the UK, UB40's popularity in the US was established when they released Labour of Love, an album of cover songs, in 1983. The album reached No. 1 on the UK Albums Chart and No. 8 on the Billboard 200 in the US. The album featured the song "Red Red Wine", a cover version of a Neil Diamond song (in an arrangement similar to that of Tony Tribe's version); it stayed on the charts for over 100 weeks.

Hit the Play button, crank it up and enjoy!
Dead Or Alive - In Session - 1982 - Past Daily Soundbooth Dead Or Alive - Oh, the 80s.



Dead Or Alive - In session for John Peel - Recorded March 1, 1982 - Broadcast March 18 - BBC Radio 1 -




Dead Or Alive, in session for John Peel. Their second of two sessions, recorded on March 1, 1982 and broadcast on March 18th.

Dead or Alive were a pop band formed in 1980 in Liverpool. The band found success in the mid-1980s, releasing seven singles that made the UK Top 40 and three albums on the UK Top 30. They were the first band under the production team of Stock Aitken Waterman to have a number-one single. At the peak of their success, the lineup consisted of Pete Burns (vocals), Mike Percy (bass), Steve Coy (drums) and Tim Lever (keyboards).

Two of the band's singles reached the U.S. Top 20 on the Billboard Hot 100: "You Spin Me Round (Like a Record)" (No. 11 in 1985) and "Brand New Lover" (No. 15 in 1986).

"You Spin Me Round" peaked at number one for two weeks in 1985 in the UK, then charted again in 2006 following Burns' appearance on the television reality show Celebrity Big Brother. It also became the first of two singles to top the Billboard Hot Dance Club Play chart. In December 2016, Billboard ranked them as the 96th most successful "dance artist" of all time.

The group had several more hits in the 1980s, including “Brand New Lover” and “Something in My House.” By the late 1990s the group had mostly faded from the pop scene, though different iterations of it continued to release remixes, new material and compilation albums into the 2000s.

“You Spin Me Round” has been covered by Jessica Simpson and repurposed by the rapper Flo Rida.

Mr. Burns began undergoing plastic surgery around the time the song became a hit. He was open and unapologetic about his many procedures, undertaken, he said, mostly out of boredom.

As of 2017 Dead or Alive had sold over 30 million albums and 28 million singles worldwide. The band was discontinued following Pete Burns' death in 2016.

As a reminder, here is their second and last session for John Peel, as it was broadcast on March 18, 1982.
Talk Talk - Live In London - 1982 - Past Daily Soundbooth Talk Talk - Pioneers of Post-Rock.





Talk Talk - Live At Paris Theatre - London - Recorded by BBC Radio 1 for In Concert - 1982 - BBC Radio 1 -


Talk Talk in concert to close the weekend. Recorded by BBC Radio 1 for their In Concert series in 1982.

Talk Talk began as a quartet consisting of Mark Hollis, formerly from The Reaction (vocals/main songwriter), Lee Harris (drums), Paul Webb (bass guitar), and Simon Brenner (keyboards). In their early years they were often compared with Duran Duran. In addition to a band name consisting of a repeated word, the two shared a Roxy Music-inspired musical direction, as well as the same record label (EMI) and producer (Colin Thurston). The band also supported Duran Duran on tour in late 1981.

The band released their first single, "Mirror Man", on EMI in February 1982. The single was not a great success, but was quickly followed by their self-titled single in April 1982 (a rerecording of a track by The Reaction) which reached No.52 in the UK. The band's first album, titled The Party's Over, was released in July 1982. The band had their first UK Top 40 hits with the singles "Today" (UK No. 14) and a re-release of "Talk Talk" (UK No. 23). These singles also were hits in other countries including Ireland, South Africa, Australia and New Zealand. The re-release of the "Talk Talk" single reached the U.S. Top 75. The album was produced by Colin Thurston, who was Duran Duran's in-house EMI producer at the time, but picked by Hollis because of his involvement with David Bowie's Heroes. It was a moderate success in the UK reaching No.21, and was later certified Silver by the BPI for sales of 60,000 copies by 1985. It was a Top 10 hit in New Zealand.

Brenner left after the 1983 non-LP hit single "My Foolish Friend", which was produced by frequent Roxy Music collaborator Rhett Davies. At this point, the band was now a trio, as Brenner was never officially replaced. However, Tim Friese-Greene was recruited to assist with the recording of their second album, It's My Life, and he became the band's producer as well as keyboardist and Hollis' songwriting partner. Although a major contributor to the band's studio output and a de facto fourth member, Friese-Greene never officially joined the band. As such, he did not play with the touring band on live dates, and was absent from the band's publicity material.

Their influence upon musicians has exceeded the band's visibility among the general public. Along with the band Slint, they are credited with inventing "post-rock" in their last two albums, Spirit of Eden and Laughing Stock. The artists who have praised the band or cited them as an influence include Tears for Fears, Matthew Good, Radiohead, Doves, Elbow, Shearwater, M83, Bark Psychosis, The Notwist, Cedric Bixler-Zavala of the Mars Volta, Steven Wilson of Porcupine Tree, Storm Corrosion (a joint project between Opeth's Mikael Åkerfeldt and Porcupine Tree's Steven Wilson),Steve Hogarth of Marillion, Richard Barbieri of Japan and Porcupine Tree, and Death Cab for Cutie.

The bands Placebo, Weezer, the Divine Comedy and the Gathering covered their song "Life's What You Make It" and No Doubt scored a global hit with a cover of "It's My Life" in 2003 which reached number 20 on the UK charts. Lights recorded a cover of "Living in Another World" in 2012. Guy Garvey of the band Elbow said: "Mark Hollis started from punk and by his own admission he had no musical ability. To go from only having the urge, to writing some of the most timeless, intricate and original music ever is as impressive as the moon landings for me."

A tribute album and anthological book, were released in 2012. The book includes all the artwork James Marsh did for the band, and hand-written lyrics (by the band). The album includes covers by various artists, proceeds going to the conservation organisation BirdLife International.

On Tuesday 26 November 2019, Spirit of Talk Talk organized A Celebration of Mark Hollis and Talk Talk concert at the Royal Festival Hall, London, UK. Founding band member Simon Brenner, who played keyboards on studio album, The Party's Over was amongst the long list of guest musicians who performed songs from all five Talk Talk studio albums and Mark Hollis' solo album. The evening was described as A Majestic Tribute by the London-based daily newspaper The Evening Standard.

Hollis and Talk Talk continue to be praised as artists who did not cave in to the pressures of corporate and commercial interests. Says Alan McGee, "I find the whole story of one man against the system in a bid to maintain creative control incredibly heartening."

Hit the play button, settle down, crank it up and get ready for the week.
Past Daily: July 1962 - The Drive-In Experience - Past Daily Weekend Pop Chronicles The Drive-In Movie Theater - once a staple in the diet of 1950s and 1960s America. Faded from view in the 1970s with the advent of home video.
Drive-ins were something of a rite of passage during their heyday. As a kid, it was a Saturday night adventure; packed into the family car, lumbering off to the hinterlands where you sat with a twenty pound bag of popcorn while you tore off chunks of the crispy manifold Chicken your mom made because buying anything at the drive-in was too expensive.
Frankie Goes To Hollywood - Live At Wembley - 1987 - Past Daily Soundbooth Frankie Goes To Hollywood - Pretty much dominated 1984 as far as the UK were concerned. (photo: Rex Features)



Frankie Goes To Hollywood - Live At Wembley Arena - January 13, 1987 - Live and Loud.com


Frankie Goes To Hollywood to end the week. Recorded live at Wembley Arena on January 13, 1987 and spiffed-up, turbo-charged and given a new lease on life by Flip Martian at Live and Loud.com.

Frankie Goes to Hollywood formed in Liverpool, England, in the 1980s. The group was fronted by Holly Johnson (vocals), with Paul Rutherford (vocals), Peter Gill (drums, percussion), Mark O'Toole (bass guitar) and Brian Nash (guitar).

The group's 1983 debut single "Relax" was banned by the BBC in 1984 while at number six in the charts and subsequently topped the UK Singles Chart for five consecutive weeks, going on to enjoy prolonged chart success throughout that year and ultimately becoming the seventh-best-selling UK single of all time. It also won the 1985 Brit Award for Best British Single. Their debut album, Welcome to the Pleasuredome, reached number one in the UK in 1984 with advanced sales of over one million. After the follow-up success of "Two Tribes" and "The Power of Love", the group became only the second act in the history of the UK charts to reach number one with their first three singles; the first being fellow Liverpudlians Gerry and the Pacemakers in the 1960s. This record remained unbeaten until the Spice Girls achieved a six-single streak in 1996–1997.

In 1985 the band won the Brit Award for British Breakthrough Act. Associated with the Second British Invasion of the US, they also received Grammy Award and MTV Video Music Award nominations for Best New Artist. Songwriters Johnson, Gill and O'Toole received the 1984 Ivor Novello Award from the British Academy of Songwriters, Composers, and Authors for Best Song Musically and Lyrically for "Two Tribes". In 2015, the song was voted by the British public as the nation's 14th-favorite 1980s number one in a poll for ITV.

In 1986, FGTH appeared at the Montreux Rock Festival which was broadcast on UK television. This performance saw the first airings of two future singles, namely "Rage Hard" and "Warriors of the Wasteland". Both versions were different from the versions eventually released. In August 1986, the long-awaited new Frankie Goes to Hollywood single, "Rage Hard", was released, reaching number 4 in the UK. Initially showcased promotionally with songs like "Warriors of the Wasteland", the group's sound had developed a significantly harder edge with a less flamboyant, more nitty-gritty lyrical side. The album, Liverpool, was released in October 1986 and reached UK No. 5. It was generally panned by the music press and chart returns declined rapidly with the follow-up singles "Warriors of the Wasteland" (No. 19) and "Watching the Wildlife" (No. 28). The group meanwhile threatened to implode of its own accord, in the course of a tour promoting the new album. Johnson kept himself markedly separate from the rest of the band when offstage during this period, tensions becoming exacerbated during a backstage altercation between Johnson and O'Toole at Wembley Arena in January 1987, reflecting the generally collapsing relationship between lead singer and the rest of the band. Things were so bad that fellow Liverpudlian singer Pete Wylie was approached to replace Johnson but declined the offer. FGTH completed the tour, but Johnson ultimately left the group thereafter, citing musical estrangement.

And as history would have it, this is the concert the above altercation took place. However, you and the rest of the audience at the time won't notice. It's just one of those factoids to pique your interest. Either way, crank it up and get ready for the weekend.
Pet Shop Boys - Live At Wembley - 1991 - Past Daily Soundbooth Pet Shop Boys - Defined by the things they refused to do.



Pet Shop Boys - Live at Wembley - June 9, 1991 - Live and Loud.com -


Ending up yet another insane week with Pet Shop Boys, live at Wembley and recorded on June 9, 1991. Fiddled with and fine-tuned by Flip Martian for Live and Loud.com

Pet Shop Boys formed in London in 1981 and consist of Neil Tennant and Chris Lowe.

They have sold more than 100 million records worldwide, and are listed as the most successful duo in UK music history by The Guinness Book of Records. Three-time Brit Award winners and six-time Grammy nominees, since 1985 they have achieved 42 Top 30 singles, 22 of them Top 10 hits in the UK Singles Chart, including four UK number ones: "West End Girls" (also number one on the US Billboard Hot 100), "It's a Sin", a synthpop version of "Always on My Mind", and "Heart". Other hit songs include a cover of "Go West", "Opportunities (Let's Make Lots of Money)" and "What Have I Done to Deserve This?" in a duet with Dusty Springfield. With five US top ten singles in the 1980s, they are associated with the Second British Invasion.

On 24 September 1990, a new single, "So Hard", was released, reaching No.4 in the UK and Pet Shop Boys' fourth studio album followed, on 22 October 1990. Titled Behaviour, it was recorded in Munich, with producer Harold Faltermeyer. The album was not intended to reflect a dramatic change in mood from their earlier albums; however, it is noticeably subdued. It included the fan-favourite "Being Boring", the second single from the album, which only reached No.20 in the UK Singles Chart, their lowest placing at the time. The song was inspired by a quote by Zelda Fitzgerald: "...she refused to be bored chiefly because she wasn't boring", and was widely thought to be a commentary on the AIDS epidemic. The music video was directed by filmmaker Bruce Weber. By this time, the duo had also parted ways with manager Tom Watkins, replacing him with Jill Carrington, who had previously been marketing director at Polydor.

In March 1991, a cover of U2's "Where the Streets Have No Name" as a medley with "Can't Take My Eyes Off You", the 1960s pop song by Frankie Valli/The Four Seasons, was released as a double A-sided single with a remix of the album track "How Can You Expect to Be Taken Seriously?" by Brothers in Rhythm. This was followed by the duo's first world tour. Named Performance, the tour kicked off in Tokyo, on 11 March 1991. The tour also visited the United States, Canada, France, Belgium, Germany, Denmark, Sweden, Finland, Czechoslovakia, Austria, Hungary, Yugoslavia, Switzerland, Italy, Spain, the Netherlands, Ireland, and the United Kingdom. The shows were designed by David Alden and David Fielding, who had designed several sets for the Royal Opera House.

Before taking a break in 1992, in 1991 the Pet Shop Boys released an 18-track compilation called Discography, which included all of their single releases up until then, two new singles—"DJ Culture" and "Was It Worth It?"—and only omitted "How Can You Expect to Be Taken Seriously?" (although it did appear on the video companion Videography). While "DJ Culture" had some success, "Was It Worth It?" became the duo's very first single to miss the UK Top 20 since their two Bobby O debut singles.

As a reminder of that first World Tour, here is their performance at Wembley from June 9, 1991.

Play loud.
Kate Bush - Live - Manchester Apollo - 1979 - Past Daily Soundbooth Kate Bush - Tour Of Life '79 would have to last until 2005.



Kate Bush - Live at The Manchester Apollo - April 10, 1979 - Live And Loud.com - Flip Martian Collection



Kate Bush, live at The Manchester Apollo. Recorded either April 10th or 11, 1979 and preserved for posterity by Flip Martian and his truly amazing Live And Loud website (big thanks again!). Later known as The Tour Of Life, it lasted a little over a month (going from April 2nd to May May 14, 1979). The final show, at the Hammersmith Odeon in London was filmed and portions were broadcast as well as a video of the full concert which was issued in 1981. But not this one. This recording most likely comes via the Sound crew and is relatively early-on in the tour.

After Bush turned down an opportunity to perform as a supporting act for Fleetwood Mac, production for the tour began in December 1978. Bush was said to be involved in almost every aspect of the show's design, rehearsals, and performances. The show was choreographed by Bush and Anthony Van Laast, in collaboration with dancers Stewart Avon Arnold and Gary Hurst. Dance rehearsals took place at The Place during mornings leading up to the tour, before afternoon vocal and band rehearsals in Greenwich. Production rehearsals featuring all personnel and audiovisual technology took place at Rainbow Theatre in London. Beginning on 26 March and finishing on 29 March 1978.

The tour was known for its innovative use of visual projections, audio and microphone technology, and narrative storyline. Bush aimed for the tour to offer a theatrical experience to contrast the performances of other contemporary rock musicians, and sought to combine "music, dance, poetry, mime, burlesque, magic and theatre." The performance was divided into four sections, concluding with two encores, and incorporated seventeen costume changes and involved thirteen on-stage personnel. Magician Simon Drake performed throughout the show. The stage itself was constructed with a retractable ramp at its centre, with a "large ribbed screen – intended to represent an egg – on to which slides and film footage could be projected". Eight "follow spot" moving lights tracked the musicians and performers on stage. Since the tour, Bush has become known as the first artist to use a cordless microphone headset, which allowed her to move and dance freely while singing live. The headset prototype was constructed using a coathanger and radio microphone. Ultimately, each night of the tour sold out.

The tour opened on 3 April 1979 in Liverpool at the Liverpool Empire, following a warm-up gig in Poole on 2 April 1979. Following the Poole show, the tour's lighting engineer Bill Duffield was killed after falling from a stage and seating structure at the concert venue. The first of the final three London dates on 12 May 1979 was performed as a benefit concert for the family of Duffield, and featured an altered setlist and performances by Peter Gabriel and Steve Harley. Bush released the song "Blow Away (For Bill)", dedicated to Duffield, on her third studio album Never for Ever (1980). In 1994, Bush described the physical exhaustion she experienced as a result of touring, a comment which she echoed in 2011. Bush did not tour again until 2014's Before the Dawn, a concert residency at London's Hammersmith Apollo.

In case you missed the 1979 tour, here's an opportunity to catch up. If you were there, here's a chance to revisit it.

Enjoy it either way.
Frank Sinatra - With Ella Fitzgerald, The Hi-Los, Nelson Riddle, Red Norvo - Timex Presents - 1959 - Past Daily Weekend Pop Chronicles Frank Sinatra - recently unearthed pristine audio.




ABC-TV - Timex Presents Frank Sinatra - December 13, 1959 - Audio Master - Gordon Skene Sound Collection -

I usually don't post Television audio on Past Daily. Mostly because there's enough video around that just getting the sound seems a little silly. But in this case, it's different - The Frank Sinatra Timex shows have been reissued on DVD, but the general consensus is that the sound has always been less than satisfactory - which has always been a shame since Sinatra was at a high point in his career and his guests were in top-notch form as well.

So, as is often the case - this came from a larger collection which sat in the archive, pretty much unnoticed the past 30+ years. I don't know how I came across them, what they were doing in a larger collection of radio tapes and discs or why I never played them before, but since I have been going on the seemingly never-ending project of digitizing everything, they showed up on the menu. The sound is stunning - it's not an "aircheck" or some umpteenth generation copy of a dub made by one of the broadcast engineers; it's pretty close to the real thing. So I thought I would share this little discovery with you.

Now - about the show - this comes from Matt Coller of Allmusic and it gives you some background if you aren't already familiar:




Beginning in 1959, singer Frank Sinatra hosted four television specials on ABC sponsored by the Timex watch corporation. These were star-studded events marked by Sinatra's virtuoso solo performances and duets with other big-name performers. Released as part of Eagle Rock Entertainment's Frank Sinatra Collection, Timex Shows, Vol. 1 features the first two of these TV specials with The Frank Sinatra Timex Show and An Afternoon with Frank Sinatra. Originally aired in October and December of 1959, respectively, they featured Sinatra at the height of his fame, just as he was entering his iconic Rat Pack years. Joining him on his first Timex show is his main Rat Pack foil, Dean Martin, along with guests Bing Crosby, Mitzi Gaynor, and Jimmy Durante. Backing them throughout is the inimitable Nelson Riddle Orchestra. In various pairings, they deliver intimate if still expertly produced live performances including renditions of "High Hopes," "Day in, Day Out," "Cheek to Cheek," and more. Also featured are several bravura medleys, including a rousing show closer with Sinatra, Martin, Crosby, and Durante doing "Start Each Day with a Song," "Inka Dinka Do," and "Baby, Won't You Please Come Home." For Sinatra's second Timex Show, he brought along an equally high caliber of guests including Ella Fitzgerald, Peter Lawford, the Hi-Lo's, and Hermione Gingold, as well as his Can Can co-star, singer/dancer Juliet Prowse. It should be noted that these specials are transferred from their existing original tape sources and, while watchable, retain a certain amount of audio and video grit. Nonetheless, they remain utterly entertaining time capsules of the era. Interestingly, the second TV show opens with a magical bit by Lawford, introducing the show on a beach in the rain surrounded by dancers. Along with the show's enjoyably kitschy live commercials for Timex watches, Lawford's Umbrellas of Cherbourg-style intro is yet another colorful aspect that makes these classic Sinatra TV productions so appealing.

Enjoy the show.
It's March 1971 - You're Going To School In The Bay Area - You Just Heard L.A. Had Another Earthquake - You Chuckle. And You Have Turned Into a Party Animal.



KYA - San Francisco - Bwana Johnny - March 31, 1971 - Rob Frankel Collection -
It's March 1971. You have done what most of your friends have done - go away to college. Your big adventure - you don't live at home anymore - nobody tells you what to do, where to go, what to eat or what to wear. Freedom. And as long as your money holds out, you'll be fine. You do have to get a job though. By rough estimates you have enough to keep you going for three months. But you don't think about that - not now anyway. You have friends and there's talk of moving into a house with a bunch of them and splitting the rent. You have discovered a taste for beer. So have your friends.

You miss L.A. though - you miss the hot days. It's cold in San Francisco; cold most of the time, and it rains a lot. Never rains that much in L.A. - but the air's cleaner in the Bay area. It's hardly ever smoggy.

You were missing L.A. - but then in February the earthquake hit and everybody was freaking out. And that's when you stopped missing L.A. - you saw the news on TV. The collapsed freeway overpass - all the crunched buildings. And you remembered you were accepted to Valley State in Northridge and you decided to go to San Francisco State instead. You were breathing a sigh of relief. So when you heard in March that there was ANOTHER earthquake in L.A. - you felt moderately smug about making the right decision - dodged another bullet. And the rain doesn't seem to bother you that much anymore.
For a reminder of life in the Bay Area in 1971, here's a half-hour of Bwana Johnny from KYA in San Francisco on March 31, 1971. Toward the end you'll hear a newscast with a report of the latest earthquake in L.A.

Life on the West Coast.
Orange Bicycle - Solomon King - Elmer Gantry’s Velvet Opera - The Equals - Don Partridge - Top Of The Pops - 1968 - Past Daily Soundbooth The Equals - first major interracial Rock band in the UK - And hugely influential for decades after.




Orange Bicycle; Solomon King; Elmer Gantry’s Velvet Opera; The Equals; Don Partridge - Top Of The Pops - April 5, 1968 - BBC Radio 1 -

We'll be here: 24/7: Become a Patron!

Ending up the week with another Top Of The Pops program - this one from April 5, 1968 and features Orange Bicycle, Solomon King, Elmer Gantry's Velvet Opera, The Equals and Don Partridge - all broadcast on BBC Radio and available internationally via the BBC Transcription Service.

With the exception of The Equals, most of these acts might be unfamiliar with American audiences. As was the case with much of the Pop music of the 60s; there was a flood of it, and even though radio was pretty far-reaching as far as musical genres, the sheer number of singles and albums issued was overwhelming and not everything that came out was destined for airplay or even recognition. The nature of the beast.

A quick rundown on who is who via the ever-handy Wikipedia:
The Equals were a British pop, RB and rock group formed in North London, England in 1965. They are best remembered for their million-selling chart-topper "Baby, Come Back" (which they play on this episode live), though they had several other chart hits in the UK and Europe. Eddy Grant founded the group with Pat Lloyd, John Hall, and brothers Derv and Lincoln Gordon, and they were noted as being "the first major interracial rock group in the UK" and "one of the few racially mixed bands of the era".

Orange Bicycle was an English psychedelic pop band, which existed between 1967 and 1971. The band played a style influenced by The Beach Boys, The Beatles, The Rolling Stones and the hippie counter culture. Previously, they acted as support, and backing band for the duo Paul and Barry Ryan as well as completing sessions for other vocalists, recording over 100 BBC Radio One sessions and appearing on UK TV.

Solomon King (born Allen Verner Levy, August 13, 1931 – January 21, 2005) was an American 1960s and 1970s popular music singer. He is best remembered for his 1968 British hit single, "She Wears My Ring", which charted in 40 countries.

Elmer Gantry's Velvet Opera emerged from a soul/blues band called 'The Five Proud Walkers'. After supporting Pink Floyd on tour, they were inspired to change their approach and become a more psychedelic outfit. The band consolidated as Richard Hudson on drums, John Ford on bass, Colin Forster on lead guitar, Jimmy Horrocks (Horovitz) on organ and flute (who left early in the band's history), and Dave Terry on vocals and harmonica. Initially just calling themselves Velvet Opera, they developed their full name when Terry took to wearing a cape and preacher's hat in the style of the title character in the 1960 film adaptation of Sinclair Lewis' novel, Elmer Gantry.

Donald Eric Partridge (27 October 1941 – 21 September 2010) was an English singer and songwriter, known as the "king of the buskers". He performed from the early 1960s first as a folk singer and later as a busker and one-man band, and achieved unexpected commercial success in the UK and Europe in the late 1960s with the songs "Rosie", "Blue Eyes" and "Breakfast On Pluto". He later was a founder of the group Accolade, which released two albums. He continued writing music, playing, busking and recording, mainly as a solo artist, until 2008.

So now you know - sit back, hit "play" and figure out how you're going to isolate this weekend. I'll be here, so don't worry.
Long John Baldry - Kippington Lodge - The Moody Blues - Brenda Lee - Dave Dee, Dozy, Beaky, Mick & Tich. Top Of The Pops - 1967 - Past Daily Soundbooth Kippington Lodge - would eventually morph into Brinsley Schwarz and finally into Nick Lowe.



Long John Baldry - Kippington Lodge - The Moody Blues -Brenda Lee -Dave Dee, Dozy, Beaky, Mick and Tich - Top Of The Pops - December 15, 1967 - BBC Radio 1 -

A buck here - a buck there - it adds up and you can help: Become a Patron!


Another installment of the radio version of Top Of The Pops tonight. And in keeping with their format, it's cut a wide musical spectrum. Featuring Long John Baldry, Kippington Lodge (who eventually morphed into Brinsley Schwarz before Nick Lowe stepped out to go solo. 50's American Teen idol Brenda Lee and the group with a somewhat impossible name to remember; Dave Dee, Dozy, Beaky, Mick and Tich - all broadcast on December 15, 1967 by BBC Radio 1 and offered worldwide via the BBC Transcription Service.

John William "Long John" Baldry (12 January 1941 – 21 July 2005) was an English-Canadian blues singer and voice actor. In the 1960s, he was one of the first British vocalists to sing the blues in clubs and shared the stage with many British musicians including the Rolling Stones and the Beatles. Before achieving stardom, Rod Stewart and Elton John were members of bands led by Baldry. He enjoyed pop success in 1967 when Let the Heartaches Begin reached No. 1 in the UK, and in Australia where his duet with Kathi McDonald You've Lost That Lovin' Feelin' reached No. 2 in 1980.

Best remembered as the vehicle for the earliest Nick Lowe (b. 24 March 1949, Walton-On-Thames, Surrrey, England.) recordings, Kippington Lodge stemmed from Lowe’s first band, Sounds 4+1, which he formed with school pal, Brinsley Schwarz. On leaving school, Lowe, already used to a nomadic existence as his father was in the Royal Air Force, decided to go and see some more of the world leaving, Schwarz to return to his native Tunbridge Wells in Kent. Here Schwarz formed Three’s A Crowd who were signed to EMI Records in 1967. Changing their name to Kippington Lodge they released their debut ‘Shy Boy’ in October. This effective pop song was accompanied by the equally good ‘Lady On A Bicycle’.

Dave Dee, Dozy, Beaky, Mick & Tich were a British pop/rock group of the 1960s. Two of their single releases sold in excess of one million copies each, and they reached number one in the UK Singles Chart with the second of them, "The Legend of Xanadu". Ironically, a version of them is still together.

Brenda Lee and The Moody Blues you're all familiar with, so hit the Play button and crank it up for another installment of Top Of The Pops.
The Move - Kenny Lynch - The Mindbenders - The Seekers - The Bee Gees - Top Of The Pops - 1967 - Past Daily Soundbooth The Move - One of the truly great and shamefully underrated bands of the 60s.



The Move - Kenny Lynch - The Mindbenders - The Seekers - The Bee Gees - Top Of The Pops - October 20, 1967 - BBC Radio 1 -

It helps, a lot: Become a Patron!

A program you might never hear today - a collection of artists that cover an almost complete spectrum of Pop music in the 1960s, all at one time. Top Of The Pops was a weekly music program, first aired on The BBC Light Programme, the BBC channel devoted to light and Pop Music which cut a pretty wide swath of musical tastes and put them all in one place. Not only was Rock represented, but Show Tunes, Middle Of The Road, Folk Music, the occasional odd Operetta or two - and did it all between 9 am and midnight 6 days a week. Needless to say, it didn't make a lot of people happy, having so many musical tastes crammed into one place.

Fortunately that changed in September of 1967 when The Light Programme spun off into BBC Radio 1 and 2, Radio 1 being more Rock oriented.

Still, Top Of The Pops maintained an across-the-board approach to presenting artists, and this program, first aired on October 20th 1967, maintained that rather eclectic format with The Move, Kenny Lynch who was one of the first Black British artists in Pop Music. The Mindbenders (minus Wayne Fontana). The Seekers (before they bought the world a Coke) and of course The Bee Gees topping the bill. The whole thing was presented by Brian Matthew who was a mainstay at the BBC from 1954 to 2017.

Adding to some of the confusion about this show, there was also a TV version, starting around the same time - but the presenters were different and there was no audience. And rather than lip-synching to a track, the artists were recorded by the BBC - and many of those tracks have surfaced in recent years as bonus tracks on compilation albums. And unlike the fate of the TV version of TOTP, the radio version managed to survive with most masters in tact, or at least in copies provided to overseas radio outlets via the BBC Transcription service.

That all said, hit the play button and crank it up - it's a rather fast moving 43 minutes.
John Sebastian - In Concert - 1970 - Past Daily Soundbooth John Sebastian - As founding member of The Lovin' Spoonful quietly wove into the fabric of the 60s and well beyond.



John Sebastian In Concert at Tanglewood - July 21, 1970 - Gordon Skene Sound Collection -

A little chip-in goes a long way: Become a Patron!


John Sebastian tonight. Until all the footage is assembled and cut together, the landmark concert this past weekend in Glendale featuring The Wild Honey Orchestra and a reunited Lovin' Spoonful (minus Zal who left us in 2002), playing a benefit concert for The Autism Think Tank, will have to exist in the realm of "you should've been there" and in the exchange of excited stories about the 4-hour tour de force which some of us missed (sorry - I can't be everywhere all the time).

But for those of you, like myself, who missed the concert, I was reminded what a truly good and talented band The Lovin' Spoonful were and how they've been somewhat underrated and overlooked in recent years, despite an induction in the Rock n'Roll Hall of Fame in 2000. They've wound up on just about every 60's greatest hits package, but relegated to footnotes in deference to the "big picture". I think some of that comes from their association with Kama Sutra Records; a label more associated with Bubblegum than with pivotal and essential music - it's an association that I think did more harm than good in the long run. When John Sebastian left The Spoonful in 1968 to pursue a solo career he was signed by Warner/Reprise; a label known for its artistic integrity and a hands-off approach with Artists. And its during this point that John Sebastian flourished as an artist and continued making albums as well as branching out into other genres.

This concert, recorded in Tanglewood on July 21, 1970 is a mix of his older Spoonful material and material from his debut album (the album appeared on both Reprise and MGM and caused a flood of lawsuits as the result - MGM lost and their album was withdrawn). Although it's no replacement for what will be an extraordinary 4-hour feast when it's finally edited and released later on this year, it's still a reminder what a great talent John Sebastian is, and how essential The Lovin' Spoonful is to any music library. If you haven't become familiar, please do - you owe yourself.

In the meantime, dig in and enjoy.
It's May 1968 - You Live In L.A. - You're Turning 30 - You Don't Do Those Dances - It's Still Your Town. . . .and you own every Si Zentner album he ever made.




KMPC - Geoff Edwards - Roger Carroll - June 14, 1968 - Gordon Skene Sound Collection -

I'll just leave this right here and you can think about it:Become a Patron!

Much as many Pop Culture mavens would have you believe the entire world grew their hair long the second The Beatles appeared on Ed Sullivan, or that everything turned Day-Glo when 1967 rolled around or that the market for Scotch dropped precipitously in favor of clouds of Marijuana or that there was a run on LSD the precise moment Timothy Leary encouraged everyone to Turn on, Tune In and Drop out - 'fraid not.

And even though the prevailing rumor among youth culture was not to trust anyone over 30, there were a lot of people still on the planet approaching, hitting and sailing past 30 almost every second of the day.

Richard Nixon referred to you as the Silent Majority; that vast number of people who remembered life before their first TV set, who were in High School when Elvis first appeared on Ed Sullivan, who came of age during the Army-McCarthy hearings. Who were part of The New Frontier and were as much a fan of The Kingston Trio as you were Nelson Riddle. You don't do the Swim, Frug, or Mashed Potatoes - but you did do The Twist once or twice.

May 1968: L.A. is still your town. There's still Restaurant Row and Gallery Row on La Cienega. You don't spend nights on Sunset Strip too much anymore - it's overrun with kids. But you still make it to Scandia - have a key at the Playboy Club and can still get sloshed at Dino's Lodge. The kids are there; you just don't notice them. Well, you do - but you can't quite figure them out - and they can't figure you out. You don't really listen to the same music. Your appreciation of The Beatles goes about as far as Michelle - but Jimi Hendrix drives you up the wall.

And as much as the kids have Top-40 and are slowly gravitating to FM - with "underground" stations popping up, replacing the ones you used to listen to, there's still KMPC; Station Of The Stars - an oasis for your version of Groovy.

And most likely in May of 1968, with things heating up and streets filling with protests, you could slide into the world of Geoff Edwards and Roger Carroll and feel right at home, away from a world going just a little off its axis.

So to give you an idea of what that particular world was sounding like - here is a little over 90 minutes worth of Geoff Edwards (filling in for Dick Whitinghill) and Roger Carroll ("the host who loves you the most") from May 14, 1968.

Yes, there were two separate and distinct worlds spinning alongside each other in the 60s. And you could be turning 30 and not tell anyone. That has worked very well ever since.
Modern Folk Quartet - Live At The Hollywood Bowl - 1964 - Past Daily Soundbooth Modern Folk Quartet - also known as MFQ, not to be confused with MJQ, although . . . (Photo: Getty Images)


Modern Folk Quartet - live at Hollywood Bowl - No on proposition 14 Rally - September 23, 1964 - Gordon Skene Sound Collection -


A buck a month, that's all we ask. And this world of sound is yours: Become a Patron!

Ending up our week of live Folk music during the pivotal period where Folk Music ran running and screaming into the mainstream. A set from The Modern Folk Quartet (or MFQ), during their appearance at the No on Proposition 14 rally from September 23, 1964. I ran other acts from this Political rally at the Bowl throughout the week, and thought it would be a nice capper; more or less showing the links between Folk and Rock, as it soon evolved into.

Wikipedia sums it up quite nicely:
Cyrus Faryar, Henry Diltz, Chip Douglas, and Stan White formed the quartet in Honolulu, Hawaii in 1962, after Faryar had returned from the mainland U.S. after a period singing with Dave Guard's Whiskeyhill Singers. They took the name Modern Folk Quartet as a conscious parallel with the Modern Jazz Quartet, who were known for their use of sophisticated counterpoint. The MFQ adopted a similar approach to vocalization; a fellow folk musician commented: "They were singing diminished, flatted ninths, jazz chords ... really advanced stuff". The group moved to Los Angeles, where they became regulars at the Troubadour club. After White became ill, he was replaced by local singer-guitarist Jerry Yester, who had performed with the New Christy Minstrels and Les Baxter's Balladeers. Herb Cohen became their manager (later manager of Frank Zappa, Tim Buckley and others) and the quartet recorded their debut album in 1963. Simply titled The Modern Folk Quartet, it was produced by Jim Dickson (later manager of the Byrds) for Warner Brothers Records. MFQ performed with an array of popular folk group instruments, including guitar, banjo, ukulele, bass, and percussion, and four-part vocal harmonies. An album review called their material "a superbly chosen selection of concurrently new traditionals and original adaptations of standards from the folk music canon" that benefit from the group's fresh approach.

For much of 1963 to 1965, MFQ was based in New York City's Greenwich Village, then the center of the folk-music movement. They performed at clubs, such as the Bitter End, and "hundreds of college concerts". In November 1963, MFQ appeared in the Warner Bros. film, Palm Springs Weekend. During the sequence at Jack's Casino, they sing "The Ox Driver's Song" and a second unidentified song. The group released a second album in 1964 for Warner Bros. titled Changes. A review noted "with an ear toward sustaining the fresh sound of their predecessor they blend their arrangements and adaptations to another impressive lineup of modern compositions from the group's contemporaries". These include early songs written by Bob Dylan, Phil Ochs, John Stewart, and Chet Powers (aka Dino Valente). A third album for Warner Bros. was not forthcoming. Yester explained "we were on the road so much that when we were off, we didn't really want to work ... We basically performed with those two albums worth of material. I don't think we had enough for another album until we changed into folk-rock".

In 1965, MFQ began exploring a rock sound. Faryar saw the progression "as a logical outcome of how we think. We would have had to change our whole mental attitude to stay where we were". He also admitted being influenced by other bands: "The Byrds whet our appetites for folk-rock. Whatever sweet music the Byrds came up with, they legitimized this transition from folk to folk-rock ... We had developed a rock set when we played with the Lovin' Spoonful at the Cafe Wha? in the Village" (the Spoonful's John Sebastian sometimes also sat in on drums with the MFQ between playing sets at a nearby club). Their first attempt to record rock was with producer Charles Calello. A single "Every Minute of Every Day", backed with "That's Alright with Me" was released in April 1965 by Warner Bros. It was largely unnoticed and Faryar felt that the material was wrong for them. The group moved back to Los Angeles and debuted their folk rock set at their old haunt, the Troubador. Faryar recalled reactions similar to Dylan's electric debut at the 1965 Newport Folk Festival:

"People reeled aghast and some fled as I brought out my Rickenbacker and we were all suddenly electric and cranking out electric tunes. The folkies were largely horrified. There were a lot of purists there, into the whole Appalachian thing. So it took a little bit of time, but we gradually won people over".

As one of the bands largely part of the Folk-Rock transition, they haven't gotten the credit for what they accomplished at the time. As a somewhat myopic gauge of success being chart placement, MFQ didn't cause much stir. But those who were interested, and certainly other musicians, were hip to what MFQ were doing and had done - and for that, Modern Folk Quartet are no mere overlooked footnote. They deserve a place.

Have a listen. Incidentally, the MC for the show is actor Richard Beymer, in case you were wondering.
The Kingston Trio - Live At Hollywood Bowl - 1964 (RIP: Bob Shane - 1934-2020) - Past Daily Soundbooth: Tribute Edition The Kingston Trio - Riding high on the Folk wave in the late 1950s/early 1960s. (RIP: Bob Shane - 1934-2020)



The Kingston Trio - live at the No on 14 Rally - Hollywood Bowl - October 4, 1964 - Gordon Skene Sound Collection -

Hate to bug you, but we have a goal to meet: Become a Patron!

With the sad news that founding member of The Kingston Trio, Bob Shane passed away on January 26th, I was reminded just how popular this group was from the late 1950s through to the mid 1960s. As much as Folk Music was considered something of an "outsider" or niche genre, The Kingston Trio, along with The Brothers Four, The Limelighters and several other groups, achieved major mainstream popularity with Folk Music and garnered a certain hip-appeal among college students and early-late twenty-somethings just at the very tip of what would become the British Invasion. In Britain it was Skiffle, a hybrid of Folk which had the same appeal and much the same roots. In the U.S. mainstream folk was presentable and very clean - although much of the material relied on double-entendre - it was a musical Bob Newhart versus Lenny Bruce (to get an idea of contrasts) as to how this brand of Folk material compared to say, Joan Baez or Buffy St. Marie.

The Kingston Trio appealed to a broad swath of record buying public. Even my parents, who were hardcore Big-Band fans bought all the early Kingston Trio albums - filling the house with strains of MTA and Tom Dooley.

This concert, which has never been issued in any form and was only available in its entirety on this site a few years ago, was a political rally for No On Proposition 14, a ballot measure in the upcoming election that had much to do with the state of segregation in neighborhoods in California. Joining the Trio were a veritable galaxy of artists and personalities, of which The Kingston Trio came on second, following Henry Mancini's opening. They are introduced by Dick van Dyke and it all happened on October 4, 1964. If you didn't hear the whole concert, here is The Kingston Trio's portion and you're hearing it here first.

Bob Shane was the last surviving member of the Trio, the others; Nick Reynolds passed away in 2008. Dave Guard in 1991 and John Stewart (who replaced Guard in 1961), in 2008. An era has come to an end. Perhaps they aren't remembered well now - even forgotten in some quarters, but there was a time when The Kingston Trio were one of the most popular and recognized groups in America. And they made a dent - and they paved the way for Folk-Rock to evolve in the mid-1960s.

We can't forget who helped get us where we are today, and Bob Shane was one of the guides.

It was fun while it lasted.
It's June 1955 - America Is Going Places And Doing Things - Your Radio Says So. America in 1955 - So what if there was a Cold War going on? We Had Fun to take care of.




NBC Radio - Monitor - 4:15 pm - 5:15 pm - June 25, 1955 - Gordon Skene Sound Collection -


Considering America had gone through a World War, gone through Korea and was smack in the middle of a Cold War with The Soviet Union, our predilection for fun had more to do with escape than with actual thrill-seeking.

We had a lot to be nervous about - but we also had an astonishing prosperity; a Middle-Class, a population boom, advances in Technology, rumors of Spaceflight, Television, Cinemascope, Cinerama, even smell-o-vision. Swept-wing cars with Tortionaire rides, bikinis, Marilyn Monroe and dreams of a four-day work week. When the L Word meant Leisure.

But under the thin skin of bubbly, quiet revolutions were taking place; social upheavals in the forming stages - our place in the world was one thing - our place at home was something else. Even the world in general was going through changes. We were all hearing about and sampling "new music" - we were reading new things and watching new movies, written by people who had different eyes on the world. We were beginning to ask questions and wonder why. People were saying no and meaning it.

And media attempted to reflect that - tried to market the concept of a mobile America; one that never stayed put for long - one that sought open spaces and bigger engines; one that wanted to know about things and was curious to find out more.

Television was taking over the collective escape-route of America. Hollywood was in siege-mode, but still putting out important and memorable films - Radio was fading quickly into the sunset, overtaken by spectacle and animated commercials. It had to do something to preserve what flagging popularity was still to be had.

So in 1966 Sylvester Weaver, an executive at NBC hatched a brilliant idea to capture the mobile audience of America, the ones not glued to the TV, and bring the world to them via sounds. Radio could do that - radio was a description medium - it used words and sound pictures to illustrate stories; it was always good at that.

So Monitor was born - June 25, 1955 marked the premier of this weekend experiment - 48 hours of radio going everywhere, doing everything - it promised a Broadway premier, a United Nations debate, a late-night gig at a nightclub a visit on the set of an upcoming movie - all crammed into a weekend's worth of audio adventure.

Here is a one-hour snippet of that day; from 4:15-5:15 pm - beginning with a review of the latest Hollywood offering, Not As A Stranger and an interview with Gloria Grahame, one of the films stars and ending up with a skit from Bob & Ray. And a whole lot in-between.

Another Pop Culture snapshot of the world in 1955.
It's June 1975 - You're A Teenager - You Live In L.A. - It's Officially Almost Summer, The Obscene Steven Clean Says So. Almost Summer - you aren't waiting. (photo: Rick McClosky)



KMET - Steven Clean - June 1975 - Gordon Skene Sound Collection -


It's almost Summer - why you know it's almost Summer is that it's June; not yet June-gloom, but that week in June where it suddenly hits 100 degrees during the day and you can smell infinite possibilities in the air. That one-week window of opportunity where, even at night it's around 80. Counting days until School lets out. That window where you know it's not going to be like last Summer, because this Summer you're free; you're graduating in two weeks. You can't wait. Life will mean a whole new thing - you won't have to be up at 6 in the morning - you won't have to actually BE anywhere. You won't have to wait for the three o'clock bell because there won't be any three o'clock bell. Freedom, and the world is yours. Next week it will be business as usual, for now. June-gloom hits and the coast is socked-in with fog, and it's mucky and grey until sometime in the afternoon, and then it's only for a few minutes until it gets grey again, until July; right after the fourth. And then it gets hot and stays like that week - this night, until September. And you have no plans - nowhere you have to show up for - no place you need to be. You and your friends and all that time. Life is good. Life is insane - life will never get any better. Life will be like Summer forever - at least for now.




June 1975 and the sound of KMET was in the air - or maybe you were a KLOS fan or maybe you were partial to KNAC, or maybe you were still loyal to KHJ because that's what you grew up with - what you remember your high school days being all about. Whatever station it was, radio was an essential factor in your life - it always was. It was your soundtrack to the road-trip or the trip to the concert or the market; it was everywhere. And on most days at KMET it was Steven Clean, or The Obscene Steven Clean as he was sometimes known. Purveyor of your soundtrack, the music-bed to your life - the groundwork for memories; your alter-ego.

Here's an hour's worth of Steven Clean, as he was heard over KMET in June of 1975. Just so's ya know.

Special thanks for Chris Andrews for his tape.
Linda Ronstadt- Live In Berkeley - 1974 - Past Daily Soundbooth Linda Ronstadt - National Treasure.



Linda Ronstadt - Live at Community Theatre, Berkeley - July 18, 1974 - Broadcast over KMET, Los Angeles -


If you could, it would be soooo appreciated: Become a Patron!


Linda Ronstadt for a New Year's Day/Night. Maybe it's from seeing CNN's documentary on Linda Ronstadt earlier today, but I remember all the times seeing Linda Ronstadt in the early 1970s. She was a regular at The Troubadour and later at The Roxy. She may be a National Treasure, but she certainly started off as L.A.'s own. It was that incredible voice and that very down-to-earth/no pretense-no nonsense attitude which came with every performance that I think endeared her to most audiences. Yes, she was drop-dead gorgeous - but more than that; she was someone you liked because she was the real deal. Perhaps it was because of that sense of ease and comfort, being in a club setting - the relaxed almost intimate atmosphere that didn't make you feel as though there was this huge gap between you and the Superstar in the cavernous Arena that it so often becomes.

One of the things I came away with, watching the CNN special was how it was universally acknowledged that Linda Ronstadt invested so much of herself in her music that the songs became hers, whether she sang them originally or not. Particularly her version of Betty Everett's You're No Good. I practically grew up with the Everett version; knew it backwards and forwards. But in Linda Ronstadt's hands it became a different song with a whole different set of meanings - in essence, they became two totally separate songs - that, I think is the sign of a true artist - where you can take something and infuse it with so much of your own point of view that it becomes yours, while still maintaining the integrity and soul of the original; keeping them separate yet totally equal.

We may not have the voice with us, but we are still very fortunate to have the person, very present and very vital in our midst. And for that we're very, very lucky.

Enjoy the trip back to 1974 - it was a very good year, if I do say so myself.
Words And Music From Laura Nyro - 1969 - Past Daily Weekend Pop Chronicles Laura Nyro - Alongside Gershwin, Sondheim and Hammerstein as a pivotal tunesmith.



Laura Nyro - NET: Critique - January 1, 1969 - Gordon Skene Sound Collection -

Become a Patron!


Laura Nyro in performance and interview, taken from the NET program Critique and broadcast on January 1, 1969. Born Laura Nigro, (October 18, 1947 – April 8, 1997) she was an American songwriter, singer, and pianist. She achieved critical acclaim with her own recordings, particularly the albums Eli and the Thirteenth Confession (1968) and New York Tendaberry (1969), and had commercial success with artists such as Barbra Streisand and The 5th Dimension recording her songs. Her style was a hybrid of Brill Building-style New York pop,jazz, rhythm and blues, show tunes, rock, and soul.

Between 1968 and 1970, a number of artists had hits with her songs: The 5th Dimension with "Blowing Away", "Wedding Bell Blues", "Stoned Soul Picnic", "Sweet Blindness", and "Save the Country"; Blood, Sweat & Tears and Peter, Paul and Mary, with "And When I Die"; Three Dog Night and Maynard Ferguson, with "Eli's Comin'"; and Barbra Streisand with "Stoney End", "Time and Love", and "Hands off the Man (Flim Flam Man)". Nyro's best-selling single was her recording of Carole King's and Gerry Goffin's "Up on the Roof".

In 2010, Laura Nyro was posthumously inducted into the Songwriters Hall of Fame, arguably her greatest professional accolade, in the footsteps of composers like George Gershwin, Oscar Hammerstein, and Stephen Sondheim.

Afterwards, in 2012, Nyro was also posthumously inducted into the Rock and Roll Hall of Fame.

NET, the forerunner of PBS, ran the Critique program for a few years and featured a number of noteworthy musicians during that time, among them The Doors and this episode spotlighting Laura Nyro. Host was John Daly, former news broadcaster and best known for his role as moderator on the CBS program What's My Line?

Joining Daly are critics Michael Thomas and Patrick O'Connor.

The performances are great - the interview and the critical assessments are cringeworthy. Such was 60s criticism. But it's interesting to give a listen to, if for nothing else than to hear just how strange it often was and how generally misunderstood Rock Music was by the mainstream at the time.

Enjoy.
Roxette - Live In Stockholm - 1993 (RIP: Marie Frederiksson) - Past Daily Soundbooth: Tribute Edition Marie Frederiksson of Roxette - A legitimately popular Rock Band, despite not fitting into the Pop Music idiom in a conventional way.




Roxette - Live at Cirkus Theatre, Stockholm - August 1, 1993 - Sveriges Radio P3 -


More sad news this year. It was learned earlier today of the passing of Marie Frederiksson from Roxette,the Swedish Pop/Rock duo who were an international success all throughout the late 80s and into the 90s.

Fredriksson had a successful career in her native country prior to forming Roxette. She was a member of punk group Strul, a band which created their own music festival in 1979. Strul's dissolution led to the creation of her next project, the short-lived MaMas Barn, after which she began releasing solo work. Her first album, Het vind, was issued in 1984, followed by Den sjunde vågen in 1986 and ... Efter stormen in 1987. Roxette's international breakthrough coincided with a period of inactivity for Fredriksson as a solo artist, punctuated only by the release of the non-album single "Sparvöga" in 1989. Subsequent solo albums included Den ständiga resan (1992) and I en tid som vår (1996).

In 2002, after fainting at home, Fredriksson was diagnosed with a brain tumour. During her rehabilitation, she continued to record music as a solo artist, resulting in The Change in 2004 and Min bäste vän in 2006, as well as the non-album single "Där du andas" in 2008—her first solo number one single in Sweden. She and Gessle later reunited to record more albums as Roxette, who embarked on a worldwide concert tour. She also continued to record as a solo artist in her native Sweden, releasing Nu! in 2013.

In 2013, Gessle reunited with his former band Gyllene Tider, who released a new album and toured Sweden, while Roxette issued their first Blu-ray/DVD concert, Live: Travelling the World. Fredriksson also released her eighth solo album, Nu!, which she promoted with a tour of Swedish concert halls. In April 2014, succeeding the announcement of the 25th anniversary of Roxette's first United States #1 hit "The Look" they announced that they would be embarking on new legs of "The Neverending World Tour", starting in Russia in late October 2014. "The Look (2015 Remake)", a new recording of their 1988 single, was released in July 2015. Roxette Diaries, a documentary directed by Jonas Åkerlund, was released on streaming services in March 2016.

On 18 April 2016, an official statement was released, cancelling the last leg of "The Neverending World Tour", due to concerns about Marie Fredriksson's health. Her doctors had advised her to refrain from playing live. She stated: "Sadly, now my touring days are over and I want to take this opportunity to thank our wonderful fans that followed us on our long and winding journey." Gessle added: "The joyride on the road is over now – but we sure had fun, didn't we?" Roxette's tenth studio album, Good Karma, was released in June 2016. The record was preceded by its lead single, "It Just Happens", two months earlier. The album contains production from Swedish musicians Addeboy vs Cliff, with Gessle saying they were chosen to "inject new blood into the Roxette sound". Remixes aside, this is the first time that they have allowed anyone outside of the Roxette canon to produce new music. Per Gessle toured Europe in October and November 2018 as "Per Gessle's Roxette". The set leant heavily on the band's back catalogue. In October 2018, Roxette released a 30th-anniversary edition of Look Sharp!, which contained a bonus disc of previously unreleased demos and outtakes.

Marie Fredriksson died on 9 December 2019, at the age of 61, following a long battle with a brain tumour. The day of her death, the music video for "It Must Have Been Love", posted on Roxette's official YouTube channel, had reached over 430 million views.

Paying tribute to Fredriksson after her death, Gessle said she was "an outstanding musician, a master of the voice, an amazing performer."

In case you missed it- here is the audio of their Unplugged MTV show, recorded at Cirkus Theatre in Stockholm, broadcast on August 1, 1993 and presumably never issued officially.

Rest in peace Marie, the world was a much better place with you in it.
It's June 1979 - You're From L.A. - You Just Graduated High School - You're In London - You're A Foreigner - You Don't Care. You're not in Westwood anymore either.




Capital Radio - June, 1979 - Gordon Skene Sound Collection -

Become a Patron!


So you wound up in London. You scored a free roundtrip ticket and you got your passport. The picture looks nothing like you. The photographer told you not to smile, so you look like a serial killer. You've never been out of the country before. Ensenada with your parents, but that doesn't count.

You're in London. You're freezing and everything smells like diesel fuel. You make your way to a Youth Hostel and people start asking where you're from. It hits you that you're in another country - and you're the foreigner - and you're the tourist. Your roommates are two Germans and a guy from France. The Germans have spiky white hair and ripped-up jeans - one has a black t-shirt that says Sid Lives and the other has a t-shirt that says "Pretty Vacant". They drink a lot of beer. The guy at the front desk keeps yelling "verboten!", but they smuggle it in anyway. The French guy looks like he fell out of 1968; full beard and soaked in patchouli, he carries everything around in a big knapsack. The Germans sneer and the French guy flips the finger, but they all seem harmless.

Your first day exploring you get directions to the nearest Marks & Spencer where you invest in a sweater - Summer is different in London than it is in L.A. - for one thing, it's still light out at almost midnight. The other thing; it rains a lot. You think the weather reports are weird; "periods of sun" they keep saying. No Malibu, that's for sure.

Three days in and you feel like you've lived here forever - you cut all your hair off and you're thinking about dying it white. You've developed a taste for beer. You've taken to spending hours sitting at Piccadilly Circus with the Germans and all the other tourists, watching people. You think you might be developing an accent. You wonder what would happen if you just stayed here.

This is a work of fiction. Names, characters, businesses, places, events, locales, and incidents are either the products of the author’s imagination or used in a fictitious manner. Any resemblance to actual persons, living or dead, or actual events is purely coincidental.

Here, as a companion and something of a snapshot, is a half hour's worth of Capital Radio, recorded around the middle of June, 1979.
It's February 22, 1968 -You Live In L.A. - You're In High School - You Have A Problem With Authority Figures - Welcome To The 60s. You have reached that age where every authority figure over 30 is out to crush your spirit - and you have proof.



KRLA-KHJ-KFWB-KBLA - February 22, 1968 - Gordon Skene Sound Collection -

No pressure . . .but: Become a Patron!


Authority figures - they never seemed to bother you until sometime around Junior High. But then, sometime around Junior High was when life as you knew it changed. You changed, the music changed, the world changed. You can almost put your finger on exactly when it happened - sometime, late in November 1963, there was that shift - people, especially older people, started telling you what to do, where to go, who to see and what to wear. Girls VP's would walk around the halls with rulers and randomly measure skirts. Boys VP's would walk the halls and check for hair growing over ears and collars. There was no escape - you were all being spied on - lockers were inspected because somebody said somebody saw someone stash a pack of Marlboros or some kind of dark liquid during passing period. Teachers were walking in and out of bathrooms, checking to see if anyone was smoking. The Principal's office had a waiting line. At least one of your friends got suspended; some more than once.

You used to like school - you were a joiner. You were in every club your school had. You even went to football games - you had school spirit - you were always doing homework. Teachers liked you. They look at you suspiciously now - like you're going to blow something up, or lead a demonstration. Maybe it was all the Bobby Kennedy For President buttons you were wearing - maybe it was all the Anti-War demonstration flyers you were passing out during lunch. Maybe it's all the bells you're wearing around your neck or the patchouli you drench yourself in.

Maybe you're just not a kid anymore and no one knows what to do about it. They have fears and you have dreams and the two don't seem to be talking to each other. And that's just the way that goes - alway was - always will.

While all the trials and tribulations of the world were going on, at least there was the one given; the go-to - the forever on your side, no matter what - your radio.

And in keeping with your short attention span, here is a sample of KRLA-KFWB-KHJ and KBLA from around 7:30 p.m. on February 22, 1968 - now you have proof.
Andy Fairweather Low - In Session - 1975 - Past Daily Soundbooth Andy Fairweather Low - One of the most respected musicians and . . .veteran tennis player?



Andy Fairweather Low - in session for John Peel recorded October 21, 1975 - Broadcast November 17 - BBC Radio 1 -


Honest. Kick in a buck and we will love you for it: Become a Patron!

Andy Fairweather Low in session for John Peel tonight. A long-standing musician of great respect and accomplishments, Fairweather Low is still at it; touring and recording some 50+ years after getting started as a founding member of Amen Corner.

Fairweather Low was born in Ystrad Mynach, Wales. He first found fame as a founding member of the pop group Amen Corner in the late 1960s. They had four successive Top 10 hits in the UK Singles Chart, including the #1 single "(If Paradise Is) Half as Nice" in 1969. The overnight success and Fairweather Low's teen idol looks, as music journalist William Ruhlmann noted at Allmusic; "... put his attractive face on the bedroom walls of teenage girls all over Britain".

The band split in two in 1970, with Fairweather Low leading Dennis Byron (drums), Blue Weaver (organ), Clive Taylor (bass) and Neil Jones (guitar) into a new band, Fair Weather. The band scored a UK Singles Chart No. 6 hit with "Natural Sinner" in July 1970, although the outfit's albums, Beginning From An End and Let Your Mind Roll On, failed to chart. After twelve months Fairweather Low left to pursue a solo career, releasing four albums up to 1980 on A and Warner Bros. These spawned further single chart success with "Reggae Tune" (1974), and "Wide Eyed and Legless", a No. 6 Christmas time hit in 1975. Welsh group Budgie covered "I Ain't No Mountain" off Fairweather Low's 1974 album Spider Jiving on their 1975 release Bandolier.

In the late 1970s and 1980s he worked for numerous artists as a session musician, performing as a backing vocalist and guitarist on albums by Roy Wood, Leo Sayer, Albion Band, Gerry Rafferty, Helen Watson, and Richard and Linda Thompson.

In May 2008, Fairweather Low & the Lowriders started a UK tour, the Lowriders being Paul Beavis, Dave Bronze and Richard Dunn. In 2009, he joined Eric Clapton's band for a series of 11 concerts held at the London's Royal Albert Hall. He became part of Clapton's touring band with drummer Steve Gadd and keyboardist Tim Carmon throughout May 2009. In 2011, Fairweather Low joined Clapton for another series of concerts at the Royal Albert Hall. He also performs with Edie Brickell, Steve Gadd, and bassist (and fellow Welshman) Pino Palladino as The Gaddabouts; their eponymous album was released in early 2011, and their second album, Look Out Now!, was released in 2012.

Also in 2011, Fairweather Low made a guest appearance on Kate Bush's album 50 Words For Snow, singing on the chorus of the album's only single, "Wild Man".

In 2013, he opened Eric Clapton's shows with his band the Lowriders on Clapton's European tour and, later that year, Fairweather Low & the Lowriders released the album, Zone-O-Tone. In April 2013, he appeared at the Eric Clapton Guitar Festival Crossroads in New York and featured on two tracks of the DVD of the concert. On 13–14 November, he was also part of Eric Clapton's band on the occasion of Clapton's two concerts during the "Baloises Sessions" in Basel, Switzerland, where he was featured singing "Gin House Blues". In November 2015, Fairweather Low made a guest appearance on Kevin Brown's album Grit.

Still going strong and currently on tour around the UK until mid-December. Still trying to figure out where all the time is for him to become a World Famous Tennis player. Here's a reminder of his work in 1975 and the first of two sessions he did as a solo artist for John Peel.

Crank it up and enjoy - get ready for the week ahead. Should be insane, but I suspect you already know that.
Audio of Billie Eilish Live at Reading 2019 Billie Eilish - Somebody the Underground and the Mainstream can agree on, for once.

Billie Eilish - live at Reading Festival 2019 - Recorded August 24, 2019 - BBC 6 Music -
It's 1960 - You Are Somewhere In North Carolina - You Aren't Sold On Rock N' Roll Just Yet. . . .but you ARE a Kingston Trio fan.


WAIR-AM - Winston/Salem North Carolina - August 1960 - Gordon Skene Sound Collection -

If you like us, would you mind supporting us? Not whole lot, just a little: Become a Patron!


Much as we'd all like to think that once Rock n' Roll landed in our collective national consciousness, everything as we knew it changed. The world went from Patti Page to LaVern Baker or Lawrence Welk to Preston Epps overnight. 'Fraid not. In fact, Top-40 radio as it came to be known, was a slowly evolving shift in musical tastes and not all of it was greeted with open arms. Teenage America did not constitute the majority quite yet; the elders were still in charge. And so radio stations in smaller towns, like this one in Winston-Salem North Carolina, were pretty much the norm until later on in the decade. They stuck their toes in Rock, but only as far as Roy Orbison and The Everly Brothers were concerned - they were sprinkled in between Les Baxter and Frank Sinatra and yes, Patti Page and Giselle MacKenzie.

Music was a lot different then - but in some ways, letting Rock seep into more conservative musical formats was a good thing - as it gave teenagers at the time an across the spectrum sampling of Popular music that would serve as an unconscious stepping off point. Thats not to say you had to like it all, but you were handed some musical diversity that would only show up later in a wildly truncated form as Underground FM.

One of the things missing from our current state of Popular Culture, to our creative detriment, is the wide range of music that was once the staple of radio as an entertainment medium - you got to hear things you normally wouldn't in the course of a day - and some of it stayed with you. That's not to say it was all good or even necessary, but it was different and it was the springboard for a lot of creative ideas that very often wound show up unconsciously.

That's not to say you have to get rid of your current record collection in order to run out and buy George Melachrino or Mantovani albums. But it does say there are benefits to knowing those forms of popular music exist and can be borrowed from or investigated as examples of music outside your immediate sphere of influence. It's the nature of what keeps music fresh - introducing different points of view and takes on things. Because as it stands right now, there is a strong possibility that ideas are coming less and less because the influences are fewer or simply not being discovered, or the recycling process is getting shorter and shorter. Those radio stations of 1960 who dabbled in Rock n' Roll while still maintaining a relatively conservative Pop Music base probably did more to further expand Rock than anything else. But of course, we didn't know that at the time. We just wondered why we were getting whiplash, hearing Roy Orbison one minute and Les Baxter the next and not seeing the connection.

Stay curious - go to thrift shops and garage sales - pick up those cheap albums that look weird - play them. Toss them away or listen to the over and over. There are discoveries to be made that could change the course of Popular Music - and they could start with you.

No pressure . . .

In the meantime, this is what you were no doubt listening to in Winston-Salem North Carolina during August of 1960 if you were anywhere between the ages of 15 and 20.
It's May 1963 - You're A Teenager - You're In New York - Your Leader Is BMR Spring and a feast of giddy.


WMCA - B. Mitchel Reed - May, 1963 - Gordon Skene Sound Collection -

Patrons get to download this gem and keep it forever: Become a Patron!


Here you are; Spring, 1963. You're a teenager and the world is loaded with possibilities. Maybe that it's just not Winter anymore. Maybe it's people mowing their lawns, and warm sun and warm breezes and that smell filling your head. There are a lot of birds out - it's all that. It's sounds and it's smells that you hadn't experienced since last year. Oh yeah - last year; October. You're a long way from the Cuban Missile crisis - you almost forgot, it could have been the last century compared to how it is now. Back then everyone was worried there might not have been a tomorrow to count on. Supermarket shelves were bare - everyone was stocking up on food and they didn't really know why. But that's all past now - another life. It's not like that now, not like that today, this minute. You're wearing a lighter jacket now - you don't have layers and boots and scarves - you hear rumors it's going to hit 65. And you start thinking about Summer. You start thinking about your dad's two week vacation and how he promised everyone you were going to The Grand Canyon this year. You haven't been out West - haven't been West of St. Louis. One day you'll go all the way to Los Angeles. Maybe someday you'll move to Los Angeles. But you'd miss your friends. But that's way off - some other day. The world can change by then - right now it has Spring and it has possibilities and that's where you want to be - where you are; right now.

And to go along with that, your leader - BMR, one of the WMCA Good Guys, providing the backdrop for this day in May of 1963 - almost a whole half-hour's worth - a little frantic towards the end because, whoever taped it at the time was running out of tape, so it gets a little disjointed by the end. But it's BMR and it's May and it's 1963 - and it doesn't get too much better than that.

Fall in and enjoy.
It's Spring 1965 - You're A Teenager - You Live In L.A. - Your Life Is In The Realm Of The Absolutes, And KRLA Knows It. Even your hair was the absolute best or absolute worst.





KRLA - Dave Hull - May 29, 1965 - Ellis Feaster Collection -

Subscribers get cool perks - so become a subscriber for as little as a buck a month: Become a Patron!

Spring 1965 - You don't know it now, but your life is in the process of changing - and changing big time. Maybe it's the world and maybe it's just you - whatever it is, your life is now in the realm of the absolutes; everything that happens to you is either the absolute best it's ever going to be or the absolute worst it's ever going to get. You have no middle ground. Somebody told it was going to be like that, but you didn't believe them - now you're right in the middle of it. You feel kind of awkward; clothes are fitting weird - they were great yesterday, they feel strange and itchy today. And your face - where did all the pimples suddenly come from? You hate your hair and you're convinced you will never be popular, or even liked in school. You can't concentrate on homework - you are convinced you're an idiot and you've been tripping over things lately, especially during passing period where everybody looks at you skidding into hallway lockers.

But then it changes - suddenly life is amazing - you have this future that you can't put your finger on, but you know it's there and it's bright and full of amazing things - and you just want to meet someone, and it will be summer soon and you are determined to spend the entire Summer Vacation at the beach. You're going to get your Learner's Permit this semester and you're taking Drivers Ed. Once you get a car . . . freedom.

And then it changes - You've tried learning how to drive, it was a disaster. You have no money, how are you going to get a car? Not on the 50 cents week allowance you're getting - you've been asking for a raise, but your dad gives you stink-eye and your mom changes the subject. No hope - you're doomed. Life will pass you by and you won't notice. Story of your life.

Welcome to the realm of the Absolutes.

But there's always Dave Hull and there will always be KRLA - and 1965 has a lot of possibilities.

Here's 45 minutes worth from May 29, 1965. Special thanks to Ellis Feaster.
Eddie Money - Live At My Father's Place - 1978 - Past Daily Soundbooth: Tribute Edition Eddie Money (1949-2019) Synonymous with MTV and American New-Wave/Pop.



Eddie Money - live at My Father's Place - WLIR-FM - February 25, 1978 - Gordon Skene Sound Collection

And for you subscribers . . . .Become a Patron!

Eddie Money (1949-2019) - more sad news this year - another one goes, another one passes from the scene. Although he had a string of hits in the late 70s through the early 80s, and jump-started a stalled career in 1986, owing to some wretched excess, Eddie Money will always be known as the guy who gave us Baby, Hold On and Two Tickets To Paradise. Were they anthems for late 70s America? Maybe - Unlike the UK and the underground in the States, the mainstream was still a place that gave us love songs and catchy hooks and immaculate production - it was part of the Pop Culture framework, and was certainly fodder for a fledgling MTV. Eddie Money embraced the skinny-tie ethos; cut along the same lines as The Knack and many Pop practitioners of the late 70s. It was Music that didn't try to address the social ills of the day - or try to bring a message to the proceedings - it just offered well constructed tunes that burned an impression on the psyche and became part of our social makeup at the time.

Eddie Money's career spanned almost four decades and counted for some 10 albums to his credit. In recent years he branched out and was acting more, and was even the subject of a reality TV show at the time of his death. He continued performing all the way until this past Summer when his Cancer diagnosis compelled him to cancel a planned tour. Unlike many artists from the period, Eddie Money continued to have a loyal following and did brisk business in ticket sales.

But all that's over now. Whatever impression we initially had from the music of Eddie Money, he was an artist and he made some indelible impressions during a period of time when things were flying in a million different directions - the one constant was the love song. Eddie Money was background music to a lot of promises and moments - and that's not going to go out of fashion any lifetime soon.

Thanks for the lovely notes and words. We will always be indebted to you.
It's August 1969, You're A Teenager, You Live In L.A., You Still Love KRLA, Summer Is Almost Over, So Are The 60s August 1969 - making the most of the last few gasps of Summer.



KRLA - Bob Dayton - August 14, 1969 - Gordon Skene Sound Collection

Become a Patron!

It's August 14, 1969 - in a few weeks school will be starting. Summer will be over - well . . . until the Santa Ana winds start blowing in October, and then it's Summer all over again. But for now, it's getting the last days of beach in.

August 1969 meant a lot of different things to a lot of different people - some were nervously waiting for what would be the start of a new school year in a new school; that transition from Junior High (what is now known as Middle School) to High School. Others, who were part of that enormous graduating class of Summer'69 were now contemplating the next logical steps. From the day you graduated high schoo, you no longer had an obligation to wake up in the morning - all that new-found freedom. But for a lot of you it was the transition over to College, either going to LACC, Santa Monica (or Pico Tech as it was known) or UCLA or USC, or if you were adventuresome, heading out of town - to Berkeley or Santa Barbara or an Eastern College, if you or your parents could swing the Ivy League funds. And some of you faced the ominous presence of the Draft Board. Yes -the Summer of 1969 also meant a lot of you were turning 18 - and that meant a trip either to Westwood or the Valley to sign up for the Draft. Uncle Sam was going to want you, he just didn't say when, and either you decided to join, amid a lot of high-pressure sales pitches, or you took advantage of putting it off for a while, as you were going to college. One thing was certain - going to Vietnam wasn't high on your list of things to do with the rest of your teenage years.

In any case, it was a pivotal year. It also meant the 60s would be over in a few months, and it was anybody's guess as to how 1970 was going to pan out. But we were here and time was marching on and we couldn't stop it.

And so we turned to the comfort and support of our radios. AM was still cranking out Top-40, but FM was quickly gaining. If you or your friends had the funds, you most likely bought a VW bug - they were cheap and had interchangeable parts - but the best thing, they all came with Blaupunkt FM radios. And now that KFWB was no longer a Rock station, B. Mitchel Reed had to be someplace, so he wound up on KMET. But we were still loyal and KRLA was still either number one or number two (KHJ was the big competition then) and we kept listening, even though the music was changing and so were our tastes.

Bob Dayton was holding court and this is what he sounded like, at least for the better part of an hour, on August 14, 1969.

How most of us managed to survive it is still a mystery.
Babylon Circus - Live At Lowlands Festival 2012 - Past Daily Soundbooth: Rock Without Borders Babylon Circus - genre mashup and general haywire - all good fun, really.




Babylon Circus Live at Lowlands Festival 2012 - Recorded by VPRO, Netherlands - Gordon Skene Sound Collection -

Become a Patron!


Babylon Circus to kick off the week. A band that, even though their bio calls them ska and reggae, miss the major mashup of a whole pile of genres, the end result is this intoxicating stew of sonic amazement.

Here is a press assessment of the band, which is pretty spot-on:



"Babylon Circus, French blenders of ska-punk chanson, funk, afro-beat and dancehall reggae, with a healthy dollop of Eastern European folklore, are set to rouse the crowd with their multi-lingual chicanery, improvised comedy and big-top energy. This 10-piece big band have been zigzagging the globe with their epic and infatuating sonic spectacle." (Sydney Festival)



Formed by Baruchel in Lyon, France in 1995, Babylon Circus started out as more of a straight-ahead ska band. But they ended up becoming a lot more experimental and eclectic, drawing on everything from reggae (which came out of ska) to British punk to jazz (especially guitarist Django Reinhardt's Parisian gypsy swing of the 1930s and '40s) and cabaret. Babylon Circus is an appropriate name for the band because some of their material has, in fact, been influenced by circus music, and their other influences range from French chanson (as in Edith Piaf and Jacques Brel) to African pop to East European folk (mainly gypsy music from the Baltic region). The list of artists who have influenced them either directly or indirectly is a long one, ranging from classic Jamaican ska and reggae stars like the Skatalites, Toots & the Maytals, and Bob Marley & the Wailers to British punk pioneers the Clash to the French worldbeat band Lo'Jo. Some of their work has hinted at early Tom Waits, and British ska revival bands of the '70s and '80s such as Madness and the Specials have also affected their far-reaching work.

Dances of Resistance, Babylon Circus' first recording was a demo that they circulated in France in 1996. Their EP Tout Va Bien came out in France in 1999, and that release was followed by their full-length album Au Marché des Illusions in 2001. Babylon Circus' next full-length album, Dances of Resistance, Babylon Circus' first recording was a demo that they circulated in France in 1996. Their EP Tout Va Bien came out in France in 1999, and that release was followed by their full-length album Au Marché des Illusions in 2001. Their next full-length album, Dances of Resistance, was released in France in 2004 before being released on the Mr. Bongo label in the United States in April 2008. Their 2008 lineup consisted of Baruchel and Manuel Nectoux on lead vocals, Georges Chaccour on electric guitar, Basile Mouton on electric bass, Olivier Soumali on electric keyboards, Clement Amirault on trombone, Christophe Millot on saxophone and accordion, Laurent Sedent on trumpet, and David Doineaux on drums.

Hit the Play button and be amazed.
It's 1977 - You're A Teenager - You Live In L.A. - Music Is Starting To Confuse You - You Are Not Alone. 1977 and you can still do the Bump, but for how long? And what's this about Pogoing?












1977 - Confusing times, when you think about it - especially if you're a teenager and not want to be considered a relic of some bygone era. Disco was your formative years - you've had platform shoes since 8th grade - and you got those when you stopped wearing patched jeans and denim shirts and listening to The Eagles and you convinced your mom to let you go shopping at Zeidler & Zeidler with her credit card for your birthday. No turning back for you. Your closet is a testament to Polyester and you got Best Dressed in your yearbook this year.

But something's happening - you hear rumors. There's this thing called Punk that's been going on in England since the year before and you've been hearing about The Ramones from New York, and you're starting to wonder if Disco is dying. You've read the articles and you've seen the news - these people look pretty hardcore. You've heard they spit on each other a lot and fights break out all the time. The music is fast and loud and there's a lot of screaming at clubs with people bouncing all over and slamming into each other. Everything's dirty, but it's loud and it's intense and you kind of like it.

But what are you gonna do with all your clothes? You just spent a fortune on that electric green crushed velvet suit with matching platform shoes and Midnight Blue Yves St. Laurent shirt - that was three weeks pay from Ralph's, bagging groceries. But Disco isn't really doing it for you anymore. But not all of your friends feel the same way. Some of them are Country-Western freaks and get into Line Dancing - you could never do that. You're going to have to start hanging out in Hollywood on the weekends and find out where you can buy some Doc Martens. You hated those wide ties anyway - and face it, Polyester shirts made you sweat gallons.

Who said Popular culture was easy?

Here is a one-hour slice of KTNQ from January 30, 1977 - touted as "The New Ten-Q", it was an AM station as well as FM and it was one of the last bastions of Top-40 in Los Angeles in the 70s. Big changes were just around the corner and it was just getting warmed up.

For a sample of what 1977 was sounding like, at least on the Top-40 side - crank this one up and get movin'!
August 3, 1979 - In L.A. The Nostalgia Factor Was Dwindling - Dick Whittinghill And KMPC Dick Whittinghill - cornerstone of L.A. radio since 1949 - but 30 years later radio changed














If you grew up in Los Angeles, or have been here since the 1970s, no doubt the name Dick Whittinghill should ring a few bells with you. During a time when personalities ruled the airwaves, Whittinghill was one of its cornerstones when KMPC was known as "The Station of the Stars". With its format generally unchanged since 1949, by 1979 KMPC was in danger of being out of touch and out of support. Not a top-40 station. but rather a station that focused on personalities and a wide range of middle-of-the-road music that held considerable appeal to an older audience, many of whom were loyal listeners since it got started.

But like everything - it either sticks around until its fashionable again or it fades into the sunset, usually not with fanfare but a quiet exit. So when KMPC decided to change formats to primarily talk, music was eased out of the picture. Many of the personalities who were with the station held on, but it became more difficult to pretend it was still 1959. Dick Whittinghill was one of the last to go before News and Sports stepped in and changed the landscape forever.

So when Dick Whittinghill decided it was time to go, his last week on the air was devoted to nostalgia for the station as it was, not what it was becoming. This last 30 or so minutes gives some idea of what Personality Radio in the hands of Dick Whittinghill was like. The humor is archaic and jammed with double-entendres, the delivery is low-key, a style which instantly set it apart from top-40 counterparts at the time, but a style that was very popular with what was considered an older demographic.

Whittinghill died in 2001 and KMPC no longer exists - having undergone a wide variety of changes (and languages) over the years. Radio is not the same as it once was. But then, technology made it that way and formats have become narrower, allowing nothing in the way of deviating from the norm to happen.

However you view this slice of popular culture, as either nostalgic or cringeworthy, it's important to know that it existed alongside other stations and other formats and was allowed to do its thing pretty much unencumbered by focus groups or heavily invested corporations. It was just in the business of making people feel good.

Have a listen.

Become a Patron!
The Dandy Warhols - In Concert From Chicago - 2000 - Past Daily Soundbooth The Dandy Warhols - music to drink to.




The Dandy Warhols - in concert at The Metro, Chicago - October 16, 2000 - Gordon Skene Sound Collection -

Become a Patron!

The Dandy Warhols, in concert for a Sunday night. Recorded live at The Metro in Chicago on December 16, 2000.

The Dandy Warhols were formed in Portland, Oregon in 1994 by Courtney Taylor-Taylor and Peter Holmström. Soon after, drummer Eric Hedford joined, and, following an unsuccessful experiment with Taylor-Taylor's girlfriend on bass guitar, Zia McCabe joined the band as keyboardist after Taylor-Taylor saw her working in a coffeehouse. Taylor-Taylor described the band's beginning as a group of friends who "needed music to drink to".

Early on in their career, The Dandy Warhols performed in bars throughout Portland and became well known for their nudity-filled live shows. At their first gig in 1994, they were approached by record label Tim/Kerr, who offered to pay for the recording of an album. The result was 1995's Dandys Rule OK. Musically, Dandys Rule OK combined elements of 1960s garage rock, the then-popular Britpop genre, and a shoegaze approach.

In 2000, the band released their third studio album, Thirteen Tales from Urban Bohemia. It was a critical and commercial success, due mainly to the single "Bohemian Like You" being featured in a popular Vodafone advertisement as well as on the TV show Buffy the Vampire Slayer. The song has also been featured in the animated movie Flushed Away in a chase scene, and on the Original Motion Picture Soundtrack for the film Igby Goes Down.

Thirteen Tales from Urban Bohemia featured a less overdriven sound, with less overt psychedelia and more stylings in common with the power pop genre.

Around this time, Taylor-Taylor took out a loan to acquire an industrial warehouse space in northwest Portland, dubbed "The Odditorium" and occupying a quarter city block. The Odditorium is the band's eclectic rehearsal space and recording and mixing studio. It also serves as an art space and clubhouse for parties and other events. It opened on November 15, 2001.

To get an idea what they were up to around this time (2000), here is that concert, live from The Metro in Chicago, on October 16, 2000.

Crank it up and get ready for the week. It should be interesting.

Become a Patron!
It's December 4, 1980 - You're A Teenager - You Live In L.A. - Led Zeppelin Just Broke Up - Your World Fell Down - At Least There's The Mighty MET. You're starting to wonder about the 80s, and they haven't even started.



KMET - Jack Snyder, Paraquat Kelley, Mary Turner - December 4, 1980 - Rob Frankel Collection -





It's almost the end of 1980, December 4th - first year of a new decade. You've been quietly mourning the 70s all year; those were your good old days, that's when everything happened for you - all the good stuff - all the cash and prizes. Maybe Disco wasn't exactly your thing, but then came The Ramones and it all went into warp-drive.

But you grew up with Led Zeppelin, you've been hearing them as long as you can remember - they were your go-to band; good times and bad, Jimmy Page knew what you were thinking and there was a song for it. Led Zeppelin never let you down.

But you heard today that Zepp was breaking up. You just heard it on the radio, on the news - they read a statement; Led Zeppelin were calling it quits. It was official. Now what?

You assumed they would be around forever - they were a band you were going to get old with - you couldn't imagine life without them. Nope - it was true. Even though Bonzo, their drummer, died in September, you thought they'd carry on and keep it going. Secretly you wondered how Zepp would sound without Bonham, but you still knew they'd stay together.

Ever since 1980 got started, life wasn't working out the way you thought it would - maybe this wasn't going to be such a good decade after all.

Man, some future.
A special thanks to Rob Frankel for giving me a copy of this historic KMET aircheck. Pop Culture and Music History, all in one 45 minute slice - if you were mourning the loss of Led Zeppelin, as a lot of people did, it would all be overshadowed only four days later when John Lennon was killed. 1980 was something else!

Become a Patron!
The Yardbirds - In Session - 1966 - Past Daily Soundbooth The Yardbirds - One of the revolutionary bands of the 60s.



Become a Patron!


The Yardbirds - BBC Radio 1 - February - May, 1966 - sessions for Saturday Club - BBC Radio 1 -

The Yardbirds to end the week. From sessions for the BBC recorded between February and May, 1966, presumably for the Saturday Club program at Radio 1.

This was The Yardbirds at their peak - the band boasting not one, but two legendary guitarists within their ranks - Jeff Beck and Jimmy Page sharing solos. You could call it a serious attack of talent, one that was not destined to last. Beck would leave in a year to pursue a solo career, forming The Jeff Beck Group and Jimmy Page staying on, until the band eventually broke up and was reformed, first as The New Yardbirds and then re-christened as Led Zeppelin.

I don't really think you can get a complete picture of Led Zeppelin without going back and sampling The Yardbirds during their heyday. One was a natural progression to the other, but had there been no Yardbirds, it's highly doubtful there would be a Led Zeppelin, or at least not one which would continue the evolution of Rock the way they did. But the Yardbirds were truly pioneering in the sense they shaped a new sound - brought about largely by Beck and Page. You could make a case for adding Eric Clapton in the mix, because he was one of the founding members. But his contribution was more of the straight-up Blues variety - and his leaving shortly after their debut single (For Your Love) was issued to join John Mayall's Bluesbreakers would be a continuation of that path.

The 1966 phase of The Yardbirds will go down as a revolutionary period for Rock. In an already crowded field of bands changing the shape and direction of popular music, the sound emanating from them was unique - how unique? all you have to do is grab a copy of Roger The Engineer and a copy of Are You Experienced by The Jimi Hendrix Experience and you'll hear a lot of similarities in temperament and approach - maybe Happenings Ten Years Time Ago juxtaposed with Purple Haze and it might become clearer.

I think, in the long stretch of things, The Yardbirds may not have gotten all the credit for the contributions they made - like I said, 1966 was a pivotal year for music - it was a crowded field, and everyone was testing limits. The Yardbirds were lynchpins.

Crank it up and see what you think.
It's September 1980 - You Live In L.A. - You're In College - You Suddenly Realize It's Not The 70's Anymore That moment you realize the 70s are never coming back - no matter what.






KHJ - September 3, 1980 - Gordon Skene Sound Collection -

You knew it was going to happen - you thought you forgot about it; time hasn't stood still. It's been marching on, constantly since you woke up on New Years Day, with a massive hangover and some vague recollection that another year had come and gone. But this one was an entire decade. It was now the 80's - and even though you're nine months into it, it just hit you. Some things take a long time to reach their destination. This one took most of the year.

You're stunned - you don't know where the time went. Seems like last week you were still in high school and KHJ was on your radio, glued to your ear. But now you're in college and somebody just told you that KHJ would be a Country-Western station soon - no more Boss Radio - no more Boss Jocks. Although, to be honest - you stopped listening when you got your first car after graduation and it had an FM radio, like all VW Bugs had. And you fell in love with The Mighty MET, and KHJ was relegated to "emergency listening" status. Still, Boss Radio was your youth - the thing that represented good times and parties. The go-to consoler when things got crazy and out of hand, or when that breakup happened, totally out of the blue. Tunes have always played a big part in your life - you can listen to a song and it can remind you of the exact place and time, even down to what you were wearing and what you were thinking. That's the power of music. And even though none of your friends liked ABBA, you had all their albums and all their 45's and you still listen to them in your college dorm room. They were important to you - they helped you lose your virginity (although nobody knows that, and you'll never tell them) - you still get misty when you hear Fernando - some things never change, probably not ever. Just time.

For a sample of what KHJ was sounding like, weeks before the big format change, here is an hour's worth of KHJ from September 3, 1980. And don't forget to visit PayPal when you have a chance and kick a buck or two in so we can keep it going.
Greg Kihn Band - Live At My Father's Place - 1978 - Past Daily Soundbooth The Greg Kihn Band - Pioneering practitioners of The Berserkley Sound.




Greg Kihn Band - live at My Father's Place - WLIR-FM - 1978 - Gordon Skene Sound Collection -


The Greg Kihn Band to take us over Hump-Day. While everything was in a state of upheaval musically in the 1970s, along came this independent record company, Berserkley from the Bay Area. The acts on the label didn't fall under the Punk, New Wave or even Post-Punk banner. The acts were different, and as is demonstrated by The Greg Kihn Band, were taking a different approach - in a way, a mash up of West Coast 60s, with touches of Pop tossed in. They were played on KROQ and KMET a lot, which gave an indication the broad appeal the band, and the other Berserkley artists like Jonathan Richman and The Modern Lovers and The Rubinoos had.

Greg Kihn began his career in his hometown of Baltimore, working in the singer/songwriter mold but switched to straightforward rock & roll when he moved to San Francisco, in 1972. He started writing songs and playing coffee houses while still in high school in the Baltimore area. When Kihn was 17, his mother submitted a tape of one of his original songs to the talent contest of the big local Top 40 radio station WCAO, in which he took first prize and won three things that would change his life: a typewriter, a stack of records, and a Vox electric guitar.

He moved to California in 1972 and worked painting houses, singing in the streets, and working behind the counter at the Berkeley record store, Rather Ripped Records, with future bandmate and Earth Quake guitarist Gary Phillips. The following year, he became one of the first artists signed to Matthew King Kaufman's now-legendary Beserkley Records. Along with Jonathan Richman, Earth Quake, and The Rubinoos, Kihn helped to carve the label's sound—melodic pop with a strong 1960s pop sensibility—an alternative to the prog rock of the time.

In 1976, after his debut on the compilation Beserkley Chartbusters, he recorded his first album with his own ensemble, called The Greg Kihn Band, comprising Robbie Dunbar (guitar), Steve Wright (bass), and Larry Lynch (drums). Dunbar, already a member of Earth Quake, was replaced by Dave Carpender in time to record their second album, Greg Kihn Again. Meanwhile, Kihn's old record store pal, Gary Phillips, who had contributed guitars to Kihn's first album, returned as a session musician on the band's Glass House Rock (1980) album and officially joined the band as keyboardist for the follow-up album, Rockihnroll (1981). The lineup of Kihn, Wright, Lynch, Phillips, and Carpender lasted until 1983, when Greg Douglass replaced Dave Carpender.

To get an idea, here is a gig they did at My Father's Place in Roslyn, New York and broadcast live over WLIR from 1978. For those not quite ready to take the plunge into The Clash or The Cure at the time, they were a melodic alternative.

Have a listen.
The Bee Gees - In Session From Stockholm 1967 - Past Daily Soundbooth The Bee Gees - Another band with two distinctly different career paths.



The Bee Gees - In Session for Sveriges Radio - July 21, 1967 - Sveriges Radio, Stockholm -

The Bee Gees to end the week. In a session recorded for Swedish radio on July 21, 1967.

If all you know about the Bee Gees begins with Saturday Night Fever and proceeds from there, this session will seem shocking to you. Those of us who remember the Bee Gees during this early period; the melodic, slightly psychedelic, fully capable tunesmiths who wrote a massive number of songs covered by an equally massive number of artists in the mid-1960s, were a state of bewilderment when The Bee Gees went Disco in the 1970s. For them, it was a brilliant career move - they became legends and icons and there was no looking back.

The problem was, much of their early music, which was hugely popular at the time, immediately took back seat to this new and highly polished reinvention. And has gone mostly overlooked, some 50 years after they made their initial splash. That's too bad.

I suppose it speaks to the versatility of the Brothers Gibb to make such a radical transition from one genre to another, and to succeed on an even greater scale than they had initially. Still, their early material is definitely worth a look-listen-see. There's some gems tucked in there. Some of them were hits, some were not - some were head-scratchers (I will never quite understand the geographic implications of Massachusetts, for example - being considered "way down", implying the song may have been written somewhere around the Arctic Circle). And although they were not on my go-to list of bands I listened to every day, I still had a goodly amount of respect for their endeavors.

But if you've never heard this earlier incarnation of The Bee Gees, I would urge you to hit the play button and give a listen - you will a band you may not recognize, but with voices you do. Thanks to the efforts of Sveriges Radio in Stockholm, this session has been preserved and is in excellent sonic shape.

So there's no excuse for you not the give a listen, even for a minute. So go ahead - hit the button.


It's Summer 1967 - You're A Teenager - You Live In L.A. - Everyone Is Knee-Deep In Flowers And Incense - Not You -You're Up To Your Eyeballs In Algebra. Everybody else is busy sampling the forbidden fruits of life - you're busy with Isosceles Triangles.




KFWB - B. Mitchel Reed - July 15, 1967 - Gordon Skene Sound Collection -

Summer 1967 - Summer School 1967. While the rest of the world is heeding the winsome allure to "Wear Flowers In Your Hair" and being busy sampling the forbidden fruits of mind expansion and meditation, you're stuck in Algebra class.

They talked you into it - your parents. They said you would graduate sooner if you went to Summer School. Think of it: Out a whole semester early - Freedom, within sniffing distance. No more waking up at 5:30 to catch the bus - no more people you don't like - no more L.A. City Schools cafeteria food - no more sneaking behind the cafeteria to smoke with people you hardly know who are always bumming Marlboros off you.

That's what you're thinking about as you stare out the classroom window - mind, light years away from Square Roots and Isosceles Triangles. Mind on maybe squeezing two weeks out of Summer before the last year of school starts. With your luck you'll miss the whole thing - the Concerts, the Beach, the Love-Ins. Everybody will talk about seeing The Grateful Dead and all the joints they smoked and the guy passing out tabs of acid at the Griffith Park merry-go-round. Not you - you'll miss it all - you'll be studying for the mountain of tests they're going to be giving you and you'll just be content to just be envious. Your kids will ask some day "what did you do during the Summer of Love?" - you'll answer; "nothing - I sat like a frog in a snowstorm in Algebra class for 12 weeks". What a dud you turned out to be.

Why did you let your parents and worse, your counsellor, talk you into doing this in the first place? Maybe it was all the Family Dog posters you were putting up in your room. Maybe it was trying to grow your hair, and just as it was getting good in the back you got busted by the Boys VP. Maybe it was your red eyes at the dinner table or staring at the mashed potatoes for just a little too long. Yep, could be a lot of things. Or maybe it was everything.

But at least you get to graduate early. There's that.

And your constant - your go-to - your perennial sure-thing; B. Mitchel Reed and KFWB - that's the thing that keeps it all together. As a reminder, here is an hour's worth of BMR as he was on July 15, 1967.

Editors Note: This is a work of fiction. Names, characters, businesses, places, events, locales, and incidents are either the products of the author’s imagination or used in a fictitious manner. Any resemblance to actual persons, living or dead, or actual events is purely coincidental.
Procol Harum - In Session - 1967 - Past Daily Soundbooth Procol Harum - A band with an improbable name, whose debut single was a riff on Bach became one of the biggest selling records of 1967.




Procol Harum - in session for The BBC Light Programme: Easy Beat - June 14, 1967 - BBC -

Procol Harum in what Procol Harum.com has listed as their second session for the BBC, recorded on June 14, 1967 for The BBC Light Programme. This is the original lineup of the band, before Robin Trower and B.J. Wilson joined, some months later. It features the legendary Whiter Shade Of Pale (the song that started it all), followed by Morning Dew (which did not make it to an album) and ending with Mabel, also from the first album.

Procol Harum initially began life as The Paramounts, led by Gary Brooker and Robin Trower and including Chris Copping and B. J. Wilson. They scored a moderate British success in 1964 with their version of Jerry Leiber and Mike Stoller's "Poison Ivy", which reached number 35 in the UK Singles Chart. Unable to generate any follow-up success, the group disbanded in 1966.

The Paramounts were signed to EMI UK for their releases; until one day before Procol Harum linked with EMI UK again, they were called The Pinewoods. A last-minute offer from Chris Blackwell's fledgling Island Records label was rejected by Brooker and band.

In April 1967, Brooker began working as a singer-songwriter and formed Procol Harum with non-Paramounts Keith Reid (poet), Hammond organist Matthew Fisher, guitarist Ray Royer and bassist David Knights. Guy Stevens, their original manager, named the band after Gus Dudgeon's Burmese cat. The cat's "cat fancy" name was Procul Harun, Procul being the breeder's prefix.

In the absence of a definitive origin, the band's name has attracted various interpretations, being said to be (incorrect) Latin for "beyond these things"; the correct Latin would be procul hīs. The name of the band is frequently misspelled; often with "Procul", "Harem", both, or other variations.

Their best-known recording is the 1967 hit single "A Whiter Shade of Pale", one of the few singles to have sold over 10 million copies. Although noted for their baroque and classical influence, Procol Harum's music also embraces the blues, R, and soul.

At Olympic Studios, southwest London, with session drummer (and non-Paramount) Bill Eyden, producer Denny Cordell and sound engineer Keith Grant, the group recorded "A Whiter Shade of Pale", and it was released on 12 May 1967. With a structure reminiscent of Baroque music, a countermelody based on J. S. Bach's Orchestral Suite N° 3 in D Major played by Fisher's Hammond organ, Brooker's vocals and Reid's lyrics, the single reached No. 1 on the UK Singles Chart and the Canadian RPM Magazine chart. It did almost as well in the United States, reaching No. 5. In Australia, it was No. 1 for many weeks, setting a record of 8 weeks in Melbourne.

After "A Whiter Shade of Pale" became a hit, the band set out to consolidate its studio success by touring, with new official drummer Bobby Harrison added to the line-up; its live debut was opening for Jimi Hendrix in 1967. The group's follow-up single, "Homburg", with a line-up change of former Paramounts B. J. Wilson on drums and Robin Trower on guitar (replacing Harrison and Royer, respectively, who exited to form the band Freedom), reached No. 6 in the UK, No. 15 in Canada, and No. 34 in the US.

The group's eponymous debut studio album was recorded between the two hit singles, and was released in early September in the US, but was held back until December 1967 in the UK. A series of singles charted poorly in the US and UK, though rarely both at the same time.


So to get an idea of what the initial fuss was all about, here is that second BBC session by Procol Harum from June 14, 1967.

You might want to crank this one up - just for old time's sake.
Badfinger - In Concert 1972 - Past Daily Soundbooth Badfinger - First band signed to Apple - and it went downhill from there.



Badfinger - In Concert - BBC Radio In Concert Series - June 8, 1972 - BBC Radio 1 -

Badfinger in concert this week. The first band to be signed by The Beatles' fledgling Apple Records, they scored a number of hits as well as recording some five albums between 1968 and 1973 before getting caught in the turmoil of Apple folding, from which they never recovered.

Badfinger were a Welsh rock band formed in Swansea that were active from the 1960s to the 1980s. Often called "Beatlesque", their best-known lineup consisted of Pete Ham, Mike Gibbins, Tom Evans, and Joey Molland. They are recognized for their influence on the 1970s power pop genre.

Badfinger had four consecutive worldwide hits from 1970 to 1972: "Come and Get It" (written and produced by Paul McCartney, 1970), "No Matter What" (produced by Mal Evans, 1970), "Day After Day" (produced by George Harrison, 1971), and "Baby Blue" (produced by Todd Rundgren, 1972). Their song "Without You" (1970) has been recorded many times, including a US number-one hit for Harry Nilsson, and decades later, a UK number-one for Mariah Carey.

After Apple Records folded in 1973, Badfinger struggled with a host of legal, managerial and financial issues, leading to Ham taking his own life in 1975. Over the next three years, the surviving members struggled to rebuild their personal and professional lives against a backdrop of lawsuits, which tied up the songwriters' royalty payments for years. Their subsequent albums floundered, as Molland and Evans alternated between cooperation and conflict in their attempts to revive and capitalize on the Badfinger legacy. In 1983, Evans also died by suicide.

It would be easy to say a situation like this was an isolated incident in the world of Pop Music - but no, it happens more than anyone would care to admit. Although the outcomes vary considerably, the bottom line has often been; a band with all the potential in the world and the hits to prove it, took a series of bad turns with unforeseen and complicated circumstances causing it to end in disaster.

Badfinger were a competent and capable band, with a considerable amount of talent between them. They produced a string of memorable hits and had a legacy of many fine and noteworthy recordings to point to. For the outcome to be what it was is a tragedy - however, their music belies that, as it often does. Art and life are two separate things.

But for a reminder of the energy and passion of a committed band, here is that performance from June 1972, recorded by BBC Radio 1 for the In Concert series.
The Zombies In Session - 1965 - Past Daily Soundbooth The Zombies - Their recent induction into the Rock n' Roll Hall Of Fame sparked renewed interest in a band you never got tired of.(Getty Images)




The Zombies In Session - Top Of The Pops - 1965 Sessions - BBC Radio 1 -

The Zombies in session from 1965 to end out the week. Recorded for the BBC Radio 1 Saturday Club program with Brian Matthew. Like The Kinks, The Zombies were one of those bands who rode the initial wave of The British Invasion, had for a time more popularity in the U.S. than the UK, but whose popularity has been consistent all this time, and has seen a renewal in interest, particularly among a newer generation of listeners who maybe missed them the first time around, thanks to an induction into the Rock n' Roll Hall of Fame earlier this year. Ironically, their final album in 1968, Odessey And Oracle has become one of the 100 greatest rock albums of all time (so sez Rolling Stone). Truths to tell, that album was a masterpiece that practically got tossed away by the record label as there were no longer a Zombies to promote the album. During their period of breakup (which lasted into the 90s) various founding members went off to solo careers and other groups, most notably Argent, founded by Rod Argent and Russ Ballard. That group scored a number of hits before packing it in around 1976.

But where Argent were hovering between Psych, Prog and hard rock in the 1970s, The Zombies proved, in many ways, to be the more enduring throughout the 80s until their eventual reunion in 1990 - with fits and starts until officially reuniting in 2004. The Zombies were, and still are, timeless.

Like many of their brethren bands of the British invasion era, The Zombies dipped into a very rich reservoir of American Soul and R of the late 1950s and early 1960s. In less capable hands, those songs were afterthoughts in sessions were the hit single was the primary focus, and the other cuts were regarded as filler. With The Zombies, songs like Will You Love Me Tomorrow, or their 1966 session track featuring Going Out Of My Head (the Little Anthony & The Imperials hit) - they infused those songs with their own interpretations and their own personalities - not detracting from, but rather complimenting the original.

This session starts with their second hit Tell Her No and ends with I Must Move - in between is Will You Love Me Tomorrow - offering further proof that timeless bands are that way for a reason.

Hit the play button and crank it up. You can sing along too - no one will notice.
The Kinks In Session - 1968 - Past Daily Soundbooth The Kinks - One of the most influential bands of the 60's - and that's an understatement.



The Kinks - in session for Top Of The Pops - July 1, 1968 - BBC Radio 1 -

The Kinks in session tonight - recorded on July 1, 1968 for Top Of The Pops at BBC Radio 1. The Kinks have been such a mainstay in the Pop Music scene for so long you tend to forget they were one of the most influential bands of the 1960s, and were an integral part of the first British Invasion in 1964. But their music has maintained a freshness and immediacy that has stayed with us for all that time. The quality of writing is the key. Ray Davies writing has always lent itself to a keen and introspective look at day to day life. There has always been a universality in the sentiments The Kinks music has conveyed - the situations, observations and values they express are just as valid in Los Angeles as they are in London - just as sharp and relevant in 2019 as they were in 1965. They've often been referred to as practitioners of the original Brit Pop, which I think misses the mark by miles - the situations expressed may be germane to life in Britain, but the values and emotions are strictly human; they resonate with everybody. And for that reason, The Kinks have maintained a unique and lasting place in Rock Music.

This session, recorded for the Top Of The Pops program also includes an interview with Ray Davies, conducted by Brian Mathew. It comes right between Something Else By the Kinks and the release of The Kinks Are The Village Green Preservation Society in November of that year.

Session notes from Wikipedia:
As Ray Davies had assumed control over production after the departure of Shel Talmy, Something Else marked a change in the sound and production style of the Kinks. He felt unsure of his skill in mixing and recording their records and later commented, "I feel that I shouldn't have been allowed to produce Something Else. What went into an album required someone whose approach was a little bit more mundane".

Apart from "End of the Season", the album was recorded between the autumn of 1966 and the summer of 1967, when the Kinks had cut back on touring and had begun recording and stockpiling songs for Ray's as-yet poorly defined "village green" project. The song "Village Green" was recorded in November 1966 during the sessions for the album but was released on a French EP in 1967 and did not appear on a Kinks LP until the next release, The Kinks Are the Village Green Preservation Society.

Upon its release The Kinks Are the Village Green Preservation Society was greeted with almost unanimously positive reviews from rock critics but failed to sell strongly, an estimated 100,000 copies worldwide. Despite this slow start, the album has since become the Kinks' best-selling original record.The album did not have a popular single ("Starstruck" was released in North America and continental Europe, but failed to chart anywhere but the Netherlands). Although it was commercially unsuccessful upon its US release in January 1969, Village Green was embraced by the new underground rock press, particularly in the United States where the Kinks' status as a cult band began to grow.
Hit the Play button and rock out.
Doris Day: Words And Music - 1946 - Barry Gray's Nightclub - Past Daily Pop Chronicles: Tribute Edition Doris Day - (1922-2019) - National Treasure.





Barry Gray's Nightclub - Featuring Doris Day (and others) - WOR, New York - February 5, 1946 - Gordon Skene Sound Collection -


With the sad news today of the passing of Doris Day, one of America's legends and treasures, it would be difficult if not impossible to add anything to the flood of remembrances and anecdotes of one of truly iconic figures in film and music.

In looking for something that might not be all that familiar to you, I dipped into the vault and ran across this early guest appearance as a solo artists on the local New York radio program Barry Gray's Nightclub, a show featuring talent performing at the various nightspots around Manhattan. This one, from February 5, 1946 features Doris Day before her transition to Hollywood, when she was still a singer with Les Brown's band and was making waves as a rising talent in her own right. She is briefly interviewed by Gray and sings two numbers. Sadly, her appearance lasts about 10 minutes, but it's Doris Day at her beginnings.

While working with Brown, Day recorded her first hit recording, "Sentimental Journey", released in early 1945. It soon became an anthem of the desire of World War II demobilizing troops to return home. The song continues to be associated with Day, and she rerecorded it on several occasions, including a version in her 1971 television special. During 1945–46, Day (as vocalist with the Les Brown Band) had six other top ten hits on the Billboard chart: "My Dreams Are Getting Better All the Time", "'Tain't Me", "Till The End of Time", "You Won't Be Satisfied (Until You Break My Heart)", "The Whole World is Singing My Song", and "I Got the Sun in the Mornin'".

While singing with the Les Brown band and for nearly two years on Bob Hope's weekly radio program, she toured extensively across the United States.

Her performance of the song "Embraceable You" impressed songwriter Jule Styne and his partner, Sammy Cahn, and they recommended her for a role in Romance on the High Seas (1948). Day got the part after auditioning for director Michael Curtiz. She was shocked at being offered the role in the film, and admitted to Curtiz that she was a singer without acting experience. But he said he liked that "she was honest," not afraid to admit it, and he wanted someone who "looked like the All-American Girl," which he felt she did. Day was the discovery of which Curtiz was most proud of during his career.

The film provided her with a #2 hit recording as a soloist, "It's Magic", which followed by two months her first #1 hit ("Love Somebody" in 1948) recorded as a duet with Buddy Clark. Day recorded "Someone Like You", before the 1949 film My Dream Is Yours, which featured the song.

In 1950, U.S. servicemen in Korea voted her their favorite star. She continued to make minor and frequently nostalgic period musicals such as On Moonlight Bay, By the Light of the Silvery Moon, and Tea For Two for Warner Brothers.

Her most commercially successful film for Warner was I'll See You in My Dreams (1951), which broke box-office records of 20 years. The film is a musical biography of lyricist Gus Kahn. It was Day's fourth film directed by Curtiz. Day appeared as the title character in the comedic western-themed musical, Calamity Jane (1953). A song from the film, "Secret Love", won the Academy Award for Best Original Song and became Day's fourth No. 1 hit single in the United States.

The rest, of course, is history and her career in Hollywood took off in the later 1950s until her retirement from the film business in the 1970s.

But in the event you aren't all that familiar with Doris Day the Big Band singer, here's a reminder and a tribute to a remarkable and enduring talent. She was Americas sweetheart.

And probably always will be.
Randy Newman - In Concert, Seattle - 1974 - Past Daily Soundbooth Randy Newman - National Treasure - but don't take my word for it.



Randy Newman in Concert - Moore Theatre, Seattle - November 1974 - Gordon Skene Sound Collection -

Randy Newman in concert tonight. Recorded at The Moore Theatre in Seattle in November 1974. Randy Newman has been referred to more than once as a National Treasure - and if the staggering catalog of memorable songs and milestone film scores offers any proof, I would say that estimate is a pretty spot-on one.

For those of you who may not be entirely familiar with Randy Newman, or his many musical contributions to our society, here is a little rundown via his website, which should get you up to speed in knowing about one of the most distinctive and memorable figures in Music:

From Randy Newman.com:
With songs that run the gamut from heartbreaking to satirical and a host of unforgettable film scores, Randy Newman has used his many talents to create musical masterpieces widely recognized by generations of audiences.

After starting his songwriting career as a teenager, Newman launched into recording as a singer and pianist in 1968 with his self-titled album Randy Newman. Throughout the 1970s, 80s, and 90s he released several acclaimed albums such as: 12 Songs, Sail Away, Good Old Boys, Little Criminals, Born Again, Trouble in Paradise, Land of Dreams, and Bad Love.

Beginning in 2003, Nonesuch Records has released three Randy Newman Songbook volumes, which feature solo recordings of songs from throughout Newman’s five-decade career, as well as Harps and Angels, and the Randy Newman: Live in London CD/DVD.

In addition to his solo recordings and regular international touring, Newman began composing and scoring for films in the 1980s. The list of movies he has worked on since then includes The Natural, Awakenings, Ragtime, all four Toy Story pictures, Monsters Inc. and Monsters University, Seabiscuit, James and the Giant Peach, A Bug’s Life, and Meyerowitz Stories.

The UK’s Uncut magazine said that Newman’s most recent Nonesuch album, the highly praised Dark Matter, combined these two parts of his career: “Newman’s soundtracks have always been quite separate from his increasingly rare studio albums, but Dark Matter finally sees him uniting those two professions. Here each satirical sketch is lavishly arranged like a miniature film score, with multiple characters, shifting points of view and dramatic lurches in musical style.” The album’s nine songs include the Grammy Award–winning “Putin,” plus songs about the Kennedy brothers, Sonny Boy Williamson, science vs. religion, love and loss, and more.

NPR called Newman a “national treasure” in its album review, saying that he “remains first and foremost a craftsman of song, capable of telling ordinary stories in ways no one quite has before,” and the Chicago Tribune said, “Newman is one of the best songwriters of the last half-century … a master of orchestrating mood and playing a range of flawed characters, depicted in mini aural movies compressed into three verses and three minutes.”

Randy Newman’s many honors include seven Grammys, three Emmys, and two Academy Awards, as well as a star on the Hollywood Walk of Fame. He was inducted into the Songwriters Hall of Fame in 2002 and the Rock and Roll Hall of Fame in 2013—the same year he was given an Ivor Novello PRS for Music Special International Award. Newman was presented with a PEN New England Song Lyrics of Literary Excellence Award in 2014.
Hit the play button and dive in for the next hour.
Christopher Milk - Their Last Known Performance At The Starwood, West Hollywood - 1976 - Past Daily Soundbooth Christopher Milk - Last performance. . .ever. Starwood Club, West Hollywood - March 25, 1976 - Gordon Skene Sound Collection -

Christopher Milk is probably a name that may not ring many bells with music aficionados of recent age. As the tape box indicates, it was recorded on March 25, 1976 and was, for all intents and purposes, the very last live performance the band did, staging a one night reunion, calling it a day and going separate ways. Christopher Milk was something of a legend here in L.A. - a lot of hype and clever marketing; just about everyone who spent more than five minutes on the Sunset Strip knew about the band - they were, in many ways more famous for being talked about than actually seen. They came along at a time when Glam was turning Hollywood into a tornado of glitter and platform shoes. At the front of the band was Rock Journalist John Mendelssohn, one of the more influential writers of the 1970s - and you knew who he was if you read just about any Music magazine or newspaper being published at the time. That was the decade when Rock Journalism was coming into its own - and the audience had a voracious appetite for news of the comings and goings of musical genres and bands, and the massive number of albums being released on any given week. The Glam period was relatively short, considering what it morphed into after only a few years. But during the period of the early 70s, Glam was primarily being imported from the UK - and for all the really pivotal artists who embraced the scene, there were many more who took it to self-conscious extremes. Christopher Milk's job - aside from providing a solid musical foundation, was also actively involved in taking the piss out of the pretense of Glam - turning Power Pop on its ear.

But a lot of people didn't get that, and for all the hype and marketing the band were very adept at, they didn't make much dent in the bottom line for their various record labels; sales. They achieved a certain underground celebrity, but it wasn't enough to sustain them or to prevent them from being dropped by two major labels by the time they decided to call it quits in 1973.

So this performance at the fabled Starwood, was to be the last ever appearance by a reunited for one-night-only Christopher Milk in March of 1976. Rodney Bingenheimer officiated, and the band turned in a just-under-an-hour set. Truths to tell, the band hadn't rehearsed together in over three years, so there are creaky parts, but live recordings are very dicey affairs anyway - sometimes they add a different dimension to an artist that enhances their careers - and sometimes they magnify mistakes and shortcomings of a band. After a somewhat shaky start they settle in - and even though there are some technical glitches along the way (the board engineer turned the tape machine off by accident during the opening number and a microphone blew out towards the end of the set) it does provide a historic record of an event during a period of time which has been up for scrutiny in recent years. And this tape, even though it has been forgotten about and thought lost for the better part of 40 years, gives a glimpse of what Hollywood Club life was like during what many considered the heyday of life on the Sunset Strip.

Enjoy.
Al Stewart In Session - 1968 - Past Daily Soundbooth Al Stewart- He would score highly with Year Of The Cat, but that was years after this session.



Al Stewart - in session for John Peel - May 29, 1968 - Recorded May 8, 1968 - BBC Radio 1 -

Al Stewart in session for John Peel from 1968 tonight. This was his first of what would be some seven sessions the singer-songwriter would record for Peel. And it wouldn't be until 1976 that Stewart would achieve worldwide hit status with Year Of The Cat, a single and album that went platinum and would be the first of a few of massive hits.

But this session comes from much earlier than that - only three years after his debut on the BBC Light Program in 1965, Al Stewart was very much part of the British Folk revival of the time and had the distinction of being the very first performer at the debut of The Glastonbury festival in 1970.

Although born in Glasgow, Al Stewart grew up in the town of Wimborne, Dorset, England, after moving from Scotland with his mother, Joan Underwood. His father, Alastair MacKichan Stewart, who served as a flight lieutenant in the Royal Air Force volunteer reserve, died in a plane crash during a 1945 training exercise before Stewart was born. He attended Wycliffe College, Gloucestershire as a boarder. After that, according to the song "Post World War II Blues" (from Past, Present and Future): "I came up to London when I was 19 with a corduroy jacket and a head full of dreams."

Having bought his first guitar from future Police guitarist Andy Summers, Stewart traded in his electric guitar for an acoustic guitar when he was offered a weekly slot at Bunjies Coffee House in London's Soho in 1965. From there, he went on to compere at the Les Cousins folk club on Greek Street, where he played alongside Cat Stevens, Bert Jansch, Van Morrison, Roy Harper, Ralph McTell and Paul Simon, with whom he shared a flat in Dellow Road, Stepney, London.

Stewart's first recording was on Jackson C. Frank's debut album, 1965's Jackson C. Frank, playing guitar on "Yellow Walls". His first record was the single "The Elf" (backed with a version of The Yardbirds' "Turn into Earth"), which was released in 1966 on Decca Records and included guitar work from Jimmy Page (later of the Yardbirds and Led Zeppelin). Stewart then signed to Columbia Records (CBS in the UK), for whom he released six albums. Though the first four of these attracted relatively little commercial interest, Stewart's popularity and cult following grew steadily through albums that contain some of Stewart's most incisive and introspective songwriting.

Stewart's debut album, Bedsitter Images, was released in 1967. A revised version appeared in 1970 as The First Album (Bedsitter Images) with a few tracks changed, and the album was reissued on CD in 2007 with all tracks from both versions.

For a reminder of Al Stewart during those formative days, here is his first Peel session, recorded on May 8,1968 and broadcast on May 29th.
Tim Hardin - In Session With The Spike Heatley Quintet - 1968 - Past Daily Soundbooth Tim Hardin - seminal yet tragic figure in 60s music.



Tim Hardin with The Spike Heatley Quinet - in Session for John Peel - July 15, 1968 - broadcast July 28, 1968 - BBC Radio 1 -

Tim Hardin in session for John Peel, backed by The Spike Heatly Quintet, recorded for BBC Radio 1 on July 15, 1968 and broadcast on July 28.

I did not know this session existed and I stumbled across it purely by accident. Needless to say, this is an important session recording.

Tim Hardin has faded from view for a few decades now, ever since his death in 1980 from a heroin overdose. He is hardly known in contemporary music circles and only vaguely remembered by most others only as the composer of If I Were A Carpenter, which was a top-40 hit and most famously done by Bobby Darin in 1965 where it hit the top-10. But he was an extraordinary artist whose life was cut needlessly short and whose career was sidelined by addiction.

This is from his Wikipedia page:
Hardin was born in Eugene, Oregon, and attended South Eugene High School. He dropped out of high school at age 18 to join the Marine Corps. Hardin is said to have discovered heroin while posted to the Far East.

After his discharge he moved to New York City in 1961, where he briefly attended the American Academy of Dramatic Arts. He was dismissed owing to truancy and began to focus on his musical career by performing around Greenwich Village, mostly in a blues style.

After moving to Boston in 1963 he was discovered by the record producer Erik Jacobsen (later the producer for The Lovin' Spoonful), who arranged a meeting with Columbia Records. In 1964 he moved back to Greenwich Village to record for his contract with Columbia. The resulting recordings were not released and Columbia terminated Hardin's recording contract.

After moving to Los Angeles in 1965, he met actress Susan Yardley Morss (known professionally as Susan Yardley), and moved back to New York with her. He signed to the Verve Forecast label, and produced his first authorized album, Tim Hardin 1 in 1966 which contained "Reason To Believe" and the ballad "Misty Roses", which received Top 40 radio play.

Tim Hardin 2 was released in 1967; it contained "If I Were a Carpenter". An English tour was cut short after Hardin contracted pleurisy.

An album entitled This is Tim Hardin, featuring covers of "House of the Rising Sun", Fred Neil's "Blues on the Ceiling" and Willie Dixon's "Hoochie Coochie Man", among others, appeared in 1967, on the Atco label. The liner notes indicate that the songs were recorded in 1963–1964, well prior to the release of Tim Hardin 1. In 1968, Verve released Tim Hardin 3 Live in Concert, a collection of live recordings along with re-makes of previous songs. It was followed by Tim Hardin 4, another collection of blues-influenced tracks believed to date from the same period as This is Tim Hardin. In September 1968 he and Van Morrison shared a bill at the Cafe au Go Go, at which each performed an acoustic set.

In 1969, Hardin again signed with Columbia and had one of his few commercial successes, as a non-LP single of Bobby Darin's "Simple Song of Freedom" reached the US Top 50. Hardin did not tour in support of this single—his heroin use and stage fright made his live performances erratic.

Also in 1969 he appeared at the Woodstock Festival, where he sang "If I Were a Carpenter" solo and played a set of his music while backed by a full band. None of his performances were included in the documentary film or the original soundtrack album. His performance of "If I Were a Carpenter" was included on the 1994 box-set Woodstock: Three Days of Peace and Music.

During the following years Hardin moved between England and the U.S. His heroin addiction had taken control of his life by the time his last album, Nine, was released on GM Records in the UK in 1973 (the album did not see a U.S. release until it appeared on Antilles Records in 1976). He sold the writers' rights to his songs, but the details of how this transpired vary.

On December 29, 1980, Hardin was found on the floor of his Hollywood apartment by longtime friend Ron Daniels. He died of a heroin overdose. His remains were buried in Twin Oaks Cemetery in Turner, Oregon.
For a sampling of his work from 1968, here is that John Peel session (not complete, sadly) featuring Hardin with the British Jazz group, The Spike Heatley Quintet.
Load More