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Rock n' Roll English The only learning English podcast with a grammatical error in the title 😬 Listen to me speak to my friends about Sex, Drugs and Rock 'n' Roll and learn RnR vocabulary and grammar in the process.... keep on ROCKIN' baby! 🔥🔥🔥
Rare & Scratchy Rock 'N Roll Podcast "Rare & Scratchy Rock 'N Roll" is a rockumentary podcast series that tells the greatest rock and roll stories on record. This includes the untold tales of some great hits that time forgot, but maybe you'll still remember. These programs are hosted by Radio Dave, a veteran disc jockey and published authority on rock and pop music history. He draws his "Rare & Scratchy Rock 'N Roll" stories from his "groove yard," an archive that has more music than most record libraries.
The Imbalanced History of Rock and Roll This is a podcast that was created to discuss the humongous tree of music known as Rock and Roll. There are thousands of branches. There is so much information out there with even more to be learned. Together, we are going to have fun talking about our passion, the Imbalanced History of Rock and Roll. Between Ray and Markus, we have 50+ years of rock and roll radio experience and a thirst to know more! With your input we want to begin to balance the imbalanced. We look forward to connecting and sharing with you as we dig deep into the music. Proud part of Pantheon - the podcast network for music lovers.
Rock N Roll Manifesto The Rock N Roll Manifesto is a weekly live internet radio show hosted by Greg Lonesome. Tune in to hear punk rock, hardcore punk, rockabilly, psychobilly, soul, r&b, doo wop, old country, garage and more- It's a mix of all different styles of GREAT music. If you are a true music lover, you need to hear this show!
Rock n Roll Chicago Podcast Interviews from the bands that made Rock N Roll in Chicago the greatest. Hear from your favorite rock bands from the 60's until today!

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‎Steve Richards presents the Rock N Roll Politics podcast Based on his live one-man show Rock & Roll Politics, the broadcaster and author Steve Richards takes a weekly behind the scenes tour of UK politics and the media that shapes the way we view the epic political dramas. The future is ridiculously unpredictable and the past is so easy to misread. Subscribe to your weekly guide through seismic times.
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The Beatles All audio types and formats organized around my favorite band. Alex Underwood's World of Audio
Ed Stasium Audio Playlist on the Ramones Ed Stasium has been working with the Ramones since 1978 and continues to produce their re-releases for the band, most recently releasing the box set for Rocket to Russia.

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All "Rock & Roll" Audio

Frankie Valli Talks About The Four Seasons, The Wonder Who And Frankie Valli - 1980 - Past Daily Talking Music Frankie Valli with Bob Crewe in session - where it all happens - the boiler room of rock (photo: George Schowerer).



Frankie Valli in conversation - Recorded June 16, 1980 - Gordon Skene Sound Collection -

Continuing our new series Talking Music with a sit-down conversation with Frankie Valli of the legendary Four Seasons, recorded in June of 1980. One of the things this series is about is the nuts and bolts of putting it together; doing it in the studio; talking about the process and the results and doing it against the backdrop of history. We're cutting a wide swath of musical genres with this series - because Music isn't just about one thing or one set of notes - it's about the experience and the stories of the people themselves and how the magic happens - and it doesn't happen by magic.

Fans and aficionados know Frankie Valli's story very well - he's a legend, he's still with us and his music has always been a vital part of our society, beginning in the late 1950s and casting an indelible imprint on the 60's.

Those of you who know can skip the next part - head straight over to the player and dive into an hour's worth of insight.

For those of you who don't know - or have only heard odd bits and pieces from your parents record collections or caught flashes here and there in movies or commercials and are curious to find out a bit more. Here's some background (via Wikipedia):
The Four Seasons are an American rock and pop band that became internationally successful in the 1960s and 1970s. Since 1970, they have also been known at times as Frankie Valli and the Four Seasons. In 1960, the band known as The Four Lovers evolved into the Four Seasons, with Frankie Valli as the lead singer, Bob Gaudio (formerly of the Royal Teens) on keyboards and tenor vocals, Tommy DeVito on lead guitar and baritone vocals, and Nick Massi on electric bass and bass vocals. On nearly all of their 1960s hits they were credited as the 4 Seasons.

The legal name of the organization is the Four Seasons Partnership, formed by Gaudio and Valli, and was taken after a failed audition in 1960. While singers, producers, and musicians have come and gone, Gaudio and Valli remain the band's constant (with each owning fifty percent of the act and its assets, including virtually all of its recording catalog). Gaudio no longer plays live, leaving Valli as the only member of the band from its inception who is touring as of 2019.

The Four Seasons were one of only two American bands (the other being the Beach Boys) to enjoy substantial chart success before, during, and after the British Invasion. The band's original line-up was inducted into the Rock and Roll Hall of Fame in 1990, and joined the Vocal Group Hall of Fame in 1999. They are one of the best-selling musical groups of all time, having sold an estimated 100 million records worldwide.

Okay - head over to the player and dive into a conversation with the man himself. Enjoy and take notes.
The Delmonas In Session - 1988 - Past Daily Soundbooth The Delmonas - Girls in the garage.



The Delmonas - in session for Liz Kershaw - BBC Radio 1 - April 3, 1988 - BBC Radio 1 -

The Delmonas in session tonight. Girl garage bands at their finest, in session for Liz Kershaw at BBC Radio 1, live on April 3, 1988.

From their website:
British garage pop girl group, the Del Monas began life as the Milk-Boilers, by singing backup on some early Milkshakes recordings. Sarah and Hilary took the lead on a rendition of the Shirelles song “Boys” (as covered by the Beatles) before Louise joined, striking out on their own with a couple of four-song EPs in 1984: Comin’ Home Baby (popularized by Mel Tormé) and Hello, We Love You (actually the Doors’ “Hello, I Love You”). In both cases, the Milkshakes served as their backing band, Billy Childish and Mickey Hampshire penning the original numbers. By this time the girls had been re-christened the Del Monas, the name being inspired by the Bo Diddley song. Delmonas-Hang28

The following year, the girls released their first full-length recording, Dangerous Charms, which contained a different version of ‘Comin’ Home Baby’ (without organ), the remaining EP tracks, three outtakes, and five numbers from a BBC radio broadcast (it was later re-released with additional material from another BBC session from 1988). Interpersonal tensions resulted in a recording gap of several years and a revamped lineup for 1986′s follow-up, Delmonas 5!.

Louise had since left the group and Hilary and Sarah had renamed themselves Miss Ida Red and Ludella Black. The original duo, now backed by Childish, Russ Wilkins and John Agnew, cranked out a louder, harder-hitting sound for their next album The Delmonas, released in 1989. It featured Dangerous Charms’ lost title-track and a couple of earlier numbers redone in French. Do the Uncle Willy, released Del Monas 5 LP-coverlater the same year, was the band’s final musical document. It compiled material from previous releases, a couple of alternate takes, and a new version of Thee Mighty Caesars’ “Lie Detector.” On all of their recordings, the Delmonas mixed cover versions from the ’50s and ’60s with original compositions that sounded as if they came from that era — upbeat ravers in the spirit of the Shangri-Las, Lesley Gore, Nancy Sinatra, and other tough-but-tender girl acts. If they didn’t quite have the vocal range of those artists, they made up for it in attitude and enthusiasm.

In case you didn't know - the spirit of Garage Rock is alive and well, breaking leases and driving neighbors crazy, just like always.
A Word Or Two With The Blasters - 1981 - Past Daily Talking Music The Blasters - cornerstones of the L.A. renaissance in the 1980s.




The Blasters - in conversation with Joe Benson - The Local Music Show - November 1981 - KLOS - Mike Devich Collection


L.A.'s very own Blasters, in conversation at KLOS with Joe Benson and The Local Music Show from November 1981. By now, The Blasters have become an institution. A much loved and revered band who did a lot to bring Los Angeles to the forefront during the heady days of the late 1970s, when everything was up for grabs and music was coming out of every storefront and alleyway between Northridge and San Pedro. But in 1981, when this interview took place, The Blasters were just starting to get a nationwide and worldwide buzz going - part of a genre steeped in 50's Rockabilly (for the most part) but extending to a much wider playing field of Roots Rock and Rural Blues, The Blasters were perfects fits for the L.A. scene - having huge appeal with the Punk audience, while maintaining a loyalty with the hardcore Rockabilly audience. It was possible to straddle two totally different sets of audiences while keeping it all together with music that was urgent, pulsating and drenched with energy.

A little background for those of you just getting acquainted (thanks Wikipedia):

The Alvin brothers (Phil and Dave) grew up in a household filled with music and parents who exposed their sons to different kinds of American music. They made friends with John Bazz and Bill Bateman, and together the boys were brave enough to go into Los Angeles blues clubs to watch their musical idols. They learned firsthand from the likes of Joe Turner and T-Bone Walker. Phil Alvin recalled how his mother would drive the boys anywhere, and around 1965 or 1966, she took Phil to see Sonny Terry and Brownie McGhee. At Phil's request, Big Joe Williams introduced him to Terry, and Phil wound up taking a number of harmonica lessons from Terry. Another mentor was tenor saxophonist Lee Allen, who later joined The Blasters.

Phil Alvin explained the origin of the band's name: " I thought Joe Turner's backup band on his Atlantic records–I had these 78s–I thought they were the Blues Blasters. That ends up it was Jimmy McCracklin. I just took the 'Blues' off and Joe finally told me, that’s Jimmy McCracklin’s name, but you tell ‘im I gave you permission to steal it "

Gene Taylor joined after the release of American Music (1980), performing boogie woogie-style piano (he remained with the band through late 1985). Later on, Steve Berlin joined on baritone sax, forming a horn tandem with Lee Allen.

The Blasters' energetic live performances gained a local following, and they became fixtures of the early 1980s Los Angeles punk rock scene. They performed alongside X, Black Flag, The Gun Club, the Screamers and others. The L.A. scene of the time also featured the cowpunk genre, and a notable example was how The Blasters helped country artist Dwight Yoakam get established. They toured together in 1985.



Hit the play button and they will explain it all themselves.

Enjoy the interview. (Special thanks to Mike Devich for the cool tapes)
Peter Green's Fleetwood Mac - In Concert From Sweden - 1969 - Past Daily Backstage Pass - Tribute Edition - RIP: Peter Green - 1946-2020 Peter Green's Fleetwood Mac - High Priests of The Second Great Epoch of the British Blues Movement.



Peter Green's Fleetwood Mac - Live at Cue Club, Gotesburg Sweden - November 2, 1969 - Sveriges Radio - Gordon Skene Sound Collection -


With tributes pouring in as news of the passing of Fleetwood Mac founder Peter Green spread, it's giving time to pause and reflect just how much of an influence Peter Green had and how pivotal Fleetwood Mac was during the period of the late 60s up until Green's leaving the band in 1970.

Earlier today I ran a few of sessions the band recorded for the BBC during the 1967-1968 period - an introduction to the band, as it were, for those of you who came late to Fleetwood Mac or only know them during the later Pop period.

So I've been spending most of the day poring over concerts outlining the 1968-1970 period when they were, for all intents and purposes, at the pinnacle of this phase of their careers. I wanted to run the Fillmore Concert from their 1968 U.S. tour as it was during their appearance at the Shrine Expo Hall in L.A. that I first encountered the band, and they left an indelible impression.

Unfortunately, the sound was awful, as was the sound of a concert they performed later that year in The Hague and a few others between then and early 1969. So it was with fingers crossed that I put this one up and hit the play button and waited. Luckily, this concert gives a good overall impression of what you would have heard if you went to one of their concerts during this time and sat, most likely stoned, and let the music sweep over you.

They were also a very tight ensemble.

All this by way of saying this is who we lost today - and why his loss is so pronounced in the music world. Peter Green's contribution has been considerable and it's still influencing musicians up and coming and discovering. It's an enduring legacy, and will be for a long, long time.

Blessings.
Badger - Live In Italy - 1973 - Past Daily Backstage Pass Dave Foster of Badger - A band with all the earmarks of greatness.



Badger - In Concert at Palazzo delle Esposizioni E.I.B., Brescia, Italy - February 21, 1973 - RAI - Rome -

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Badger in concert this weekend. One of those bands that came and went in a flash. Had all the earmarks of becoming a household name. Recorded two albums; one for Atlantic and the other for Columbia - neither sold well - toured. Saw them at The Forum in Los Angeles, opening for a band I forgot. Called it quits after a little under two years. Left precious little in the way of other live performances, aside from the debut album, which was One Live Badger and left a legacy rich in what-ifs.

They were co-founded by keyboardist Tony Kaye after he left Yes, with bassist and vocalist David Foster. The latter had been in the Warriors with Jon Anderson before he co-founded Yes. Foster later worked with the band on their second album Time and a Word (1970). Kaye had worked on a solo project by Foster that was never released.

The pair found drummer Roy Dyke, formerly of Ashton, Gardner and Dyke, and Dyke suggested guitarist and vocalist Brian Parrish formerly of Parrish & Gurvitz which later became Frampton's Camel (after Parrish left P) on guitar. The new band began rehearsing in September 1972 and signed to Atlantic Records. Badger's first release was the live album, One Live Badger, co-produced by Jon Anderson and Geoffrey Haslam, and was taken from a show opening for Yes at London's Rainbow Theatre. In the progressive rock genre, five of the songs were co-written by the whole band, with a sixth by Parrish (initially written for Parrish & Gurvitz). The cover art was done by Roger Dean, the artist responsible for many of Yes's album covers, although Kaye left Yes before their partnership with Roger Dean.

By 1974, the band had been reduced to Kaye and Dyke. They recruited bassist, Kim Gardner, who had worked with Dyke in Ashton, Gardner and Dyke. Paul Pilnick, formerly of Stealers Wheel, joined on guitar, as did singer Jackie Lomax.

Lomax proceeded to turn them into the type of R/soul band he had used on his solo albums. The band became a vehicle for Lomax's songs and singing. During this period, they released one LP, White Lady, on Epic Records, produced by Allen Toussaint. All ten songs were written or co-written by Lomax. Guests on the album included Jeff Beck (contributing a guitar solo to the title track).

However, before the album's release, the group had split up before White Lady was even issued, leaving bewildered fans of both the old sound and new to ponder what had just happened.

For a reminder of Badger during their formative phase, here they are in concert recorded for the Radio Network RAI in 1973.

Tony Kaye of Badger - after the split, formed the equally short-lived Flash.
Suzi Quatro - In Concert At The Fabulous Forum, L.A. -1975 - Past Daily Backstage Pass Suzi Quatro. A lot of girls tried to be Suzi - but there was only ONE Suzi.




Suzi Quatro - In Concert at The Fabulous Forum - June 17, 1975 - a JEMS master -


Diving into some 70s Glam with the inimitable Suzi Quatro this weekend. Live at the Fabulous Forum in Inglewood and recorded on June 17, 1975.

Suzi Quatro had achieved mania in England and Europe in the early 70's. The product of the brilliant songwriting/production team of Chinn and Chapman (the team who gave the world the early Sweet, Gary Glitter, Hot Chocolate and Bay City Rollers and tons of others) and the guidance of the legendary Mickie Most. However, the U.S. was elusive. Could have been her label (Bell Records, who had enough to deal with, having David Cassidy on the label) or maybe the overt sexiness of a leather-clad bass player, with songs like "Your Mama Won't Life Me" and "Can The Can" running headlong into the record stores and on the magazine covers of America riled up the mainstream. Who knows? It did make a huge impression on young women who were looking for a little more as rock musicians than being either Joni Mitchell or Janis Joplin wannabes. If memory serves, when Suzi Quatro hit the record stores, the flood of all-female bands started to gather steam; The Runaways were one of the breakthrough bands around this time, fronted by Cherie Curie and Joan Jett as well as Girlschool and Suzi also made a huge impression on a young Chrissie Hynde. But this was a movement that took some time to get rolling. Suzi was the first though - and she will forever be known to a lot of people as Leather Tuscadero in a recurring role in the TV sitcom Happy Days.

This concert was part of a 1975 tour promoting her latest single "Your Mama Won't Like Me" which was a moderate hit in the UK but didn't chart at all in the U.S. - she opened for Alice Cooper.

In case you missed her the first time around, or just saw her documentary Suzi Q and want to hear more - go no further, at least for now. Crank it up and have a listen.
Derek And The Dominos - Live At Fillmore East - 2nd Night - 1970 - Past Daily Backstage Pass Derek & The Dominos - Layla was met with wild indifference at first.



Derek And The Dominos - Live At Fillmore East - 2nd Night - October 24, 1970 - Jim Moody Collection -



Derek And The Dominos this weekend - recorded live at Fillmore East, the second of two nights, on October 24, 1970.

Clapton fans know this concert, most likely both nights, by heart. Milestone performances by a band, only together for a very short period of time, not all that well received commercially at first, but have gone on to become one of the legendary periods of Rock history.

Derek and the Dominos formed in the spring of 1970 by guitarist and singer Eric Clapton, keyboardist and singer Bobby Whitlock, bassist Carl Radle and drummer Jim Gordon. All four members had previously played together in Delaney & Bonnie and Friends, during and after Clapton's brief tenure with Blind Faith. Dave Mason supplied additional lead guitar on early studio sessions and played at their first live gig. Another participant at their first session as a band was George Harrison, the recording for whose album All Things Must Pass marked the formation of Derek and the Dominos.

The band released only one studio album, Layla and Other Assorted Love Songs, produced by Tom Dowd, which also featured extensive contributions on lead and slide guitar from Duane Allman. A double album, Layla did not immediately enjoy strong sales or receive widespread radio airplay, but went on to earn critical acclaim. Although released in 1970 it was not until March 1972 that the album's single "Layla" (a tale of unrequited love inspired by Clapton's infatuation with his friend Harrison's wife, Pattie Boyd) made the top ten in both the United States and the United Kingdom. The album is often considered to be the defining achievement of Clapton's career.

Layla and Other Assorted Love Songs was issued in November 1970. According to Shapiro, relative to the band and Dowd's high expectations, it was a "critical and commercial flop". Clapton similarly describes Layla as having "died a death" on release. Although it received favorable reviews in Rolling Stone and The Village Voice, the album missed the top ten in the United States and failed to chart at all in the United Kingdom, until a reissue on CD resulted in a one-week stay at number 68 in 2011. It garnered little attention, partly as a result of a lack of promotion by Polydor, and partly due to the public's ignorance of Clapton's presence in the band. Dowd said that he "felt it was the best album I'd been involved with since The Genius of Ray Charles" and was disappointed at the lack of acclaim it initially received.

"Layla" was included on The History of Eric Clapton in 1972, and Atlantic issued the song as a single in July that year. It became a hit, reaching number 10 in America and number 7 in Britain. The success of the title track in 1972 led to a reappraisal of Layla and Other Assorted Love Songs. It has since received widespread critical acclaim and has been ranked among the best albums of all time by VH1 (at number 89). and Rolling Stone (number 115). Layla is considered one of Clapton's most outstanding achievements.

If you haven't heard this concert in a while, grab a seat and get comfy. A little history is always good to have around.
It's 1968 - You're A Teenager - You Live In The Bay Area - You're A Percy Faith Fan And You Don't Care Who Knows It Has already seen Sergio Mendes and Brasil '66 live, twice!




KNBR-AM/FM - August 9, 1968 - Gordon Skene Sound Collection -


Not everybody you went to school with liked Rock. There were some who were Classical fanatics who would pretend to be sick whenever you mentioned The Rolling Stones. There were others who never quite left 1963 and were still singing Tom Dooley during lunch. But there were those others who were really not made for the times and who somehow wound up getting their musical signals scrambled. Those were the guys who hated Top-40, never caught on to Folk, didn't like Classical either, but knew every Percy Faith record by heart. They were seriously into Roger Williams and confessed to having accidentally dialed KYA when they played a Sergio Mendes record from time to time and loudly complained about it.

The strange part is; looking at them, you'd swear they had at least one Beatles album in their collection, or had seen The Grateful Dead at least once. You live in San Francisco, for god's sake - you can't walk down the street without hearing White Bird or Pride Of Man coming out of a passing car or over a storefront speaker.

No - never heard them. Don't know who Quicksilver Messenger Service are - don't care. They're 17 and have the musical taste of 30 year olds. But in that vast tent of music and Popular Culture, there was plenty of room for everyone - and even the ones who liked, what was sneeringly called "elevator music" at times, that had fans too. Lots of them.

And maybe radio stations like KNBR in San Francisco, or KMPC in L.A. played, maybe not really elevator music, but played music that wasn't too outrageous, or beat-laden and was decidedly softer in tone while still trying to be hip and groovy had legions of fans because of it.

You probably didn't spend a whole lot of time listening to what was eventually called Middle Of The Road but if you did, more than a few of these songs will ring bells, and most likely haven't been heard in the over 50 years since they first hit the airwaves. This was 1968 and stories about the upcoming Republican Convention pop up as do lots of cigarette commercials. We smoked a lot back then - everybody did.

Everything was up in the air at the time - it was all looking for a home. No matter how unlikely the recipient was.

You can like Roger Williams now - and you can show everyone your Percy Faith albums.
It's February 1969 - You're A Teenager - You Live In L.A. - You Have The Dreaded Hong-Kong Flu - Charlie Tuna Is Your Nurse. The Dreaded Hong Kong Flu - Throwing up things you ate when you were five.



KHJ - Charlie Tuna - February 23, 1969 - Gordon Skene Sound Collection -


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If you were a teenager and lived in L.A. and it was anywhere from late November 1968 to March 1969, chances were you had the flu. Not just any flu, but the dreaded Hong Kong flu. It started off as a splitting headache - the kind of headache no quantity of aspirin or Excedrin on earth could fix. And then you got the shakes - followed by the sweats - somewhere in between, your temperature shoots up and you're hallucinating. If you had "those" kinds of parents, they asked you if you were "on anything", thinking no one could act this bad this suddenly and not be having some sort of drug overdose. Your entire vocabulary is confined to grunts and groans.

And then . . .that sudden, unexplainable dilemma; whether to throw up everything you've eaten since you were five or shit your brains out. Either way, it's going to be a mess and the idea of lying in a bathtub with running water seems appealing. You want to go to the hospital, but your mom doesn't believe in doctors - and your dad can't afford to take off work, so he retreats to the living room and watches TV, hoping he doesn't catch it, whatever it is.

Unfortunately for you, the purge your body is going through lasts for days, but at least your body is in sync. First barfing and then the runs. You try to sleep and you have nothing but one bizarre dream after the next - usually ending with that all-too-familiar groan coming up from your soul and on to the porcelain.

And keeping you company, providing the musical background to your sensory tsunami is the radio, the one sitting on your nightstand - the one dialed to KHJ, quietly and happily churning out tunes and frothy banter, while you lie there and listen - and sweat - and shake - and feel that bubbling sensation in your stomach and wait for the next alarm to stagger out of bed and pray you make it to the toilet in one piece this time.

At least there was radio, so it wasn't completely hopeless.

And perhaps you remember what it was like, and what it sounded like, listening to KHJ and Charlie Tuna on February 23, 1969. Or maybe you were just lucky and missed it.

Next time.
Tom Petty & The Heartbreakers - In Session - 1977 - Past Daily Soundbooth Tom Petty & The Heartbreakers - Became huge in the UK before they got noticed back home. Figures.



Tom Petty & The Heartbreakers - Live at Capitol Records Studios - November 11, 1977 - KWST-FM broadcast - Gordon Skene Sound Collection -

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Tom Petty & The Heartbreakers recorded and broadcast live from Capitol Records Studio A on November 11, 1977 and broadcast by KWST-FM.

In 1976, Petty, with himself as lead vocalist and guitarist, formed "Tom Petty and the Heartbreakers" with Mike Campbell (lead guitarist), Ron Blair (bass), Stan Lynch (drums), and Benmont Tench (keyboards). The Heartbreakers began their recording career with a self-titled album, released through the Shelter label. Initially, the Heartbreakers did not gain much traction in the U.S., although they achieved success in the U.K. playing "Anything That's Rock 'n' Roll" on Top of the Pops. Early singles included "Breakdown" and "American Girl". Recalling the band's first gig in the UK in 1976, Petty states, "The audience just jumped up and charged the stage and were boogieing their brains out. It was such a rush. Wow, we had never seen anything like that, man." "Breakdown" was re-released in the U.S. and became a Top 40 hit in 1978, after word filtered back of the band's massive success in the UK, and perhaps more importantly after it featured on the extremely popular soundtrack to the 1978 film, FM. "American Girl" was covered in 1977 by Roger McGuinn on his "Thunderbyrd" LP.

Tom Petty and the Heartbreakers' second album, You're Gonna Get It! (1978), was their first gold record, and featured the singles "I Need to Know" and "Listen To Her Heart". In 1979, the band was dragged into a legal dispute when ABC Records, Shelter's distributor, was sold to MCA Records. Petty refused to be transferred to another record label and held fast to his principles, which led to his filing for bankruptcy as a tactic against MCA.

In 1979, after their legal dispute was settled, the Heartbreakers released their third album Damn the Torpedoes through MCA's Backstreet label. The album rapidly went platinum. It included "Don't Do Me Like That" (#10 U.S., the group's first Top Ten single) and "Refugee" (#15 U.S.), their U.S. breakthrough singles.

As a reminder of what the original lineup sounded like, during those formative days, here is their live gig at Capitol Records in Hollywood - you can crank this one up if you want.

I would, if I were you.
It's Summer 1979 - You're A Teenager - You're In L.A. - Tomorrow You Won't Remember A Thing. Past Daily Weekend Pop Chronicles "It's Bugler . . .honest"



KMET - Cynthia Fox - August 13, 1979 - Gordon Skene Sound Collection -

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The weekend. Same in 1979 as just about any year. Heading on a crash-course to the heart of Saturday Night. It's out there, and you're determined to find it. The object, of course, is to get as wrecked-up as possible and try to remember what you did the next morning.

Never works. You've been in weird places and you've had boring times and you've had strange times. And sometimes your friends tell you how amazing you were and other times they look at you like you've murdered an entire family. You wonder about that.

But you're a party animal - anyplace there's more than four people is a party in your book, 'cause all you want are good times and you can't do that on your own. And you don't really care how screwed up you get because you can't drive. So the chances of you driving into a wall or a sitting bus are pretty nil. You keep threatening to get your license though, and your friends are getting tired of dragging you around and out of bars where your fake i.d. doesn't work. Mostly they worry about you - and that's nice. You worry about you too, but for different reasons. You wonder if there's going to be Saturday night when you graduate high school. That's next year, and the 80s promise to be just as strange.
And while you're wondering what's in store for the 80s, the 70's are still on overdrive and KMET is holding down the fort. But KROQ is rapidly gaining on them. The music's different; more Punk and new-Wave - less Pop. KMET is still hanging on to Hard Rock, still spending a lot of time in the 60s. The audience is older or hasn't warmed up to The Clash just yet. Everything is up in the air - just like the 80s were. And so goes another installment of the Pop Chronicles.

Here is an hour's worth of Cynthia Fox from KMET as she was on August 13, 1979.

Crank it up and travel back for the next 60 minutes.
ZZ Top - In Concert From Essen, Germany - 1980 - Past Daily Soundbooth ZZ Top - A dose of Americana to end the weekend.



ZZ Top - In Concert from Essen, Germany - April 19, 1980 - WDR -

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Ending up the weekend with ZZ Top, playing their first concert in Europe, at the Grugahalle in Essen, Germany on April 19 by West German Radio/TV.

ZZ Top formed in 1969 in Houston, Texas. The band has, since 1970, consisted of vocalist/guitarist Billy Gibbons (the band's leader, main lyricist and musical arranger), bassist/vocalist Dusty Hill, and drummer Frank Beard. "As genuine roots musicians, they have few peers", according to critic Michael "Cub" Koda. "Gibbons is one of America's finest blues guitarists working in the arena rock idiom while Hill and Beard provide the ultimate rhythm section support."

The band released its debut album, ZZ Top's First Album, in 1971. Beginning with blues-inspired rock, the trio later incorporated new wave, punk rock and dance-rock by using synthesizers. Their songs have a reputation for containing humorous lyrics laced with double entendres and innuendos.

The band's top-selling album is their 1983 release Eliminator, which sold more than 10 million copies in the United States. Total record sales of 25 million place ZZ Top among the top-100-selling artists in the United States, according to the Recording Industry Association of America. That includes eleven gold, seven platinum and three multi-platinum albums as of 2016, according to the RIAA. By 2014, ZZ Top had sold more than 50 million albums worldwide.

ZZ Top was inducted into the Rock and Roll Hall of Fame in 2004.

In addition to recording and performing concerts, ZZ Top has also been involved with films and television. In 1990, the group appeared as the "band at the party" in the film Back to the Future Part III and played the "Three Men in a Tub" in the movie Mother Goose Rock 'n' Rhyme. ZZ Top made further appearances, including the "Gumby with a Pokey" episode of Two and a Half Men in 2010 and the "Hank Gets Dusted" episode of King of the Hill in 2007. The band also guest hosted an episode of WWE Raw. Billy Gibbons also had a recurring role as the father of Angela Montenegro in the television show Bones; though the character is never named, it is strongly implied that Gibbons is playing himself. Their song "Sharp Dressed Man" was one of the theme songs used for the television show Duck Dynasty, and on the series finale of the show they appeared with Si Robertson as a vocalist to perform the song on stage during Robertson's retirement party. Black Dahlia Films, led by Jamie Burton Chamberlin, of Seattle and Los Angeles, has contributed documentaries and back line screen work (the footage on back screens during live shows) and has become an integral part of the band's film-making. ZZ Top made a guest appearance in the episode "Sweet Dreams" (Season 3 Episode 8) of the television show St. Elsewhere on November 14, 1984. While the band appears in Luther's dream, once Luther wakes he finds the "Z" keychain in the lock of the door to the room he was sleeping in.

But let's head back to 1980 and have a listen to what they were up to in Germany for the first time.

Crank it up.
It's March 1959 - You're A Teenager - You Live In New York - Your Parents Bought You A Tape Recorder For Christmas - They Are Regretting It. You and Your First Tape Recorder - Your friends wish you had a longer attention span though.


New York AM Radio Dial Hopping - March, 1959 - Gordon Skene Sound Collection -


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You finally got it. After months of hounding, hinting and placing copies of magazines with Webcor ads all around your apartment, your parents finally broke down and got you a tape recorder for Christmas. Two Speeds - you can record on both sides of tape and you can record for a whole hour on each side. Which is good, because you only got one reel of tape and it's up to you to get more. You don't have it quite down yet. You only have so much time on a tape before it runs out, so you can't exactly record whole songs, or even much of your favorite disc-jockey. But you don't care - you take your tape recorder everywhere - every time Alan Freed announces a new song, you hit the record button. And if you like it, you keep it - if you don't, you can erase it - most of the time you miss the names of the songs because you're either late hitting the record button, or busy erasing the song after.

Still, you're thrilled and you're thinking of all the money you're saving not buying 45s anymore. Your friends aren't so thrilled, because you're cutting off the beginnings and endings and no one knows what the name of the song is or who's singing it. Your parents aren't thrilled because you play the same tape over and over for days on end and its getting on their nerves.

But you're just getting started.



Here is an hour's worth (give or take) of various DJ's on New York Stations from around March of 1959. Alan Freed figures in there a lot, and a lot of the songs are totally unfamiliar. And, like most kids with tape recorders (and there were a lot, since this was new technology in the 1950s) tapes were a precious commodity and you had to make them last as for as long as you could. So this hour, like a lot of hours, is jumpy and somewhat schizo, but the history contained on these tapes, however disjointed, is invaluable. You'll also notice the sheer makeup of music genres being played during the average show is wildly all over the map. Further evidence early top-40 radio was a lot more eclectic than we imagined.

Anyway - apologies for the fits and starts and chopped beginnings and endings. If I could go back in time I would tell the kid to knock it off and buy him case of tape just to quit it. But no . . .can't do that quite yet.

Enjoy anyway.
Little Feat - Live In Boston - 1988 - RIP: Paul Barrere (1948-2019) - Past Daily Weekend Concert Tribute Edition Paul Barrere - when they ask you to name the quintessential American Rock Band, Little Feat comes to mind first, and always will.



Little Feat - In Concert From Boston - WBCN-FM - October 14, 1988 - Gordon Skene Sound Collection -

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Paul Barrere is gone. He left earlier today. The announcement was made via Little Feat's website:
It is with great sorrow that Little Feat must announce the passing of our brother guitarist, Paul Barrere, this morning at UCLA Hospital. We ask for your kindest thoughts and best wishes to go out especially to his widow Pam and children Gabriel, Genevieve, and Gillian, and to all the fans who were his extended family.Paul auditioned for Little Feat as a bassist when it was first being put together—in his words, “as a bassist I make an excellent guitarist”—and three years later joined the band in his proper role on guitar. Forty-seven years later, he was forced to miss the current tour, which will end tomorrow, due to side effects from his ongoing treatment for liver disease.He promised to follow his doctor’s orders, get back in shape, and rock on the beach at the band’s annual gathering in Jamaica in January 2020. “Until then,” he wrote, “keep your sailin’ shoes close by…if I have my way, you’re going to need them!”As the song he sang so many times put it, he was always “Willin’,” but it was not meant to be. Paul, sail on to the next place in your journey with our abiding love for a life always dedicated to the muse and the music. We are grateful for the time we have shared.Yours in music,Little Feat: Bill Payne, Sam Clayton, Fred Tackett, Kenny Gradney, and Gabe Ford.

As way of tribute and a loving reminder of just how pivotal a band Little Feat were, and how they continue to evoke that eternal spirit of everything that Rock has stood for over the decades, here is a two hour concert, recorded in Boston and broadcast live over WBCN-FM on October 14, 1988 - complete and electric -just the way Paul Barrere will always be remembered. How fortunate we were to have seen them almost from the beginning and how they consistently brought the message home of how truly special they were and will always be.

The music will live on - crank it up and hoist a few (alcohol optional).
Gloria Mann - The Jayhawks - The Three Chuckles - Sam "The Man" Taylor - Alan Freed - 1956 - Past Daily Weekend Pop Chronicles The Jayhawks - Back in the day when a group could record under several different names and nobody could tell.


Gloria Mann, The Jayhawks, The Three Chuckles, Sam "The Man" Taylor - Alan Freed's Camel Rock N' Roll Dance Party - July 31, 1956 - Gordon Skene Sound Collection -

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Another installment of the short-lived, but very important network rock n' roll radio show, The Camel Rock N'Roll Dance Party featuring Alan Freed.

Early on, the show featured Count Basie as house band, but as time went on, Sam "The Man" Taylor took over for the rest of the run of the series.

Unless you're a devotee of early Rock n' Roll and R, almost none of the names will ring any bells to you, but these were artists who were popular at the time, with records on the charts and a goodly degree of success, despite Rock n'Roll being somewhat frowned upon by conventional mainstream media and the resistant music business.

Gloria Mann was an American pop singer born in Philadelphia, Pennsylvania. She scored two hits on the U.S. Billboard Hot 100 in 1955. The first was a cover version of "Earth Angel", which reached number 18. Later that year, "A Teenage Prayer" peaked at number 19; this featured Sid Bass leading the backing orchestra. Both were released on Sound Records. She died in 2001.

A group recording under several names, The Jayhawks were best known for the 1956 novelty hit, "Stranded In The Jungle"). Later known as The Vibrations' best known songs include the dance hit "The Watusi" (1961) and "My Girl Sloopy" (1964). This group also had another hit song, "Peanut Butter" (1961), which they recorded as the Marathons.

Although designated rock & roll by contemporary observers, the sound of The Three Chuckles is closer to vocal pop, in hindsight. They formed around 1950, naming themselves after a popular candy of the day, and played East Coast establishments. Original accordionist/keyboardist Phil Benti left the group in the mid-1950s and was replaced with Teddy Randazzo, then a teenager. In 1954, they recorded a song called "Runaround", written by a truck driver named Cirino Colacrai, and released it on Boulevard Records as the B-side to "At Last You Understand". The single was picked up for national distribution by RCA Victor, and "Runaround" became a hit, peaking at #20 on the U.S. national charts.

This episode was first broadcast by CBS Radio on July 31, 1956.

And as always, everything is left in as broadcast - that includes periodic Camel Cigarette commercials - it's what people did in 1956.

Enjoy.
It's January 1966 - You Live In L.A. - You're A Teenager - You Just Found Out Your Favorite Beatle Got Married Today. . . .and George was your favorite Beatle too . . .



KFWB - Reb Foster Show - January 21, 1966 - Ellis Feaster Collection -

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It's January 21, 1966 - months to go before the next vacation. Classes seem to go on forever. You miss Summer. You hate the rain - you don't like the cold - but you REALLY don't like the news that Beatle George Harrison was getting married this day. You found out because Reb Foster at KFWB told you. Tragedy - he was your favorite Beatle too. The Quiet One. Who is this Patty Boyd? Of course you know; you've been reading about it for months, everybody knows. But you were hoping . . .

Life is jammed full of rude awakenings - no sure things, everything changes, nothing stays the same. Happy one day - miserable the next. You're a simmering vat of feelings. Nobody understands you, but everybody is like you. You think your clothes don't fit - you wish you could change your hair - you hate that it's dark. Maybe you'll dye it blonde this summer. You're going to live at the beach - you have to lose weight. You have to stop eating. Well . . .maybe stop eating dinner - and lunch. But those Hostess Snowballs . . .You HAD to have a sweet tooth, didn't you? What side of your family had the sweet tooth? Nobody on your mom's side is fat, but your Uncle Harley on your dad's side . . .he drinks too much and smokes a lot. You heard if you started smoking it would kill your appetite. You haven't figured out what inhaling is all about - maybe you'll just buy a pack of cigarettes and not inhale. But you don't like smelling like cigarettes, especially when it gets on your clothes and stays there. George got married today. Maybe if you just stopped eating altogether . . . .
And for a taste of what January 21, 1966 sounded like and what Reb Foster was doing at KFWB - hit the play button and go time-traveling. It's a good weekend to do it.
The Penguins - Dori Anne Grey - Count Basie - Alan Freed - Camel Rock n' Roll Dance Party - 1956 - Past Daily Weekend Pop Chronicles The Penguins (with Johnny Otis, center) - Maybe one-hit wonders, but oh, what a hit.











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Rock n' Roll history this weekend, in the form of Alan Freed's Camel Rock n' Roll Dance Party from CBS Radio on June 9,1956. One of network radio's few forays into the early days of Rock n' Roll, and one that didn't last particularly long, since Top-40 radio was on the horizon and quickly grabbing, not only the attention, but the audience as well.

On this particular episode from June 9, 1956, the house band is Count Basie with their singer Joe Williams, who add the Jazz/Big-Band/Jump-Blues component to the proceedings. They are joined by The Penguins, who had scored a massive hit with Earth Angel and became one of the pivotal groups in the Doo-Wop era, even though they never had a hit after that. Also on the program is singer Dori Anne Grey who fell somewhere into Pop and who had several singles on Mercury and one album released the following year - none of which were hits.

Even though CBS Radio was blazing a trail with this new form of Popular Music; Rock n' Roll, there was still hesitation to completely dive into it. So subsequently the only Rock n' Roll entry into this show was The Penguins. Had CBS been in earnest over this endeavor, they would have packed the acts in like one of Alan Freed's live shows. But they were wary, having heard from a number of pundits that Rock n' Roll was a passing fad and that it would be a dead issue in 6 months or less. The Youth Market wasn't the potent entity it later became as the Baby Boom generation.

But it's interesting to get a taste of just what the climate was like for Rock n' Roll to gain popularity in the 1950s. It didn't happen overnight, and even though Alan Freed's career would be scorched and over with the payola scandal a few years later, he still did a lot to further the cause of this new music on as big a platform as he could grab. TV would follow months later with American Bandstand. Whether one had influence over the other in the eyes of network brass is something for speculation - the important point was that, for all the talk of the temporary nature of Rock n' Roll, it was very much going to be here to stay.

Here' a sample of what Alan Freed was doing in June of 1956.
Keef Hartley Band - In Concert - 1970 - Past Daily Downbeat Keef Hartley - Inexplicably left out of everything having to do with Woodstock.




Keef Hartley (Big) Band In Concert - John Peel's Sunday Concert - November 22, 1970 - BBC Radio 1 -

Keef Hartley in concert this week. An artist and a band who would have become household names had their manager not insisted on being paid upfront to be filmed or recorded during the Woodstock festival in 1969. Although he already had a reputation and a following in the UK (via John Mayall's Bluesbreakers and going back as far as The Artwoods) he was an almost total unknown here in the States - and FM Radio would have bent over backwards to put anything Hartley did on heavy rotation. Hartley was played on Underground FM a lot during the early 70s - but not to the extent he would have been had he been part of the Woodstock lineup that became part of the film and the soundtrack album.

Like Mick Abrahams last night, Keef Hartley had a very solid reputation and serious fanbase throughout his career (which ended sadly in 2011). And also like Abrahams, he was a backbone to genre in general. An extraordinary drummer, Hartley's keen musical sense put him collaborating with a vast array of talent during those earlier years, and turning out a number of highly polished and engaging albums.

Aside from the Woodstock appearance, I am trying to remember if Keef Hartley toured the U.S. with any regularity or only toured here once, but his live material is exceptional and easily showcases the major artist he was.

If you're not familiar with Keef Hartley, or have only heard vague references to him in recent years, you might want to check this Sunday Peel Concert episode from November of 1970 as a way of getting exposed and hopefully interested enough to explore deeper through his 16+ albums representing much of his career. A lot of great material and a considerable amount to learn from. Keef Hartley had a unique and important voice - just because he's not on everyone's top-ten list doesn't mean he should be obscure - some of the best things in life are overlooked. Music is not immune.

Crank it up and have a listen.

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The Who In Session - 1965-1966 - Happy Birthday Keith Moon (August 23, 1946) - Past Daily Soundbooth Keith Moon - backbone of The Who - August 23, 1946.(photo: Getty Images)



The Who In Session - 1965-1966 - BBC Light Programme - BBC Radio -

The Who in session from 1965-1966 tonight. In case you missed it, today was drummer Keith Moon's Birthday - he would have been 73 this year. But fate had different plans and the legendary Keith Moon passed from the scene back in 1978. A tragic and gut-wrenching day. One of the greatest drummers and one of the most fiercely individual players in Rock Music, Keith Moon really was the heart, soul and metronome of The Who - a role that has never been bested since his passing, I don't think its any secret that when Keith Moon died of a drug overdose on September 7, 1978, a integral piece of Rock music history went along with him. And, to be dead honest, were never the same after that.

Moon grew up in Alperton, a suburb of Wembley, in Middlesex, and took up the drums during the early 1960s. After playing with a local band, the Beachcombers, he joined the Who in 1964 before they recorded their first single. Moon remained with the band during their rise to fame, and was quickly recognized for his drumming style, which emphasized tom-toms, cymbal crashes, and drum fills. Throughout Moon's tenure with the Who his drum kit steadily grew in size, and along with Ginger Baker, Moon has been credited as one of the earliest rock drummers to regularly employ double bass drums in his setup. He occasionally collaborated with other musicians and later appeared in films, but considered playing in the Who his primary occupation and remained a member of the band until his death. In addition to his talent as a drummer, however, Moon developed a reputation for smashing his kit on stage and destroying hotel rooms on tour. He was fascinated by blowing up toilets with cherry bombs or dynamite, and by destroying television sets. Moon enjoyed touring and socializing, and became bored and restless when the Who were inactive. His 21st birthday party in Flint, Michigan, has been cited as a notorious example of decadent behavior by rock groups.

Moon suffered a number of setbacks during the 1970s, most notably the accidental death of chauffeur Neil Boland and the breakdown of his marriage. He became addicted to alcohol, particularly brandy and champagne, and acquired a reputation for decadence and dark humor; his nickname was "Moon the Loon". After moving to Los Angeles with personal assistant Peter "Dougal" Butler during the mid-1970s, Moon recorded his only solo album, the poorly received Two Sides of the Moon. While touring with the Who, on several occasions he passed out on stage and was hospitalized. By their final tour with him in 1976, and particularly during production of The Kids Are Alright and Who Are You, the drummer's deterioration was evident.

For a reminder of Keith Moon with The Who during an earlier period - here is a sampling of their BBC sessions, recorded between 1965 and 1966.

Play loud; very loud.

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It's 1979 - You Live In L.A. - The Decade Is Almost Over - You Are Not Amused. 1979 - That creeping cynicism - that strange nostalgia.



KRTH-Los Angeles - October 1979 - London Engelman Show - Rob Frankel Collection -

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Uh-oh - you're getting to that point where you're starting to miss things. Some people call it nostalgia. You just wonder where it all went. The 70s were your decade - even though you were born in the 60s, you don't remember too much further than ten years ago. You remember when life was simple - you and your bike, you and your skateboard, you and your buddies, you and your good times. It's all strange now - things look different. People look different. People laugh at things you don't think are funny - you laugh at things and people look at you like you're going to explode. You're not on the same wavelength - like you're from a different planet and it all happened while you were asleep. Maybe you're the one who's normal and it all happened to them while they were asleep. You saw Invasion Of The Body Snatchers, you know it could happen. So maybe you're the weird one? That's something you hadn't thought about. Maybe everybody else is normal and somebody put the pod in your room when you were asleep. That might explain a lot. Doesn't explain why you all of a sudden feel nostalgic over Disco. You tried wearing a Polyester shirt once, and those platform shoes almost broke your ankles - you're one of the few people on the planet who actually didn't go around snorting coke - but that was high school - all your friends smoked dope anyway, you couldn't afford Philadelphia Marching Powder. But if you could . . .
Just to refresh your memory and to offer you a slice of what "oldies stations" were up to in 1979, heading to the end of a decade, here's a 45 minute snapshot of London Engelman from K-Earth 101, originally broadcast in October of 1979 and courtesy of the Rob Frankel Collection who gets a big hat-tip and thanks for the great sounds!

Hit the play button and fall back in time for a few.
Dr. John - Mardis Gras 1975 - (RIP: Dr. John - 1941-2019) - Past Daily Soundbooth: Tribute Edition Dr. John - aka: Mac Rebennack - the heart and soul of New Orleans




Dr. John Live at Mardi Gras 1975 - including a Barq's Rootbeer Commercial - Gordon Skene Sound Collection -
Dr. John - the inimitable Mac Rebennack, the very heart and soul of New Orleans, is gone.

This has turned into one horrific year for loss - I don't mind saying it, because it's true. Dr. John was such a moving and vibrant spirit and such a grand figure in the New Orleans music scene that his loss is very heavy indeed.

Some background and a few of the many words of praise via Dr. John's website:
Dr. John The Gris Gris Krewe New Orleans Jazz Fest Raves
The first stop was the Acura Stage and Dr. John. That green suit… that hat… that long dread ponytail…Cool, understated, and totally captivating, with that unmistakable growly voice. The crowd was full of grinning faces when he started into “Right Place, Wrong Time.”
- Offbeat Magazine

“A green suit-clad Dr. John (Mac Rebbenack) settled in at the Acura Stage with his star-stuffed band of New Orleans musicians. With Herlin Riley on drums and Roland Guerin on bass, the grooves on classics like “I Walk on Guilded Splinters,” “Right Place Wrong Time” and “Such a Night” were loose and funky, giving Rebennack plenty of room to stretch out on piano and keyboards beneath his husky growls and incantations … Though Rebbenack, 76, moved from piano to keyboard with the help of two carved wooden canes, he sounded strong.”
- Gambit Weekly

“Dr. John, fronting a revamped and much-improved band of New Orleanians that included drummer Herlin Riley, bassist Roland Guerin, guitarist Eric Struthers and guest saxophonist Charles Neville, followed an epic “Big Chief” with his salacious “Such a Night.” He then strutted offstage, grinning, surround by a trio of scantily clad young ladies."
- New Orleans Advocate

Dr. John kicked off his set with Danse Kalinda, and his trio of dancers did just that. Charles Neville returned home to play soaring sax solos with Dr. John’s band The Gris Gris Krewe. Throughout the set the crowd grew. Having played just before the rain last year and just after the rain this year, Twitter fans theorized that Dr. John had some sort of voodoo control over the weather.”
- Huffington Post
We lost somebody - and we lost somebody who was pivotal. For a reminder, here is his concert (most of it) at Mardi Gras 1975, with an added attraction of Dr. John's own version of the Barq's Rootbeer commercial (A NOLA favorite).

RIP - what an amazing ride.

Don't forget:
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Georgie Fame And The Rolling Stones - On The Air - 1964 - Past Daily Soundbooth The Rolling Stones - Gimme Shelter was light years away.(Getty Images)

Georgie Fame - Further evidence the UK was a hotbed of talent in 1964.(Getty Images)




Georgie Fame And The Blue Flames - The Rolling Stones - Live At The Camden Theatre - March 19, 1964 - Rhythm & Blues programme - BBC Radio 1 -

Georgie Fame (And The Blue Flames) along with The Rolling Stones in this special broadcast from The BBC on March 19, 1964 - Recorded live at The Camden Theatre as part of the Rhythm & Blues programme from BBC Radio 1.

This was part of a series of recordings unearthed in The BBC's vaults some years back - not only is it hugely important that it existed in the first place, but even better that the sound is pristine. So much material from The BBC has been destroyed over the years that it's been incumbent upon the collectors, those stalwart geeks armed with reel to reel tape recorders and either microphones strung up in front of speakers or the technical expertise to suss out an output from the radio that escaped the possibilities of neighbors screaming in the distance or chatty siblings, or some forward thinking engineer who had the wherewithal to stash tapes in their briefcase, to preserve at least as much as possible. Bear in mind that it was deemed illegal to record the BBC off the air, even though it was done - apparently much more than was initially thought, so the presence of some of these early recordings is considered a miracle to have survived. So to find a stash of these recordings sitting in the BBC Vault was newsworthy and this performance (at least The Rolling Stones portion) has been issued commercially in recent years.

But this one is the re-broadcast from 2010 by BBC 6 Music, as it happened and in glorious stereo.

Georgie Fame may not ring bells with many present day collectors, even though his importance in the grand scheme of things cannot be overlooked - that he is still gigging and recording offers proof that he was, and is an institution - and you need to know about him if you already don't. The Rolling Stones, during this period - just as they were causing mass hysteria in the States, gives glowing proof just how charismatic and compelling this band was during their formative period. This was the period where Brian Jones was pretty much steering the ship and it's an image of The Rolling Stones that is considerably different than they are now. There are those people - audience and critics alike, who break the career of The Rolling Stones into two categories; Brian Jones Period Stones and Post-Brian Jones Period Stones. They are, to many of us, poles apart in style and substance. But you wonder, had Brian Jones lived and not been kicked out of the Stones, would they be where they are now? Hard to tell, and you can also go crazy playing the "what-ifs" game.

Suffice to say, these are two groups who have made important and long-lasting contributions to Rock, whose early endeavors are of vital importance, and it's further evidence that preserving history is crucial, especially where music and art are concerned. These are the touchstones - the pieces of the puzzle we learn from. Hearing them in a live context, without the luxury of false-starts and repeated takes, along with that extra element of energy, of nervous tension, makes this all that much more important to sit down and listen to. There's a lot to be gotten from the next 30 minutes.

Start now and crank it up.
Midnight Oil - Live At Glastonbury 1993 - Past Daily Backstage Weekend: Festival Edition Midnight Oil - nod to the Angry Arts this weekend.



Midnight Oil - Live At Glastonbury 1993 - BBC Radio 1

Midnight Oil this weekend, live at Glastonbury 1993 and captured for posterity by BBC Radio 1.

Midnight Oil (known informally as "The Oils") are an Australian rock band composed of Peter Garrett (vocals, harmonica), Rob Hirst (drums), Jim Moginie (guitar, keyboard), Martin Rotsey (guitar) and Bones Hillman (bass guitar). The group was formed in Sydney in 1972 by Hirst, Moginie and original bassist Andrew James as Farm: they enlisted Garrett the following year, changed their name in 1976, and hired Rotsey a year later. Peter Gifford served as bass player from 1980–1987.

Midnight Oil issued their self-titled debut album in 1978, and gained a cult following in their homeland despite a lack of mainstream media acceptance. The band achieved greater popularity throughout in Australasia with the release of 10, 9, 8, 7, 6, 5, 4, 3, 2, 1 (1982) – which spawned the singles "Power and the Passion" and "US Forces" – and also began to attract an audience in the United States. They achieved their first Australian number one album in 1984 with Red Sails in the Sunset, and topped their native country's singles chart for six weeks with the EP Species Deceases (1985).

The group garnered worldwide attention with 1987 album Diesel and Dust. Its singles "The Dead Heart" and "Beds Are Burning" illuminated the plight of indigenous Australians, with the latter charting at number one in multiple countries. Midnight Oil had continued global success with Blue Sky Mining (1990) and Earth and Sun and Moon (1993) – each buoyed by an international hit single in "Blue Sky Mine" and "Truganini", respectively – and remained a formidable album chart presence in Australia until their 2002 disbandment. The group held concerts sporadically during the remainder of the 2000s, and announced a full-scale reformation in 2016.

The band's music often broaches political subjects, and they have lent their support to multiple left-wing causes. They have won eleven Australian Recording Industry Association (ARIA) Awards, and were inducted into the ARIA Hall of Fame in 2006. Midnight Oil's legacy has grown since the late 1970s, with the outfit being cited as an influence, and their songs covered, by numerous popular artists. Aside from their studio output, the group are celebrated for their energetic live performances, which showcase the frenetic dancing of Garrett. Guardian writer Andrew Street described Midnight Oil as "one of Australia's most beloved bands".

In case you missed them during their earlier period, here's a chance to catch-up. Click on the link and crank this one up.
It's 1976 - You Live In L.A. - You're A Teenager - You Are Weathering The Endurance Test Called High School - Just your luck - your girlfriend met the new guy in school five minutes ago.



KIIS - April 30, 1976 - Gordon Skene Sound Collection -
1976. Aside from being the year of the bi-centennial, 1976 also marked your Junior year in high school. Like most of your friends, in fact just about everyone you know, High school is one long endurance test. It's endless, relentless and constant. Even your teachers are tired of seeing you around all the time. Weeks take forever and weekends are gone in a split second - why is that? You're a month away from getting a car - so what if it's a 1962 Plymouth Belvedere - at least it's wheels and you didn't have to pay for it. It did belong to an old guy and the car smells of cigars - it's beige and it's automatic and it's got 20,000 miles on it. You're not getting laid in that car - you can feel it in your bloodstream. But it will get you places. You want to go places - that's your problem; you can't get anywhere unless it's on a bus, or one of your friends - or your dad. That might explain why you haven't had a serious girlfriend since the 10th grade. Well . . .she wasn't really serious, but neither were you - you went steady for two weeks. At the time it seemed like forever; like you were a married couple. Come to think of it, she used to call you "my old man" and you used to call her "my old lady" - but everybody used to do that. They still do.

But right now, right this second, it's getting through the week and the next and the next and the next - lucky for you there are tunes and a radio and you have friends and you're all in this together. You wonder if you'll see them after graduation.

That's a thousand years off.
And if you were in L.A. and had an AM radio, you might have been listening to KIIS - just to refresh your memory, here's an hour of KIIS from April 30, 1976 - just as it happened.

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.
The Pretty Reckless - Acoustic Session - 2011 - Past Daily Soundbooth Taylor Momsen of The Pretty Reckless - subtle ain't in the vocabulary.



The Pretty Reckless - Acoustic session for Radio France: Mouv-Le Live program - April 2011 - Radio France -

New York Rockers The Pretty Reckless in acoustic session for Radio France' Le Mouv channel Le Live program, recorded either March or April 2011 in Paris during the European leg of their debut tour.

One of those bands who made the transition from Alternative/post-grunge/hard-rock to the Mainstream, Pretty Reckless have enjoyed crossover appeal for several years now (10 to be exact) with no sign of letting up.

Apple Music's Andrew Leahey writes a concise bio of the band which should get you up to speed if you aren't already familiar:
Like her co-star Leighton Meester, Taylor Momsen rose to fame as an actress on the TV series Gossip Girl before launching a separate music career. She formed the Reckless in 2009, later changing the bands name to the Pretty Reckless to avoid trademark problems. With Momsen on vocals, John Secolo on guitar, Matt Chiarelli on bass, and Nick Carbone on drums, the group began finding a balance between hard rock and post-grunge, taking cues from female-fronted bands like Hole and the Runaways along the way. They worked quickly, playing some initial shows in New York City before landing an opening slot on the Veronicas North American tour several months later. The tour went well, and Interscope Records signed the band before the year was up.

The Pretty Reckless completely revised their lineup in 2010, with Momsen retaining her frontwoman role as guitarist Ben Phillips, bassist Mark Damon, and drummer Jamie Perkins all replaced her previous bandmates. After spending several months in the studio, the group released its first single, "Make Me Wanna Die," on the Kick-Ass soundtrack. The band's first album, Light Me Up, saw release in Europe and Australia in late summer of 2010 and the record rolled out in North America in 2011. The Pretty Reckless toured steadily behind Light Me Up, releasing the Hit Me Like a Man EP in March of 2012. A year later, the group's second full-length album, Going to Hell, appeared. Going to Hell performed better than their first album, debuting at number five on Billboard's Top 200, partially on the strength of the Mainstream Rock hits "Heaven Knows," "Messed Up World," and "Follow Me Down." The album also went to number eight in the U.K. Two years later, the Pretty Reckless returned with their third album, Who You Selling For, which was preceded by the single "Take Me Down." ~ Andrew Leahey
Hit the play button and take a dive into this acoustic session.
It's 1979 - You're A Teenager - You Live In L.A. - Conformity Just Isn't You. You have a problem with authority figures.



KROQ - Mike Rophone - February 28, 1979 - Gordon Skene Sound Collection -

Face it - conformity ain't your strong suit. You've always had a problem with authority figures; everybody from the Boys V.P. to your gym teacher. They represent the control freaks in your life and are close personal friends of conformity - the people who just want to hassle you, for no other reason than the way you look and the way you think. They pick you out of crowds - you're the one they go to first when something happens, because they assume you did it. Why? Well . . .you do these things that get them upset. Like the time all the narcs showed up at school, looking through lockers for Quaaludes. You don't do Quaaludes - maybe Tuinal, but Quaaludes? Nope. They think you and your friends are drug addicts and dope dealers. Just because you hang out behind the cafeteria and smoke dope during lunch doesn't mean you're a criminal - right?

Well . . .you have been getting good at five-fingered discounts lately. You've figured out how to stuff albums under your jacket at Tower Records and sell them to kids at school for $2.00 each. Of course, the cashier last week was looking at you like you were going to explode. So maybe you should think of something else to do for a while, or go to the Tower in the valley.

Still - you can't wait to graduate, if you don't wind up in Continuation first. That's a year off.

In the meantime . . .there's always your radio and tunes and KROQ is your go-to station. And you're wondering how you can lay your hands on the new Barnes Barnes single . . .

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 is a three-hour slice of KROQ with the inimitable Mike Rophone holding court exactly as he was heard between 10:30 am and 1:30 pm on February 28, 1979. It's suggested you hit the play button and dive in, or click on the player and download the little sucker and play it later, or when you are in a 1979 State of Mind.

Works like a charm.
Dick Dale In Session - 2002 - (RIP: Dick Dale - 1937- 2019) Past Daily Soundbooth: Tribute Edition Dick Dale - King Of The Surf Guitar - (1937-2019)



Dick Dale - in session for John Peel - August 28, 2002 - aired September 28, 2002 - BBC Radio 1 -

And now it's Dick Dale. His passing over the weekend has left many people stunned; another gaping hole in our Pop Culture and another vestige of Rock n' Roll history; gone. Unless you're a certain age and grew up in Southern California at a certain time, Dick Dale may not mean as much to you as it is to some. We grew up with Dick Dale (and his Deltones) - he was a staple in our lives as we came of age - he represented Southern California and all that it was about. He took simple guitar riffs and experimented, shaped and honed until what came to be known as Surf Guitar was born. He was a pioneer and those he influenced read like a Who's Who of rock. Because of his Lebanese heritage, Dale took much of the Middle Eastern music he had grown up with and fused it with Rock and Country (he wanted to be a Country singer) - and because he was a surfer - all the elements came together and a new sound was born.

Anybody who lived in L.A. during this period has seen or heard Dick Dale and His Deltones at least once and probably 50 times - he was such a fixture around Southern California that you couldn't escape his music even if you tried. In addition to the technique, Dale also pioneered the sound, making it bigger and more dynamic than it ever was before. He was rightly dubbed King Of The Surf Guitar - and even though the Surf music phenomenon was eclipsed by The British Invasion in 1964 and later on, the West Coast Sound, Dale was still active, although several health problems set him back, his popularity resurfaced with a vengeance around the time Punk came into being in the late 70s.

This session for John Peel gives you some idea of just how international his reputation had become and how much it has endured. Peel, like so many others, was a huge fan - and getting Dick Dale to do a session on his show was a high-point in his career. It was recorded on August 28, 2002 and aired on September 28th of that year.

Sit back and crank it up - it's the least you can do.

RIP: Dick Dale - you came, you saw, you kicked ass.
The Move - Live In Stockholm - 1967 - Past Daily Soundbooth The Move - why they weren't a household name in the States is baffling to this day.



The Move - Live at Radiohusset, Stockholm - 1967 - Sveriges Radio - Sweden - Gordon Skene Sound Collection -

The Move to end one week and to get ready for another. Recorded in concert for Swedish Radio in 1967 (and unfortunately missing the first 45 seconds of the opening number).

The Move were unquestionably one of the truly great bands to come out of the UK, coming at the tip end of what was known as The British Invasion of 1963-1965. But of all the bands that took a whack at the U.S. audience, The Move were one of the very few not to score any substantial success with American record buyers. And that made absolutely no sense at all. True, they were initially released on Deram in the UK and subsequently London in the U.S. (which, aside from The Rolling Stones weren't all that plugged into the American record buying public - i.e. Teenagers) - when they landed on AM there was interest and a goodly amount of promotion as well as a tour the U.S. in 1969, but the audience wasn't there for them, and so the support from AM waned. They did score rather well with the FM underground market and their single Brontosaurus has been considered a classic. And Cherry Blossom Clinic from their second album, Shazam also landed in heavy-rotation territory.

However, suffice to say that The Move dissolved in the early 1970s, but (for the most part) reinvented themselves as ELO, and fortunes definitely turned a corner. But that's another story and another band that bore not much resemblance to the hard-rocking, seismic conglomerate known as The Move.

This Swedish radio performance gives some idea of what they sounded like in a live context - and as you can tell by the sound, the engineers were doing everything they could to keep everything from melting down - they were a rather loud band, and they made no bones about it. But you get the idea they were a great live band and this somewhat abbreviated snippet gives ample proof of that.

Much as I tried to smooth out the piercing bits, the low-end is the culprit here and you just have to pretend you're sitting in the Radio Studio in Stockholm, holding your ears and letting your body fly out of control.

It's the least you can do.
It's 1967 - You're A Teenager - You Live In Motor City - You Have Boss Radio - You Also Have Typing Class Typing Class Was Another Story Altogether.



CKLW - Detroit - Tom Shannon program - November 17, 1967 - Gordon Skene Sound Collection -


Funny - no matter where you go or what city you wind up in, things always seem just a little bit of the same everywhere. Maybe the weather is different, but school is the same. Take Typing class for example. It was an elective no matter where you went - you could take Typing or you could take Home Ec - you could take Wood Shop or Auto Shop - Band or Art. And even though you can't think of a good reason to take Home Ec, you really couldn't think of a good reason to take typing. You don't type - you've never typed a letter in your life, and you don't plan to. In 1967 taking a Typing class meant you were going to be a Secretary - and if you were a guy, being a Secretary didn't even enter the equation - not in 1967 - maybe in a few years, but not this one.

So you flip a coin and go for Home Ec. But for some reason, all the classes are filled and all you have left is Typing. Your counsellor tells you Typing is good for lots of things - and you freely admit, your handwriting is a notch above illegible - you are signed up for Typing every Tuesday and Thursday at 10:00 for the next semester.

The other thing; Radio is starting to sound the same everywhere. You spent the Summer with your cousins in L.A. and they had KHJ; Boss Radio. Here in Detroit, it's CKLW but it's Boss Radio too. Could it be some sort of plot? You wonder.

Whatever it is, radio isn't sounding quite the same as it did a year ago at this time. Maybe you're getting older and your taste is changing. A couple of your friends went to San Francisco over the summer and got turned on to this FM station and the music was amazing. Something's happening and you aren't quite sure what it is.

But for now you're wondering if you're ever going to use Typing for anything in your lifetime.

For a taste of what Boss Radio in Detroit was sounding like - here's a sample of CKLW-AM and The Tom Shannon Show from November 17, 1968.
It's 1957 - You're A Teenager - You Live In San Francisco - Nothing Ever Happens In Your Town - But Top 40 Is Going To Change All That - Things Are Looking Up. And Your local hangout will start to get rowdy . . .very soon.



KOBY-AM, San Francisco - Jim Wayne Show - August, 1957 - Gordon Skene Sound Collection -

When a phenomenon goes from being a wishful fad to a hardcore lifestyle, little things begin to happen. And if you're at that coming-of-age place - that phenomenon becomes part of your DNA; not instantly, not overnight - but over time.

Hard to imagine now, but San Francisco, casually referred to as "The City" or "Baghdad By The Bay" was pretty straight-laced in the 1950s - unless of course you spent any time in North Beach or knew anything about San Francisco's somewhat checkered past.

You'd be surprised to know that San Francisco as of 1956, had no top-40 strictly Rock n' Roll radio station on the air. By the end of the year that all changed when station KOBY went on the air. Like the rest of the country, Rock n' Roll was taking hold on the nations youth. Kids in droves flocked to the station for their weekly playlists and Top-40 charts - it was great for the record business and it was great for business at the fledgling radio station, which had gone from being off the air to being the most listened to radio station in the city. All of a sudden Rock n'Roll was mainstream - it was sweeping the country and advertisers were lining up to cash in on it. Youth Culture was now a real thing.

In comparison to how music and radio evolved in under a decade, this half-hour snippet of a KOBY broadcast featuring disc-jockey Jim Wayne features the somewhat stumbling beginnings of what would be one of the most successful formats in Radio. The announcers aren't slick - they're Old School, not hyper-tense but laid back. The ads aren't flashy, rapid-fire or urgent. Everything seems in contrast to the music itself, and even that bears little resemblance to how things would evolve in just a few years.

But as a kid in 1957, you'd be right in the middle of it - all of a sudden, you became the most important person on earth - and it was going to stay that way for decades to come.

So as a reminder that change often comes slowly and that the fifties were far more adventuresome than we give it credit for, here is "Sunny" Jim Wayne as he was in August 1957, laying it all out for San Francisco to hear.
Elton John - The Fall - Nick Lowe - Elastica - Low - Christmas Sessions At The BBC- Past Daily Soundbooth: Holiday Edition Christmas at The BBC - a Wall-to-Wall extravaganza.



Elton John et al. Christmas Sessions at BBC 6 Music - Various Dates - BBC 6 Music -
Okay - the last Christmas post we're doing until 2019 - this one is worth the exception. A full hour extravaganza of sessions recorded at BBC 6 Music by a veritable galaxy of Rock notables. From Elton John, Nick Lowe, Elastica, Half Man-Half Biscuit, The Decembrists, Frank Turner, Low, Snow Patrol, Smoke Fairies, George Ezra and so many more. All in sessions going back some 10+ years and all having something to do with Christmas.

Perfect - and a lot of Christmas music I haven't heard before by a lot of artists you may not be all that familiar with.

It's all hosted by Chris Hawkins, who normally hosts the 6 Music Live Hour and it was originally broadcast on this past Christmas Eve. But rather than hold on to it for a whole year, I thought I would share this with you, since it's pretty much party season until next week when 2019 rolls around, and a little raucous music for the season never hurt anybody.

So - crank it up and keep the party going.

We'll return to our regular programming shortly. In the meantime . . . .
Big Maybelle, The Moonglows, Sam "The Man" Taylor - Alan Freed's Rock n' Roll Dance Party - 1956 - Past Daily Weekend Pop Chronicles Big Maybelle - Queen Mother Of Soul - an understatement.



Big Maybelle, The Moonglows, Sam "The Man" Taylor - Alan Freed - Camel Rock n'Roll Dance Party - September 4, 1956 - CBS Radio - Gordon Skene Sound Collection -

Another installment of this iconic and historic document of early Rock n' Roll. This one features one of the rare radio appearances of Blues Diva and "Queen Mother Of Soul" Big Maybelle. An artist who never quite made it into the mainstream, but gave a show stopping performance at the Monterey Jazz Festival and was immortalized on Bert Stern's award winning Documentary Jazz On A Summer's Day - who eventually wound up being "discovered" by millions of TV viewers from a 90s episode of The Cosby Show and also received a posthumous Grammy Hall Of Fame Award in 1999.

The other participants of the show are regulars Sam "The Man" Taylor and his orchestra, Doo-wop legends The Moonglows, and Jimmy Cavallo and the Houserockers performing music from the Freed produced movie Rock, Rock, Rock.

As I said a few weeks ago when I posted another Rock n' Roll Dance Party, this was Network Radio's contribution to the Rock n' Roll phenomenon, an attempt to ride the crest of a popularity wave and cash in on a trend which many believed would revive the flagging popularity of variety radio. At first, CBS Radio was tacit in its approval of the show, and pretty much let Freed have free reign. But when the show started to get popular, the network brass saw it as an opportunity to snag a larger audience and Sam "the Man" Taylor was replaced by Count Basie and more White rock acts would appear on the show than had originally been scheduled. No Elvis Presley - he was beyond Freed's reach by this time. But this show, and several others like it, were instrumental in bringing Rock n' Roll to a larger segment of the population than had been done even two years earlier. Because around this time, radio station music formats were changing. Rock n' Roll was being introduced more regularly and it was soon edging out the more mainstream Pop acts of the time - anybody who has spent any time listening to Dick Jockey programs from local radio from the early 50's onwards will notice changes, however slight at first, because of what personalities like Alan Freed were doing.

And as was the case for the entire run of this show, it was sponsored by Camel Cigarettes. There are those of you out there who frown on giving this aspect of history much space. But the fact was, cigarettes were huge business and cigarette advertising made it possible for shows like this to exist. I don't think listening to the somewhat pallid ads for Camel Cigarettes are going to cause people to run into their local liquor stores and shovel wads of twenties in order to light up as much it will cause you to think "wow, they really did that?" - it's history and you can't rewrite all of it.

That said - hit the play button and enjoy what live rock n' roll was all about during its formative days.
It's October 21st, 1967 - You're A Teenager - You Live In San Francisco - You Missed The Summer Of Love - You're Catching Up Spot The Kid Who Dosed The Punch - Spot The Kid Who Drank The Punch.



KYA-AM, San Francisco - October 21, 1967 -

October 21, 1967 - Here you are; 17, living in the without-a-doubt grooviest place on earth and you missed the much fabled Summer Of Love - in your own city, not even twenty blocks away. How could that happen? Easy - you don't like crowds, and The City has become overrun with them. Besides, your parents read the newspapers and magazines and listen to the radio and they know all about the Haight. They aren't stupid, they've heard the stories. They have friends of friends of friends whose kids ran off and only come home in time for school, and dinner every once in a while. Not you, you're trapped - your mom does bird impressions, and all Summer she's been watching you like a hawk.

But you have friends too - and friends of friends of friends. And they know people and they have connections. And you've been waiting for just the right time to drop that tab of Window Pane you got two weeks earlier from a guy named Elliot. In fact, you and your friends in school made a deal you will all drop Acid at the same time - maybe during 4th Period, just before Lunch.

Sounds like a plan. You missed out - you get the feeling people, like your grandkids will ask where you were back in the old days, when you sat in Golden Gate Park and stared at trees. You won't be able to tell them, because you weren't there - maybe you can make up stories, you can pretend - no one would notice anyway. You would. You're a terrible liar.

So it's October and Summer is over, but that doesn't mean you can't catch up. No more Love-Ins, but there's concerts. No Summer, but there's Halloween. Maybe you didn't miss much after all - besides, your hair is starting to look good in the back.

Possibilities are endless.

And to get an idea of what you were listening to on this very day fifty-one years ago - here is an excerpt of KYA in San Francisco from October 21, 1967.
Elvis Costello - Live In St. Louis - 1978 - Past Daily Backstage Weekend Elvis Costello - Arrived in America bringing a satchel full of possibilities with him.





Elvis Costello - Live In St. Louis, Missouri - River Daze - KADI-FM - January 31, 1978 - Gordon Skene Sound Collection -


I remember the first time I heard an Elvis Costello single. I was driving somewhere and had KROQ on - announced as "a new single by Elvis Costello", Watching The Detectives came on. I was so distracted by the sound coming out of my radio that I had to pull over and just listen to what was being played. I remember pointing my finger at the radio and saying, "THAT'S the one!", I knew the second British invasion had arrived. For the previous couple of years, I had the feeling there were major events taking place musically in the UK. The previous year, 1976 I was in London and came home with a box of promo 45's of Anarchy In The UK (one copy was broken on the air by a disgruntled disc jockey) and a pile of singles and eps. The prize of the haul, to me, was New Rose by The Damned. This was extremely exciting stuff, with energy flying off the grooves and a searing message. It was fantastic, but would it be greeted with the same enthusiasm in the U.S. that it had in the UK? I wondered and quickly found my answer: no. Not for another year. Not until Elvis Costello came along and not until the FM underground started playing Watching The Detectives on a regular basis. I think, more than the Sex Pistols tour of the U.S., the initial Elvis Costello tours were greeted with a great amount of enthusiasm. His popularity, his razor-sharp song-writing abilities grabbed a wide-ranging audience. This was the ingredient that was needed to create mass appeal, and Elvis Costello was the perfect candidate.

This concert, I believe is from the second U.S. tour. One of things UK bands came away from the mid/early 70s with was the well-founded notion that the only way you're going to crack the US is by touring mercilessly. It worked with ELO, who spent an unholy amount of time criss-crossing the U.S. in the early 1970s - and it was going to work again for Elvis Costello.

If you missed that period, and it was very exciting if you were plugged into it, take a bit to check this concert out. Because it was live and broadcast by KADI-FM in St. Louis, there's a few chatty spots, but not nearly as bad as the Italian Radio concerts.

This is one to enjoy. Crank it up and dive in.
Bootchy Temple - 2018 - Nights At The Round Table: Rock Without Borders - New Faces Edition Bootchy Temple - Looking Westward with a new album coming out on the 26th.



Bootchy Temple - 1.Man With The Cane - 2. Lady Sunshine - 2018 - Howlin' Banana Records, Paris -

A new band tonight. Well, not really new - they have two previous albums out, and from what I gather they've been around since 2015, so it's three years. They're getting ready to release Glimpses, their third, and according to sources close to the band, they would like to expand their horizons to include the U.S. - fair enough - come on over!

Bootchy Temple are a French band they formed in Bordeaux in the Southwest of France, but now live in Nanterre near Paris. They consist of; Martin Meilhan-Bordes,Paul Trigoulet, Luc Martin,Sam Roux, Stephane Gillet and Lucas Monnereau.

To get some idea of what people think of the band, here is a review of their second album, Childish Bazar which came out last year, as written up by (sic) Magazine:
According to that famous bible of truth the urban dictionary, a “bootchy” may or may not be a well-endowed Asian woman. Then again, by way of cross-translation, it may mean nothing at all to these five young scamps from Bordeaux, perhaps to them just a collection of sounds free to roam without the weight of semantics. In any case, they often give the impression via their minimal jangle-pop of not having a care in the world, of just drifting along at the edge of life’s rich flow.

Now a shade more melodic and approachable by consequence than on their 2015 debut The Gardener Sleeps In His Golden Bed, Childish Bazar is a gently lilting collection of scrappy indie, almost pastoral acoustic guitars coaxing a light psychedelic swirl out of the beautifully dappled mix. Bookended by two four-minute tracks and with ten in between that come nowhere near, it’s all very laidback, a pleasantly accented vocal bobbing around small crests like a discarded beer can in an outdoor swimming pool.

Blissful and bleary-eyed, “Space Bubble”, for example, tumbles and churns over stoned, soft-play riffs while “The Boy’s Fate” plugs in for a blurry bout of quick-fire shuffles. Behind the charming shambles there’s a tinge of sadness though, simple melodies and simple chords a loose cover for a possible strain of existential malaise, the smile of a track like “Shake Shake Shake” dropping like a mask on the aptly titled “No One’s Face”. We each have our ups and downs, of course, and Bootchy Temple are no different in this regard. Their blasé insouciance to deal with both the highs and the lows that life throws at you, however, is as impressive as their carefree album.

That gives you an idea of what the Press is saying about them overseas. I would urge you to make your own decisions by way of their newly issued singles, culled from the album; Man With The Cane and Lady Sunshine.
I don't think it would be an exaggeration to say they would have a good sized following if they came over and did SXSW or Coachella and did a small tour of venues on the East and West coast of the U.S. - just my opinion. They could also benefit from doing some Radio sessions. I think they have a lot to offer and are one of those bands that, if given the right push in the right direction, could be very successful - as has been evidence many times before.

Check them out and head over to their label, dig in your pockets and grab the other two albums while you're at it.

Play loud in the meantime.
It's 1978 - You Live In L.A. - You're A Teenager And Captain Organic Has A Few Words For You And you aren't so sure about much of anything, even 1979.



KROQ - Captain Organic - August 19, 1978 - Gordon Skene Sound Collection -
Face it; 1978 was not a sure thing. You were a diehard Led Zeppelin and Jethro Tull fan. But all of a sudden, music sounds like it's changing. The radio isn't playing Zeppelin as much anymore; maybe Stairway To Heaven three times a day was a bit much. But still, all this different music, safety pins, Mohawks and ripped t-shirts - not so sure about all that.

Even radio isn't the same - what's happening with the world? Your friends keep telling you about Madame Wong's in Chinatown and all these bands you've never heard of. And even the radio is playing bands you've never heard of. You're not even 18 and you miss "the good old days" - you grew up with Kiss. You had your first crush on Linda Ronstadt. And now it's Lene Lovich? Not so sure about that.

So this is what it feels like to get old? Nobody talks about Disco anymore. Well . . .you admit you were never a fan anyway - you couldn't really wrap your head around Polyester shirts and dancing. Platform shoes were cool - you still have yours, the white patent leather pair that cost you almost a months allowance to get - you had to go all the way to Hollywood Boulevard to get them, because your local Gallenkamps didn't stock shoes like that.

Your friends are starting to change; some of them. One of your friends cut off all his hair; "down to the wood" as he called it. One of the girls you know did too. She got sent home for wearing ripped up jeans and a leather jacket, "not proper school attire" they called it.

And you wonder if it would be painful to pierce your mouth with safety pins.
And as a reminder - here is an hour's worth of "the all new KROQ" from August 19, 1978 hosted by Captain Organic.

Get ready.
It's 1965 - You Live In Los Angeles, But In A Few Days It Will Be Boss Angeles. But the Sports Night dances will go on forever.



KHJ - Roger Christian - April 29, 1965 - Gordon Skene Sound Collection -

For years, if you lived in L.A. the two mainstays of Rock Radio for you were KFWB and KRLA. Sure, there were others, but KRLA and KFWB were the go-to stations; you listened for the exclusives, you tried your best to be the 8th caller or the 10th caller, and sometimes you won things. You were a loyal reader of The KRLA Beat or The KFWB Hitline - you were informed, and those two stations were the ones that informed you. You trusted them. BMR was your leader. Dave Hull knew John Lennon personally and was starting his own nightclub in Hollywood where the Moulin Rouge was on Sunset.

So when you started seeing billboards popping up around town advertising Boss Radio, you wondered what it meant. 93 KHJ, right next door to KFWB which was Channel 98. Another Rock station - only this one was AM and FM, and that meant it sounded really great. The trouble was, you didn't have an FM radio - but your parents did on their stereo in the living room. Unfortunately, your parents hated Rock n' Roll and the most you ever heard coming from the living room was 101 Strings and the odd Perry Como record. The Beatles were out of the question - that was relegated to your room and your transistor radio. And the sound was like any transistor radio. But it was the song that was important anyway.

This Boss Radio 93 KHJ would be officially starting in May - but a week before, they were trying it out, seeing if you would listen. Yeah - you listened. Kind of okay - nothing to write home about. You aren't going to give up KRLA or KFWB anytime soon. You have loyalties. But on this particular April 29th in 1965, you tuned in around 11 in the morning and got Roger Christian. Maybe you'll listen again - maybe you won't.

It's 1965 and you've got choices.
CNBlue - Live In Japan - 2014 - Past Daily Soundbooth: Rock Without Borders CNBlue - Indie From South Korea - further evidence music has no borders.



CNBlue - Live in Japan - 2014 - Gordon Skene Sound Collection -
CNBlue to put us into a Friday frame of mind. Much has been written about the Music scene in Korea. At the moment, it seems to be a hotbed of "Boy Bands", going under the Kpop banner; tightly choreographed groups with slickly produced songs and music videos that fairly ooze adolescent sex appeal.

There's also a very active Indie community in South Korea; strongly reminiscent of the more commercially successful bands in the UK (Franz Ferdinand, Coldplay and Arctic Monkeys).

CNBlue is one of the more evocative bands of the genre to come out of Korea.
The following comes via their Wikipedia page, and should you get caught up if you're unfamiliar.
CNBLUE (Korean: 씨엔블루) is a South Korean pop rock band formed in 2009. The band consisted of Jung Yong-hwa (leader, guitar, main vocals, rap), Lee Jong-hyun (guitar, vocals), Kang Min-hyuk (drums), and Lee Jung-shin (bass). First bassist Kwon Kwang-jin left the band after they released their debut Japanese extended play Now or Never in 2009, and was replaced by Lee Jung-shin.

CN is an initialism for Code Name, while BLUE is a backronym for burning, lovely, untouchable, and emotional; it is meant to portray the images of Jong-hyun, Min-hyuk, Jung-shin, and Yong-hwa, respectively.On January 14, 2010, CNBLUE debuted in Korea with the lead single "I'm a Loner" from their first Korean EP Bluetory.

CNBLUE's first live performance took place in Tokyo, Japan, at the entrance of Shinjuku Station in early 2009; it was one of at least 20 other bands performing in the area. By mid-June 2009, the band began to perform on the streets and in live clubs. They formally debuted on August 19, 2009 with Now or Never. The mini-album was recorded completely in English, and failed to chart on the Oricon Albums Chart. In late September, their original bassist Kwon Kwang-jin left the band and was replaced by Lee Jung-shin later that year. Their second extended play Voice was released in November. Recorded with both English and Japanese tracks, Voice peaked at number 227 and charted for two weeks. Guitarist Lee described the band's independence in the country as "tough, but equally rewarding".

CNBLUE held CNBLUE 8TH ANNIVERSARY FANMEETING on January 6, to celebrate their debut anniversary.

On March 5, 2018, Yonghwa enlisted for his mandatory military service.

While Yonghwa was conscribed, CNBLUE proceeded to their CNBLUE Official Fanmeeting 2018 "Boice Airline" in Nagoya, Osaka, and Kanagawa from March 8 to March 15.

Jonghyun and Jungshin headed to Thailand for "2018 LEE JONG HYUN LEE JUNG SHIN 1ST FAN MEETING 'J VS J' IN BANGKOK" on May 27.

The band also held their 2018 Global Leading Lotte Hotel CNBLUE Fanmeeting in Seoul "Everlasting Promise" on June 2.

Minhyuk and Jungshin quietly enlisted for their mandatory military service on July 31.

Jonghyun also enlisted on August 7.

They released Best of CNBLUE/OUR BOOK on August 29. The album contained songs from their debut in Japan in 2011.It also included the new song, Don't Say Goodbye, which was recorded before Yonghwa's enlistment. The music video of the latest song was uploaded on CNBLUE's Youtube channel on July 17.

The band is expected to be back on 2020.
So between now and then, hit the play button, crank it up and check them out.
Arthur Lee And Love - Live In Norway - 2004 - Past Daily Backstage Weekend Arthur Lee - came to symbolize and epitomize the good parts of West Coast 60s.



Arthur Lee (and Love) live from Bergen, Norway - 2004 - Gordon Skene Sound Collection -

It's often been said that, had the music business been different and that had Arthur Lee been left up to his own devices, the contributions he and Love made to music in the 1960s would have been far more profound and influential than they wound up becoming. As it stood, Arthur Lee was always considered something of a well-kept secret, save for his initial string of hits and the milestone Forever Changes which, to this day is considered one of the most iconic albums to come out of the 1960s. But it was no secret Lee was frustrated by the Music business and his lack of creative control which made him something of a persona-non-grata around AR Departments. If people just left him alone . . .

Despite all that - despite the frustrations and potentials-unfulfilled, Arthur Lee has remained one of the influential figures in rock music, certainly in Indie. Since his death in 2006 his reputation and work has only increased among new fans - he is always being discovered by a new group of people - some artist or band are still citing Arthur Lee as a primary influence. And for good reason - Arthur Lee was an extremely talented and gift songwriter. As is evidenced by this concert. Even as late as 2004 (just two years before his death), Arthur Lee was still gathering new fans and was still as vital as ever.

In 2002, Lee began touring in earnest under the name "Love with Arthur Lee". This new phase of his career met with great success, and he performed to enthusiastic audiences and critical acclaim throughout Europe, North America, and Australia. This incarnation of Love was composed of the members of the band Baby Lemonade, who had first performed with Lee in May 1993 at Raji's. The band began performing the Forever Changes album in its entirety, often with a string and horn section. A live CD and DVD of this material was released in 2003.

Founding member Johnny Echols joined the new group for a special Forever Changes 35th Anniversary Tour performance at Royce Hall, UCLA, in the spring of 2003. Lee and the band continued to tour throughout 2003 and 2004, including many concerts in and around hometown Los Angeles, notably a show at the outdoor Sunset Junction festival, the San Diego Street Scene, and a headlining date with The Zombies at the Ebell Theatre. Echols occasionally joined Lee and the group on the continuing and final tours of 2004 to 2005. They played a well received date at the Fillmore in San Francisco with the full string and horn section.

Due to Arthur Lee's illness (acute myeloid leukemia), the details of which were not known by the band at the time, he could not participate in the final tour in July 2005. Since no one knew of his illness, Arthur's decision to forgo the final tour was met with angry, confused reactions. The remaining members of the band, along with Echols, continued to perform at the venues of the last tour (July 2005) without Lee, under the name The Love Band. At the end of September 2005, Lee moved to Memphis, Tennessee, where he planned to continue to make music using the name Love. Joining him was to be drummer Greg Roberson (Reigning Sound, Her Majesty's Buzz, Compulsive Gamblers) to put together a new lineup in Memphis, which was to include Adam Woodard, Alex Greene (The Reigning Sound, Big Ass Truck), Jack "Oblivian" Yarber, Alicja Trout, and Johnny Echols from the original Love line-up. Ultimately Arthur's ill health prevented this from happening.

In April 2006 it was publicly announced that Lee was being treated for acute myeloid leukemia. A tribute fund was set up shortly after the announcement, with a series of benefit concerts to be performed to help pay medical bills. The most notable of these concerts was produced by Steve Weitzman of SW Productions at New York's Beacon Theater on June 23, 2006, and featured Robert Plant, Ian Hunter, Ryan Adams, Nils Lofgren, Yo La Tengo, Garland Jeffreys, Johnny Echols (Love's original lead guitarist), and Flashy Python The Body Snatchers (featuring Alec Ounsworth of Clap Your Hands Say Yeah). Backed by Ian Hunter's band, Plant performed 12 songs, including four Led Zeppelin songs and five recorded by Love in the 60s ("7 and 7 Is", "A House Is Not A Motel", "Bummer in the Summer", "Old Man", and "Hey Joe"). A benefit concert was held in Dublin, Ireland.

Lee underwent several months of treatment for leukemia, including chemotherapy and an experimental stem cell transplant using stem cells from an umbilical cord blood donor. His condition continued to worsen, and he died from complications of the disease in Memphis, Tennessee, at the age of 61.

Sadly, most of the early live material isn't well recorded, and the later concerts only give a vague idea of what Arthur Lee was like during that time. But this concert from Bergen, Norway is one of the better representations of some of his last live concerts.

Enjoy.
You're A Teenager - You Live In L.A. - It's 1978 - It's The Weekend - You Have Plans . . . Or Maybe Not "So I take it that's a no?"



KROQ - Frazier Smith - September 16, 1978 - Gordon Skene Sound Collection -

The Weekend. That stretch from Friday night to Saturday night where everything looks possible, at least on paper or in your daydreams. Being smack in the middle of your Senior year in High School, you can't miss out on anything - you are God's own sponge, and it's up to you to soak up everything you can before life gets boring. You are hot on the trail of lasting memories - the ones you can fall back on when you're 30 and sitting in an office someplace. And that stretch between Friday night and Saturday night you've got it all planned; right down to the case of Budweiser you have stashed under your bed. It's party time - it's also crossed-fingers time.

There you are - raging hormones - you can't help it - you're human - you're 17. The girls in your class are out of your league - they are already going after College guys - that leaves you with 10th graders and a few 11th graders. You've invested heavily in this stretch of potential magic. You spent all your money this month shopping at London Britches and Zeidler Zeidler. You even had to go into Hollywood to get your Platform shoes - the White patent leather ones with acrylic heels and tiny plastic goldfish swimming around - that set you back a few Rupees. But it's worth it if it means you are going to get laid - and this weekend you look put together so that no woman in her right mind could possibly resist you.

Except . . .spending all your time and money on threads has left you a little bankrupt in the moves department. You still say dumb things and do dumb things, and even your friends notice; they've overheard you. You don't know how to meet women, you still haven't figured out what to say - you have no concept of signals. All you know is; whatever you've got going on isn't working and it must be their fault. You run 20 laps a day. You can bench-press 230 pounds.

But maybe this weekend it will be different - or maybe the next - or the next.

And to compliment that typical weekend night in 1978 - 40 minutes worth of Frazier Smith on KROQ from September 16, 1978 - what life in L.A. was sounding like 40 years ago.

The music is nostalgic, the human parts of growing up; timeless and forever and over and over.
It's June 1965 - You're A Teenager - You Live In L.A. - Your Radio Is Your Alter-Ego - However, You Have This Friend . . . There's always that one guy who wanted to be a Disc Jockey.



KFWB - Wink Martindale - June 2, 1965 - Gordon Skene Sound Collection -
Like most everyone you know, all your friends, everybody you run into, are glued to their radios. Some have pocket transistors with earphones that make them look like they're wearing a hearing aid. Some have those handheld Toshiba radios that are just big enough to not fit in your pocket, but are loud enough to get you yelled at by the Bus driver as you careen down Pico to Station 7.

And there is always that one person; that guy who forked over a princely sum at White Front to buy that monster portable Panasonic AM/FM/Reel-to-reel machine, complete with shoulder strap and 12 D-cell batteries that can record up to 3 hours on a single reel of tape. That guy.

Unfortunately, you know that guy - you've known him since 3rd grade. He's always been a little extreme - he's the one whose parents got him the super-deluxe Sting-Ray bike with Candy Apple Red paint and flames coming out of the spokes one year for Christmas.

He's grown up now - he's in the 11th grade. And he wants to be a Disc-Jockey. He drives you crazy at school. He puts on voices and yells "Super Demand Of The Boss Jocks!" in the cafeteria during lunch. He records the radio most of the day - but he has the annoying habit of stopping the tape during the songs, because he only wants the Dj - so he can practice. He wants to be Wink Martindale - in fact he's been trying out names for his DJ persona; the one at the radio station he's going to get a job at when he graduates, because nobody's going to hire a disc jockey named Milton. Some days he's Sunny Ocean, other days he's Mickey Mountain - he was Ray Sunshine for a week. One day he'll get a name that fits that isn't too geeky, but you doubt it.
And as proof that, yes, people did stop their tape machines during the song just to get the Disc Jockey, here is a slice of Wink Martindale on KFWB from June 2, 1965.

Some things you just have to put up with.
Mario Cobo In Session 2018 - Past Daily Soundbooth - Rock(abilly) Without Borders Edition Mario Cobo - Rockabilly en Espagnol



Mario Cobo - live at Conciertos de Radio 3, Madrid - April 18, 2018 - RNE Radio 3 -
Continuing Rock Without Borders week with a slice of Rockabilly from Madrid. Recorded at RNE Radio 3 studios in Madrid for Conciertos de Radio 3 - April 18, 2018.

Mario Cobo is one of the leading musicians in rock and roll/Rockabilly in Spain. Guitarist and leader of The Nu Niles, he has collaborated with musicians such as Kim Lenz , Janis Martin or Billy Lee Riley .

To get an idea what Mario Cobo is all about, and his fandom in Spain, I ran across this review of a recent concert (February 26 - Rocksound Club, Barcelona) published in Ruta 66 (Route 66) Magazine (gist translation compliments of Google, which is iffy on occasion):
Mario Cobo's thing is very serious. Every time there are more voices that elevate him as the best rock and roll guitarist in this country, and although absolutisms of this type always have edges, seeing concerts like the one that was marked last Friday in a crowded Rocksound Room seem to confirm that extreme. It's not that Cobo was fine, it was very good. He also combined his usual instrumental skills with a mastery of vocal tasks that we had not known so far.

After the introduction by Jorge Nunes The Full Time Fools, new project of the largest of the Brioles that will soon be reflected in the release of an EP, an untouched Cobo appeared to knock us out with a session of pure and genuine rock and roll. He debuted the songs that make up his latest release, Almería Gone Guy (Sleeazy Records) and, to the delight of the audience recovered a good harvest of his times leading Nu Niles with magnificent moments such as "A Cheat And A Liar" and the always indispensable "El Crunch of your Knees »in whose central part alternated riffs of Inspector Gadget, Nirvana or Stooges. And, if an artist of that caliber is added two squires like Alfonso Alcalá (anyone would say that he was feverish) and the always infallible Blas Picón, the result ends up being scandalous. But scandalously good. Bravo.
Rather than wade through the gist, just hit the play button and give a listen.
You're A Teenager - You Live In L.A. - It's May 1970 - In Four Weeks You'll Be Free . . . Sort Of. And you have your priorities down. A Tambourine and Led Zep - do you really need anything else?



KHJ - Humble Harve - Wednesday, May 27, 1970 - Gordon Skene Sound Collection -

It's May and you have less than a month before you're free. According to your teachers and your guidance counsellors you are going to graduate. After June you won't have to get out of bed for anything - you can listen to records all day, every day if you want to . You can stay out late - you won't have school the next day. Suddenly, life is jammed with possibilities - the world is your oyster - Freedom is amazing. No responsibilities - no more hassles - no more falling out of bed at 6.

And then you remember you'll be turning 18 in September. That means a trip to the Draft Board - and if you don't enroll at LACC in the fall you'll be carted off to the Army in a heartbeat. Your folks said they would get you a car when you graduated - but then you have to get insurance for it. Mom and dad are springing for the wheels - but you have to cough up the money yourself in order to be legal. Your allowance comes to a screeching, grinding halt the day you turn 18 - that's what they've been telling you since you were a Freshman. You've got to get a job. You haven't saved any money - you're always buying records.

You're too old to deliver newspapers - you heard they were always hiring at Chicken Delight - you could deliver buckets of Chicken all over town. You hear they make good money in tips and you don't need to cut your hair - and you drive your own car. That means you have tunes. So you go to College during the day and deliver Chicken at night - okay, that's a plan. But that probably also means you won't get to lay around and listen to records all day. And if you want to stay out of the draft you have to keep your grades up - that means you have to do homework. So - School during the day - deliver Chicken at night - homework after work. With any luck, you'll be getting a solid 3 hours of sleep a night.

So much for freedom.

At least you have the radio.

Humble Harve and the KHJ Boss 30 for a Wednesday night - May 27, 1970.
The Pretty Things - Live At Golders Green - 1973 - Past Daily Soundbooth The Pretty Things - 50+ years and still going.



The Pretty Things - live at Golders Green, London - 1973 - BBC Radio 1 In Concert - BBC Radio 1 -

The Pretty Things in concert tonight. Lest you think The Rolling Stones can lay claim to being one of the oldest still-performing bands in Rock (50+ years!) - The Pretty Things have been around easily that long. And, like The Rollings Stones, The Pretty Things are still (with a lot of personnel changes as well as numerous break-ups and hiatuses) around and still touring.

The Pretty Things formed in 1963 in London. They took their name from Willie Dixon's 1955 song "Pretty Thing". A pure rhythm and blues band in their early years, with several singles charting in the United Kingdom, they later embraced other genres such as psychedelic rock in the late 1960s (with 1968 S.F. Sorrow being one of the first rock operas), hard rock in the early 1970s and new wave in the early 1980s. Despite this, they never managed to recapture the same level of commercial success of their very first releases.

Pretty Things reformed in late 1971 after disbanding in early 1971. Wally Waller, who had become assistant producer at EMI, was replaced by Stuart Brooks (ex-Black Cat Bones). They signed with Warner Bros. Records and released Freeway Madness at the end of 1972. Although Waller was no longer a member of the band, he produced the album under a pseudonym and contributed lead vocals to the song "Over the Moon". The album was commercially unsuccessful.

In 1973, David Bowie covered two of their songs, "Rosalyn" and "Don't Bring Me Down", on his album Pin Ups. Around this time, the band recruited a sixth member, Gordon John Edwards (born 26 December 1946, Southport, Lancashire). A versatile musician, Edwards could play the guitar as well as the keyboards, and he also sang.

In 1974, Pretty Things were one of the first acts signed by Swan Song Records, the label created by Led Zeppelin, and Peter Grant became their manager. Stuart Brooks left the band before the recording of their first album for Swan Song, Silk Torpedo. The bass lines on the album were recorded by guitarist Pete Tolson before the arrival of a new bass player, Jack Green, who only contributed backing vocals.

Silk Torpedo was the first British album release on Zeppelin's own label Swan Song. It charted in the lower reaches of the Billboard Hot 100, for the first time in the band's history. Jimmy Page later remarked:

"The Pretty Things were a band that were really changing their music and had done because they probably did one of the best singles way back in the day with 'Rosalyn'. That's wild! That's serious! And then they'd gone through S.F. Sorrow and the music that they were doing on Swan Song was incredible. It was the sort of band that, when someone said, 'Oh, some tapes have come in,' I was keen to hear what they'd done, because it was always so good! Good writing, good performance from everybody. A fine band."

During the recording of Savage Eye, the follow-up to Silk Torpedo, tensions arose between the members of the band, with May finding himself at odds with newcomers Edwards and Green. After the release of Savage Eye, May did not show up at a major London gig, and he was fired soon after. Alan, Edwards, Green and Tolson tried to form a new band called Metropolis, but Swan Song was not interested in offering them a contract and they went their separate ways. Edwards briefly joined the Kinks for their Misfits tour, while Green became a member of Rainbow for a few weeks before launching a solo career.

In case you missed them during their mid-phase, here is a concert they did at Golders Green in London in 1973, right before their Swan Song period.

In the 70s they rocked.
Nick Lowe's Cowboy Outfit - In Concert - 1984 - Past Daily Soundbooth Nick Lowe - Rock n' Roll's Go-To guy.



Nick Lowe's Cowboy Outfit - Live at The Paris Theatre, London - 1984 - BBC Radio 1 In Concert -

Nick Lowe and his somewhat short-lived Cowboy Outfit was together only a few months before heading off in another direction. That was the thing about Nick Lowe; he was always in the middle of trying something new out. The Cowboy Outfit was an homage to Roots Rock of the 1950s. One album came out of it which was critically acclaimed, but not a commercial success. And then it was on to other things, including a studio-only collaboration, Little Village with John Hiatt, Ry Cooder and Jim Keltner.

My first recollection of Nick Lowe was via Brinsley Schwarz, a band that formed right after the demise of Kippington Lodge. The Brinsley's were heavily promoted by United Artists (their label in the U.S. as well as UK) and they were probably one of the most underrated bands of the 70s, at least as far as the U.S. market was concerned. In the UK they established themselves at the forefront of the Pubrock revival in the early 1970s. A revival that branched off into many successful careers and became a popular genre because the Pub atmosphere was a lot different than the Arena, which bands were leaning towards in the early 70s - it was a backlash to the increasing difficulty of getting close to the music.

A New York Daily News article once quoted Lowe as saying his greatest fear in recent years was "sticking with what you did when you were famous." "I didn't want to become one of those thinning-haired, jowly old geezers who still does the same shtick they did when they were young, slim and beautiful," he said. "That's revolting and rather tragic." Rock critic Jim Farber observed, "Lowe's recent albums, epitomized by the new At My Age, moved him out of the realms of ironic pop and animated rock and into the role of a worldly balladeer, specialiing in grave vocals and graceful tunes. Lowe's four most recent solo albums mine the wealth of American roots music, drawing on vintage country, soul and RB to create an elegant mix of his own."

If you missed Nick Lowe's Cowboy Outfit the first time around, here's a chance to catch them again, as they were in 1984 at the Paris Theatre in London for the BBC's In Concert series.
You Live In Brooklyn - It's February 11, 1956 - You're A Teenager - You Love Elvis - Not Everybody Does. . . . .And you don't care who knows.



WCBS - New York - The Bill Randall Show - February 11, 1956 - Gordon Skene Sound Collection -
Picture this: Rock n' Roll is still on the fringes - it hasn't taken the country by storm; not yet. However, you've been hearing about this guy named Elvis Presley. You saw him a week earlier on Stage Show, you can't get enough of him - they say he'll be on again, maybe this week. You saw him a few weeks earlier on Stage Show, for the first time. Your life changed. You're on to something. But not all your friends feel the same way you do - you don't care. Elvis is it. You've got to get tickets. You'll stand out in front of the theatre all night if you have to - so what if it's snowing - For Elvis, you must suffer.
Much as we're led to believe the world discovered Elvis Presley and everything became Rock n' Roll, it didn't happen overnight and artists like Elvis didn't win instant universal acceptance. To some, Elvis represented all of what was going wrong with society - the rebellious nature of youth - not satisfied with quaint and simple tunes, Rock spoke to an urge that was not going to go quietly away anytime ever again. There was a budding Youth Culture and they weren't going to take things easy. Perry Como just wasn't making it - Dinah Shore was for an earlier generation. Teenage America needed someone to call their own; someone who just didn't look like anyone they had seen before. Sure, there was Little Richard - but there was segregation and Little Richard played what was called "Race music" - and parents drew the line. At least Elvis was white. It was like that.

In February 1956 things were staring to happen - even radio was slowly changing - by the end of the year it would be a different story. But for the dead of Winter in 1956, all you could be was breathless.

Here is a half-hour slice of WCBS, New York and the Bill Randall show from February 11, 1956 - he mentions the next appearance of Elvis Presley on Stage Show - but he doesn't play Mystery Train, which went to Number 1 on the Country Charts only days earlier. Music, as you will quickly notice, was a whole lot different before Rock took hold.

Enjoy, and picture being there.
The Pretenders - Live In Sheffield - 1999 - Past Daily Soundbooth The Pretenders - dormant from 2012-2016 - back up and running, and running, and running . . . .



The Pretenders - live at The Boardwalk, Sheffield - October 1, 1999 - BBC Radio 1 In Concert -

The Pretenders in concert tonight. Recorded live at The Boardwalk in Sheffield on October 1, 1999 and preserved for posterity by BBC Radio 1 for their In Concert series. This was The Pretenders promoting album #7 (Viva el Amor), which had come out in May in the UK and June in the US of that year. By this time, only two of the original members of the band are left; Chrissie Hynde and Martin Chambers. This was the second incarnation of the band - the first having gone on hiatus in 1987. This incarnation stuck together until 2012.

I remember when The Pretenders first got notice early in 1979 when Stop Your Sobbing was released on Sire in the US. The attention grabber was Tattooed Love Boys, the b-side of their follow up single, which KROQ played almost constantly. From that point on, they were not only a band to watch, they were a band to catch live. Chrissie Hynde was that new breed of female Rock musician who didn't play on a cutesy role or an ersatz "street-rocker" role - she was good at what she did and her approach was honest. I think it proved to be an inspiration for a lot of women coming into the scene, who saw her as a viable alternative and someone to use as a role model. Especially in a time where women were redefining what Rock was about.

The Pretenders have gone through numerous ups and downs over the years - from losing two founding members to drug-related deaths to achieving their biggest success in the U.S. There were also numerous personnel changes and reshuffling and this period also marked a decided turn to political activism for Hynde. But beyond all that was an artist with a solid vision and direction, and that perseverance has paid handsomely over the years.

Crank it up and check it out.
Jeff Beck Group In Session - 1968 - Past Daily Soundbooth Jeff Beck Group - Post Yardbirds and a serious attack of talent.



Jeff Beck Group - in session for Top Gear (John Peel) Recorded Sept 17, 1968 - broadcast Sept. 29, 1968 - BBC Radio 1 -

Jeff Beck Group tonight. After Beck left The Yardbirds he immediately put together another band, enlisting elements from Steampacket, Creation and The Birds to form one of the most distinctive bands of the late 1960s.

It's interesting to consider all of these members (Rod Stewart, Ronnie Wood, Mickey Waller) had either worked in other bands with each other or had gained reputations as session musicians and had worked together sporadically. It speaks to the closeknit aspect of Rock history and how putting a band together like this, with this much talent in one place, was not at all unusual at the time. I'm not so sure that could happen now, but then, times and associations and the nature of performing and recording have changed so much that surely the concept of the Supergroup is far from dead.

But at the time, The Jeff Beck Group did not consider themselves to be a Super Group - most likely, because audiences, particularly American audiences weren't as familiar with the lineage most of these artists had at the time. I mean, Steampacket were a big deal in the UK (not huge, but with a sizable audience) but were virtually unknown here. Same with The Birds and Creation.

The first time I saw The Jeff Beck Group was in 1968, doing their first U.S. tour to support the release of Truth - everybody knew who Jeff Beck was, but had only heard vague things about the rest.

Had we known what they were going to go off and accomplish with other groups only a few short years later we would have paid closer attention - but hindsight is 20/20.

But the bottom line - Jeff Beck has always been able to pick and choose who to collaborate with - he is the artist other artists want to be part of. Just think of Jeff Beck's more recent group efforts and recruiting the likes of Tal Wilkenfeld and what a sensational bassist she is and you get the idea Beck is as vital and essential as ever.

So to get an idea of what the big deal was all about in 1968 - here is that September 1968 session for John Peel and the Top Gear program for BBC Radio 1.
It's October 1958 - You Live In L.A., But You're Visiting Relatives Somewhere On Long Island - You Are Dial Hopping - Past Daily Weekend Pop Chronicles And your cousin has a group - everybody you run into seems to have a group, or sings, or is working on their hair.



WABC - WMCA - WGIL - October, 1958 - Gordon Skene Sound Collection -

No matter where you go, Rock n' Roll has taken over. Every city, town and hamlet, from Bangor Maine to Santa Monica California is cranking out this new and sometimes strange music. It's been bubbling under for a couple years, but now it's 1958 and it's everywhere. But more than that, it's different everywhere. Some songs you hear in L.A. but you don't hear in New York. Some songs in New York you won't hear in San Francisco. Some songs in San Francisco you won't hear in Boston. Groups and singers and labels, little labels, pop up all over the country - and every high school seems to have their own stars - and they all want to be on American Bandstand and they all want to play those big holiday shows, like the ones Alan Freed puts on. Everybody has something going on and your cousin spends a lot of time in front of the mirror or working on his hair.

So here you are, staying with your cousin on Long Island. Lucky for you, he has a tape recorder and listens non-stop to WABC, WMGM, WMCA, WIMNS and a million other radio stations. So what you do, just to let your friends back in L.A. know what's happening, is you record the radio - you dial hop. Sometimes you stay on a song and other times you get bored and switch the station to another song. It's too much and its non-stop, and you have a lot to do before you go home at the end of the week.

Nobody really pays much attention to it now, but the 1950s were significant for a lot of reasons, aside from the cold war, red scares and juvenile delinquency, there was also the massive popularity of the 45 record, reel to reel tape recorders were now affordable and creeping into just about every home in America, top-40 radio was riding the crest of a huge wave, one that was getting bigger by the day. Of course, it wasn't meant stay that way, with all things in perpetual change, there were further changes waiting in the wings, all under the heading of The 60's. But this was the first time America had the beginnings of a youth culture; it was the tip of an iceberg. The kids born in 1945 were turning 13 in 1958, and there were starting to be a lot of them, and they wanted different things, their music was suddenly no longer your dad's music, it was your music. And some of it was pretty strange. So to give you an idea of what this new musical atmosphere sounded like, here is a half-hour grab-bag of sounds, legendary voices of early Top-40 radio, heard on your typical average day in October of 1958. If you happen to be the age that many of the people people listening to these stations were, you will not recognize a single thing, most likely, you'll scratch your head in perplexity and stare with amazement that this is the music some swore you were heading straight to hell over. Yes, they honestly did. The call letters, commercials and dj banter are mostly cut down by whoever recorded it at the time, but its enough to give you a taste for the era and maybe listen for more.
You're A Teenager - You Live In L.A. - It's 1981 -You Have A Band - You Have Plans . . .and you dream of opening for Van Halen.



KROQ - Jed The Fish - July 2, 1981 - Gordon Skene Sound Collection -

L.A. in the 80s. Not as laid back as it was in the 70s. L.A. in the 80s means business - it's all happening and it's all happening at once. Madame Wong's now has Madame Wong's West on Wilshire. The Starwood is happening. The Troubadour is happening. The Whiskey is happening. All up and down the Strip, it's nothing but music and bands - and people coming over from England, and sometimes there's a line to get into Tower Records. You love Van Halen. You spend every day hanging out at Studio Instrument Rentals because somebody at school said they saw Eddie Van Halen practicing in one of the rooms. You've got this band - you've been practicing every day for a year. The band's pretty good - it doesn't have a name yet, but when you finally think of one, it's gonna be great. You're leaning towards Chrome Addiction, but the drummer thinks it sounds like a street racing club. Your lead singer spends hours in front of his bedroom mirror, doing David Lee Roth moves - he's got it down, but he can't really sing - not the high notes anyway, but he's got the garage tricked out so you can play your asses off and nobody hears you. Your bass player thinks the band should wear makeup. His girlfriend is a first semester cosmetology student at Santa Monica College and she wants to dye all your hair for a class project.

You've got plans. There's the talent show at your school and you told everybody you're going to be in it. You have to write some tunes - you've gotta play original stuff; not gonna do any Foghat covers. Your Bass player's working out some riffs and you've been thinking of some words. You just haven't figured out the chords yet. You've actually never written anything before, but it should be easy. You've also actually never played in front of people before. You're gonna be great. Maybe.
And to go along with that is an hour's worth of Jed The Fish from KROQ on July 2, 1981. Everything, and University Stereo too.
The Easybeats In Germany - 1967 - (RIP: George Young) Past Daily Soundbooth George Young (with The Easybeats) - Created a new sound in Australia and the world reacted in a big way.



The Easybeats - live in Germany - 1967 - Gordon Skene Sound Collection -

With the sad news yesterday (more sad news . . .and I thought last year was bad . . .) that George Young, former founding member of The Easybeats, who rose to fame in the mid-1960s with the iconic Friday On My Mind (which Young co-wrote), and was a highly influential producer and songwriter, as well as musician, died yesterday at 70. Causes weren't disclosed.

Young, along with fellow Easybeats founder Harry Vanda became one of the innovators of the Australian music scene from the late 60s on. And was responsible for the first 5 AC/DC albums, of which Angus Young was George's little brother, and helped shape AC/DC into the powerhouse Rock band they became.

And although The Easybeats were only around from 1964-1969, Friday On My Mind is still considered one of the pivotal songs of the 1960s, and via reissues over the years, revealed that The Easybeats were, even with this enduring hit, a highly underrated band at the time.

So this session, via German Radio/TV from 1967 (sorry, no exact date) features some of their lesser-known material, it does end with Friday On My Mind, and is offered as a tribute to a band that hasn't been forgotten and to George Young, who was a guiding figure and whose contributions have been inestimable over the years. As a Producer, and as part of the 1976 duo, Flash and The Pan and the early 70s Marcus Hook Roll Band, which also featured future AC/DC founders Malcolm and Angus, along with big brother George - a wide and colorful history and a pivotal one for Australia.

He will be missed - but fortunately, we have a wealth of material to keep the spirit alive. Starting with this one.

And while you're here - It's gotten a little quiet on the Contribution front for our annual Past Daily Fall Fundraiser. We need your support - we're not out of the woods yet and still need your donations, however big or small, to help keep us alive and running. So please, click on the link here: (Past Daily's Fall Fundraiser), and make your pledge tonight, or tomorrow. We're here because you are and we'll still be here, because History matters and being reminded of it is important. I would not lie to you.
You're In High School - You Live In L.A. - It's December 1966 And You Know 7 and 7 Is By Heart. 1966: And your band has been kicked out of every garage in Santa Monica.



KBLA - Harvey Miller - December 1966 - Gordon Skene Sound Collection -

It's December 1966. You have a band; The Bow-Tiks. You've been practicing ever since you got your bass last Christmas. There's six of you. You have three Rhythm Guitarists and nobody can quite sing. You're all in debt up to your eyeballs because you got money last year for Christmas from your folks and ran down to Sol Betnun's to get your instruments. You spend your weekends practicing, mostly Dave Clark 5 songs because The Beatles are a little too complicated. But you've run out of garages to practice in because the neighbors have complained to your parents. So you play at practically no volume, and the drummer has towels covering the drum skins. You can't really tell exactly how you sound, but you can't really turn up to hear. But you practice anyway. You recognize some notes.

This year, your lead guitarists girlfriend's cousin, who lives in Studio City, is having a Christmas party and wants your band to play. She said her dad offered to pay the band $50 for the night. You know four songs, including Love's 7 7 Is. You stand in front of the bathroom mirror and practice your moves. You've met your lead guitarist's girlfriend's cousin. You have to take a trip to Hollywood to Sy Devore's on Vine and buy some cool clothes, since you got some Christmas money a little early this year. You're wondering if you should have a British accent, or just stare at the floor a lot. You're wondering if you can get away with playing the same four songs all night. Paisley shirt and wide Corduroys with green suede boots. That works.

December 1966 - Humble Harve, or Brother Harve or Harvey Miller, is holding court on KBLA - spinning discs to midnight. Here is 90 minutes worth of Harvey Miller recorded sometime between December 4th and 18th, 1966.

And while I've got you here, I have a favor to ask - Past Daily has a yearly Fundraiser during the Fall and we try to raise enough money to keep the site up and running and the rare recordings preserved and posted. We're not asking for a lot of money, just contribute whatever you can, somewhere between a cup of coffee and a concert ticket and it's all tax deductible. We're not going to spend a whole pile of time pitching, so we need your help and support however you can. And tell your friends.

Click on the link right here (Past Daily Fall Fundraiser) and it will take you to the site where you can pledge your amount, how ever much you want, and life will be amazing! A huge hug of thanks to everyone who has chipped in so far - we need you and we won't let you down!
The Bee Gees, The Pretty Things, The Herd, Long John Baldry, Paul Jones - Top Of The Pops 1968 - Past Daily Nights At The Round Table The Bee Gees - lifetimes and light years away from Stayin' Alive.



The Bee Gees, The Herd, The Pretty Things, Paul Jones, Long John Baldry - Top Of The Pops -January 12, 1968 - BBC Transcription Service -

Staying with our Top Of The Pops marathon this week with live performances by The Bee Gees, The Herd, The Pretty Things, Paul Jones and Long John Baldry. Recorded by the BBC and broadcast on January 12, 1968 and made available worldwide by the BBC Transcription Service.

Another fascinating show. For those of you who either weren't around at the time, or never became familiar with The Bee Gees until Saturday Night Fever and their decided direction change to Disco, this is the earlier incarnation of the band which was just as popular and a bit ore adventuresome than their later material would suggest. This is the Brothers Gibb as a successful writing team, whose work was covered by a number of artists and who had a string of memorable hits long before Stayin' Alive was even a blip on the radar. They perform tracks from their Horizontal period, their second album which also included Massachusetts and subsequently became an enormous hit for them.

Also on the bill were The Herd, a band which featured a young Peter Frampton, as well as Andy Bown, who would gain prominence as a member of Judas Jump, a short-lived supergroup from the early 1970s. They perform their then-current hit, Paradise Lost which was a follow-up to their debut hit, From The Underworld (both tracks reached the top 20 in the UK). Frampton split later on in 1968 to co-found Humble Pie with Steve Marriot.

The Pretty Things during their Psychedelic period, produced by Norman Smith, who gave us Pink Floyd's Piper At The Gates Of Dawn, as well as a one-hit wonder in his own right as "Hurricane" Smith. Live version of Defecting Grey and Turn My Head are standouts.

Paul Jones, post-Manfred Mann and Long John Baldry, getting very far away from Steampacket and into some smooth and hip vocals along the lines of King Pleasure (my take on it) with a big band backup.

Another prime example of just how varied music was in the 1960s. I'm not sure we will ever have that wide a variety in Popular Music to jump into again. But in 1967, a lot of us took it for granted. If we just spent more time digging out imports . . . . .

Have at it. And thanks as always to Gray Newell for the outa sight discs.
Little Feat In Concert - 1974 - Past Daily Backstage Weekend Little Feat - considered one of the most underrated and overlooked bands in Rock. . . .but one of the best.



Little Feat - in concert at Ultrasonic Studios, New York - WLIR-FM - Sept. 19, 1974 - Gordon Skene Sound Collection -

Little Feat this weekend. One of those critically acclaimed bands who have been long considered underrated and overlooked in the grand historic scheme of Rock.

Don't know about you, but most everyone I know considers Little Feat to be the quintessential American Rock band - one of the best to have come along in the 1970s and one of the most enduring and well-loved bands we've had to offer.

I've seen them numerous times over the years; from the Troubadour to The Forum - Warner Bros. (their long-time label) was very high on the band from the get-go and promoted the hell out of them. And even though some press quarters decried Little Feat's lack of mainstream success to not having an "image" - they were as much at the backbone of Rock during the 70s as any other major band was. They didn't need to be pretty - they didn't need to have a gimmick - they got on stage and kicked ass for anywhere from 45 minutes to two hours - and they were memorable. They just were that way. They didn't need to try; they were tight - with a precision rhythm section, and the wry, evocative, heart-piercing writing of Lowell George. They had admirers, especially among their peers - they were the band other bands came to listen to.

So I don't really know what you use to gauge the success of a band - whether its chart success, or magazine covers or later on in the 70s, videos. But the fact that Little Feat came to embody all those divergent elements of American music; roots, blues, country, cajun, folk - speaks volumes over how much of a contribution they've made over the years.

To get an idea of what they were like during what is considered one of the high-points in their enduring career, here is a gig they did at Ultrasonic Studios in New York - a kind of invite-only concert/radio session done for WLIR-FM and syndicated around the country on September 19, 1974.

Crank it up and enjoy the hell out of it.

h/t to Ed Regan for reminding me.
The Dylans - The Unreleased EP - 1989 - Past Daily Nights At The Round Table The Dylans - If the record company just weren't a bunch of idiots . . . .



The Dylans -Tangerine (unissued ep) - 1989 -

A few months back, I posted some tracks from one of my favorite bands of the late 80s/early 90s, The Dylans. I indicated that it was very sad, how they suffered at the hands of a record company that didn't seem to know how to handle what they had and how the band broke up, in lieu of a better deal coming along.

And a few days later, I got an e-mail anonymously giving me a whole files worth of material by The Dylans; none of which had been released or even saw the light of day after it was recorded.

The prize among the files was the unissued ep, which was supposed to have been released as a follow-up to their debut single Mary Quant. But for whatever reason, the label (in this case, AM in the U.S. and Beggars Banquet in the UK) decided to shelve the release. The excuse was given that they had started to sound much like the bands whose time had already come and gone, and they wanted the band to cut all new material.

Needless to say, it was a morale destroyer and The Dylans called it a day shortly after. And despite several name and personnel changes, they never got back into the momentum they had successfully achieved early on.

I can't tell you how many times this story has been repeated - by different people, different circumstances, different countries. Struggling only to have it so close you can taste is, only have it pulled away from you.

Needless to say, there are some excellent tracks on this ep that shouldn't be sitting in a dark basement someplace,all gathering dust and mildew.

If you remember The Dylans, during that period of 1989-1992, then they may ring a few bells with you. If not, here is something they recorded but it never got issued. A worthy band, deserving a lot more than they got.

Play loud.
Joe Cocker - Mad Dogs & Englishmen - Fillmore 1970 - Past Daily Soundbooth Joe Cocker - in the middle of the madness. Mad Dogs Englishmen with Leon Russell and a cast of hundreds.



Joe Cocker - Mad Dogs Englishmen - opening night at The Fillmore - March 27, 1970 - Band soundboard -

The inimitable Joe Cocker tonight. The band and the tour that put Joe on the Musical map and made Leon Russell a household name, not to mention a cast of luminaries who came along to lend licks and notes and turned this concert tour into a rolling circus. It was immortalized on film and became one of the biggest selling albums of the 1970s. If anything, this tour and this album kicked off the 70s.

Tonight, it's the first set of the first night at The Fillmore, March 27, 1970. In a way, it's a dress-and-tech rehearsal, because, as the story goes - this tour was put together only 13 days earlier and it hit the road only on March 20th.

With Leon Russell as Musical Director, a cast of all-stars was assembled as well as a horn section, three drummers. Russell pulled favors and got friends to pitch in. His years as one of the go-to session musicians on the West Coast certainly paid off handsomely with connections.

The rest, as they say, is history. However, when the album was released in August of that year, it was initially met with some negative comments - Rolling Stone's Pete Nartez commented that the whole album sounded like the band was "formed on a few days notice to meet contractual obligations and sounds like, well, like a group that was formed on a few days notice to meet contractual obligations".

History has proven a bit kinder, and the negative reviews didn't hamper the album from becoming one of the most played on FM-Underground at the time, and several cuts were issued as singles and got considerable top-40 airplay. The album went to Number 2 on the Billboard Album charts, so it did pretty well for an album whose band was once referred to as "a pickup orchestra with Saloon-Soul swagger".

You no doubt have heard the album and probably have seen the movie - here's one of the performances you might have missed.

Crank it up and enjoy.
Gregg Allman Band - Live In San Francisco 1984 - Past Daily Backstage Weekend: Tribute Edition (Gregg Allman: 1947-2017) Gregg Allman - founding member and guiding light of the legendary Allman Brothers Band.



Gregg Allman Band - live at The Stone, San Francisco - September 22, 1984 - Band Soundboard -

If anyone thought we'd get a respite from the flood of untimely deaths which visited us in 2016, I am afraid that was only a fleeting hope and fervent wish. Now we hear of the death of Gregg Allman, founder of the legendary Allman Brothers Band and one of the guiding lights in the Southern Rock evolution of the 1970s.

The cause of death was listed as complications from liver cancer, but we all know it's the end result of a life lived faster than most and dotted with wretched excess as many of us experienced, growing up during the time when wretched excess was a virtue rather than vice. Still, it doesn't mask the feelings that losing one more influential voice, a talented and dedicated artist is becoming just too damned familiar lately.

Bad enough we've had to come to grips with the death of Chris Cornell, a loss sudden and shocking, coming from seemingly nowhere only days ago. We now find ourselves reflecting back on another loss, from another generation - thinking of all the times we saw Gregg Allman, going back to the days of the Troubadour in West Hollywood, when The Allman Brothers were just getting known - and friends were saying "You should have heard them when they were The Hour Glass" - we missed a lot, we'll always miss a lot. And hearing about his brother Duane, who co-founded the Allman Brothers, his death in a motorcycle accident and how that was too sudden and too shocking and how we thought of the unfairness of everything - that there are no sure things in life, except maybe that at some point, it will be over.

So as a reminder of the art of Gregg Allman and the timeless contribution he made to the legacy of Rock, here is a concert he performed with his band at The Stone, in San Francisco - recorded by the sound engineer on September 22, 1984.

People have said that now Gregg gets to jam with his brother Duane again.

Maybe so - maybe so.

Gregg Allman: December 8, 1947 - May 27, 2017
You're A Teenager - You Live In Chicago - It's May, 1963 And You're A Big Fan Of This Guy Who Calls Himself "The Wild Eye-Tralian". . . .you even have a Dick Biondi Fanclub.



WLS-AM Chicago - The Dick Biondi Show - May 2, 1963 - Gordon Skene Sound Collection -

Personality Radio was everywhere in the 1960s. You couldn't spend more than five minutes in any town in the country where you weren't introduced to the be-all-end-all DJ on the favorite local Radio Station.

In Chicago, WLS was celebrating it's third year as a Rock Station, and had as one of the big personalities Dick Biondi. Affectionately known as "The Wild Eye-Tralian" Dick Biondi was typical of the larger-than-life personality most DJ's had at the time. He had his followers, his legion of fans.

And on this May 2nd in 1963, Biondi was not only celebrating his third year with WLS, but it was also his last show with them. Because very shortly, he would become a mainstay in the pop Culture stream of Los Angeles Radio by doing for KRLA what he did for WLS; inject some high-octane personality between records to the legions of teenagers, hanging on for the next record.

For those of you born a long time after this broadcast, let me explain a couple things. Before the days of streaming, limited playlists and music stashed somewhere in between commercials, Top-40 radio, as it was known then, was the place you got all your information and music - it was the place you heard most new records that were released, and you grew to trust a favorite disc jockey because you depended on them to have their ears to the ground, searching for the new releases you were going to like. Maybe not all the stuff you heard you were crazy about - the thing about radio in those dim-distant days, is there were sort-of formats, but the music ran the gamut from Rock to Country to Easy Listening to Jazz - sometimes all in the space of one hour. You got an education in music appreciation whether you realized it or not. All you knew, is that you heard what you liked and you stuck around to hear more just like it, and maybe hear something else completely different, but that you liked just as much.

That was the nice part about radio then; you got to hear a lot. And besides, this was 1963. By the end of the year a lot would change, including much of the music you were about to hear. You got a glimpse of it from The Beach Boys with Surfin' U.S.A. - but that was the tip of the iceberg.

The best was yet to come (although some disagree).

Here's an hour of Dick Biondi from May 2, 1963.
Big Jay McNeely - Live At Birdland 1957 - Past Daily Soundbooth - Birthday Edition (Big Jay McNeely - April 29, 1927) Big Jay McNeely - Big Nine-Oh and goin' strong.



Big Jay McNeely - live at Birdland, Seattle Washington - 1957 - Big J Records 1989 -

In case you missed it, or it slipped your mind, or you were distracted by the birthday of another celebrated Jazz giant, Duke Ellington (born on April 29, 1899), yesterday was also the 90th birthday of Big Jay McNeely (April 29, 1927).

Still with us and still going strong, Big Jay McNeely represents the sole survivor of what has been called the Los Angeles Postwar Jump-Blues movement. And one of the greatest practitioners of the "honking sax".

It could be said that much of what McNeely (and his colleagues) did was pave the way for Rock n' Roll, by injecting the infectious Jump-Blues rhythm and frantic beat. And it can also be said that many of who made up the Jump-Blues movement were offshoots of Big-Band jazz, or recruited Jazz players into the fold. Roy Milton had former Basie alumni in his ranks. Another celebrated honker, Earl Bostic had such future luminaries John Coltrane and Stanley Turrentine in his ranks. And McNeely himself has often cited Lester Young and Illinois Jacquet as inspirations.

But McNeely is one of a kind and his style of playing has been imitated frequently over the years. Thankfully, we still have the original as reference point.

The L.A. music scene in the 1940s, most notably the war and postwar years, is a fascinating study of contrasts in music and hotbeds of ideas. With the vast racial-social-ethnic spread of people moving to L.A. to take advantage of War Factory work and work for the film studios, those people represented all sections of the country, it was something of a melting pot for music. In addition to Jump blues you also had Western Swing, Folk Music, Contemporary Classical and just about every sub-genre in between.

So this Harbinger of Things To Come by way of Jump-Blues was a pivotal element that spun everything around to Rock n' Roll. And even though there are legions of people cited as the ones present at the birth to the form, you get the idea that there was something in the air at the time and it was coming from a lot of places. And the air blew quite cool and hot all at the same time. This session, actually an experimental stereo recording at Birdland in Seattle wasn't available commercially until 1989 when McNeely, along with historian Jim Dawson, assembled the tracks which became this album and finally issued it. Stereo was in its infancy at the time, with labels just starting to issue albums in the new format. So this is historic on a number of levels.

Happy Birthday Big Jay McNeely: April 29, 1927.

Editors Note: It was learned earlier this morning (September 16, 2018) that Big Jay McNeely passed away. He is deeply and sorely missed and his contributions to the music world are inestimable. RIP: Big Jay McNeely.
J.Geils Band - Live At Cobo Hall, 1974 (J.Geils: 1946-2017) - Past Daily Soundbooth: Tribute Edition J.Geils Band - Americana in the form of howlin', stompin' rock n' roll.



J.Geils Band - Cobo Hall, Detroit - November 3, 1974 - Band Soundboard -

I thought perhaps we broke the spell of the seeming daily reports of another rock star dying. But no. This one comes in the form of one of the stalwart bands of the early 1970s, when traditional Rock was claiming its rightful place in the grand scheme of things. The J.Geils Band were from Worcester Massachusetts, and got together in 1967, initially as a three piece. Founded by guitarist John Geils, the band hovered between Rhythm Blues and traditional Rock. Over time they added members and what was originally The J.Geils Blues Band became simply The J. Geils Band. They were a hard working outfit; touring almost constantly and opening for everyone from The Byrds to The Allman Brothers. Their debut album came out on Atlantic in 1970 and scored their first hit with a cover of the Contours First I Look At The Purse.

After a string of hits, and the dawn of MTV, the band gradually changed direction - heading into more New Wave territory. But by this time they were a huge success, with their 3rd album, Bloodshot a commercial breakthrough for the band. And coupled with MTV they became a household name.

They continued this winning streak into the early 1980s where they achieved their commercial as well as mainstream success. But it was also this time that the band went through direction clashes. And by 1983, lead singer Peter Wolf left the band, citing musical and artistic differences. The band broke up in 1985.

Over the years there have been several reunions, with J. Geils at the helm.

And all that stopped as of today when John "J." Geils was reported unresponsive and pronounced dead at his home in Groton, Massachusetts.

As a reminder of what the first incarnation of The J. Geils Band sounded like, when they were still hitting the road and building an audience, here is a memorable gig at Detroit's Cobo Hall, from November 3, 1974.

If you were around at the time you'll remember - if you missed them, you missed something special.

Play loud and hoist a few.
10CC Live In Mainz, Germany - 1980 - Past Daily Backstage Weekend Eric Stewart and Graham Gouldman of 10CC - by 1980 it was just the two of them - or 5CC's worth.



10 CC live in Mainz, Germany- Rheingoldhalle - April 30, 1980 - SWR3 Radio, Germany -

10CC in concert this week. One of the bigger hit-making bands of the 70s, 10CC had a string of huge hit singles, six Gold albums and three platinum albums. A band whose music crossed over from Rock to mainstream and back again.

But this concert in 1980 represents really one half of 10CC. A split between the song writing teams of Eric Stewart and Graham Gouldman and Kevin Godley and Lol Creme. The rift saw Godley and Creme leave the bqnd for other pursuits, while Gouldman and Stewart continued on as 10CC, adding musicians to fill in the gaps. This was also one of the first concerts featuring Eric Stewart, who had recovered from a serious auto accident in 1979, which left him badly injured and recuperating for some six months.

So it's not the original 10CC completely; just half of it. And it would stay that way until 1983 when the band dissolved completely and not resurface until 1991.

Numerous side and solo projects later, 10CC are still recognized as one of the most recognizable bands of the 70s and their numerous hits continue to get airplay - a recent limited edition reissue box set of their albums came out in 2012 to commemorate 40 years since they first formed, and BBC Television ran a documentary of the band in 2015 and repeated it in January of this year. So the fan base is still strong and still attracting new fans along the way. 10CC were one of the more innovative bands of the 70s, cranking out pop hits but also doing a lot of experimenting in the process.

At some point, I should try and locate one of the earlier, original lineup concerts, to give you an idea of what they sounded like when audiences first heard them. In the meantime, here's a taste of what they were up to in 1980, playing a concert in Mainz Germany on April 30, 1980 and broadcast by Sudwestfunk radio shortly after.

Crank it up and enjoy.
David Bowie In Concert - 1974 - Past Daily Backstage Weekend: Thousand Yard Stare Edition David Bowie - Profound, even to the end. (photo: Steve Schapiro)



David Bowie - in concert from Universal Amphitheater - September 5, 1974

David Bowie this weekend. One of the far-too-many icons we lost this year. Seems like it happened a decade ago, with news of an additional passing almost daily; each as heartbreaking and numbing as the other. But sadly, David Bowie's was a face we no longer got to see after this year - and would never see again.

An astonishing talent, with decades to his credit and millions to call his fans. When it was learned that Bowie had died, everyone I knew went back to some pivotal moment they remembered him from. A lot of people went to Space Oddity. And then there was Ziggy Stardust, Diamond Dogs - almost every decade from the 60s on, had some indelible aspect of David Bowie, weaving into our collective consciousness - becoming part of our soundtrack.

It's hard to recall just how many times I saw David Bowie in concert - all I know is, I distinctly remember being moved by the songs, the performer, the performance and the spectacle. Even in later years, when the stage presentation was no longer an integral part of the show, David Bowie still had the aura of magic about him. The power to take us with him on his musical journey by merely standing on stage.

During a year of so much loss, it's impossible to say who left the most profound impression - truths to tell, they all did and all for different reasons. The common denominator was genius and that uncanny ability to connect - no matter if it was the person in the front row or the last.

This concert, part of the Diamond Dogs tour, was a contrast to his previous incarnation as Ziggy Stardust. The Glam had faded, the spectacle was brought down to earth, but the power and the genius were still there. I remember sitting somewhere in the middle of the Amphitheater, mixed with fans and jaded press - eyes glued to the stage; ears hearing only the notes. We were lucky. We didn't know it at the time. But we never took him for granted.

Enjoy - play loud and toast a few.
The Pretty Things In Session - 1965-1967 - Past Daily Soundbooth The Pretty Things - Why they werent as big, if not bigger than The Rolling Stones at the time remains a mystery.



The Pretty Things - In Session at The BBC - 1965/1967 - BBC Radio 1 -

The Pretty Things were, if you remember, part of that initial wave of British Invasion bands which hit these shores in 1964/1965. They were, without a doubt, one of the rawest, most primal and engaging bands of the bunch. They were equal to, if not surpassing The Rolling Stones, a band which was very much in the spirit of The Pretties, probably because members of both bands were actually in both bands at one time or another. Legend has it, Mick Jagger was originally asked to join but was persuaded by Brian Jones to join his band.

And if any band could lay claim to being the most raucous, rule breaking, loud, snotty and trouble making bunch, it would be The Pretty Things. The bad boy image was the real-deal with those guys.

My first exposure to The Pretty Things was via a 45 ep import, The Pretty Things On Film. It wasn't available in the States. It was on Fontana, and I bought it at Lewin's Record Paradise on Hollywood Boulevard in L.A. - it was a life-changing experience and I became a huge fan ever since.

So why didn't The Pretty Things attain massive popularity in the States? Not only did they not achieve massive popularity, they were practically ignored by the American music buying public and American radio stations. They were, if anything, overlooked.

And throughout the years - The Pretty Things have been together, in various forms and incarnations, over 50 years now. They went from rough-edged Blues to mind-melting Psych to Hard-Rock over the years, and they are still largely ignored by the American music listener.

Not so in England or the rest of Europe. The Pretty Things have always enjoyed sizable popularity and have sustained that popularity throughout all the changes in music and style. I ran one of their more recent concerts during a festival in the Netherlands a couple years ago and they've lost none of their edge.

But tonight it's the early material - the first two songs are from a 1965 session (Top Gear, I think) and the third number is from their celebrated Psychedelic period, which featured some classics and the rewards of a collaboration with Norman Smith, who also did wonders for Pink Floyd early on.

So if you aren't familiar with The Pretty Things, or missed them the first or second or third time around, pity. I would suggest you start here and crank this one up and listen to what you've been missing all these years. And go exploring through a sizable and treasure-laden back-catalog of some touchstone performances.
Hanoi Rocks - In Session 1984 - Past Daily Soundbooth Hanoi Rocks - Finnish Hair-Band. Further evidence the 80s were all over the place.



Hanoi Rocks - in session - BBC Radio 1 - July 1984 - BBC Radio 1

Hanoi Rocks - in session from July of 1984. I will freely admit, Hair-Bands in the 80s weren't my thing - frankly, there was already enough diversity in Pop music at the time to get excited over a lot of what was going on, and these bands represented, to me anyway, a certain revival of mid-70s Hard Rock/Glam. That's not to say there weren't a lot of good bands in this genre - there were. Two bands I did videos for, who I enjoyed working with were Ratt and Sea Hags. Ratt became well known. Sea Hags, not so much. Hanoi Rocks, at the time, was a band I could take or leave. They were from Finland, anglicized their names, were properly androgynous and were popular in the Hair-Band/Heavy Metal genre.

So when I ran across this session, recorded for BBC Radio 1 in 1984, I pretty much blocked out all the preconceived notions I had in my head and just listened to them for the music.

One of the biggest drawbacks during the era of the Music Video was the fact that you really could no longer just listen to the music and judge it on its own terms - you had to have visuals accompany what you were listening to. And most of the time it was distracting - a lot of it was silly - some of it was Art, but most of it was commerce, at least by the later-80s. There was a time when Pop Music fueled imaginations - that you could make up your own visuals in your head and not have it spelled out for you. That became a thing of the past when Music Videos became another marketing tool, picking up the slack from radio, which had fallen down badly on the job.

But all of that is by way of saying I forgot the Hanoi Rocks videos and just listened to the music. And what I came away with was the feeling they were a very capable band, good at what they did. And this session proved to be enjoyable.

You may or may not feel the same way - it depends on what constitutes your nostalgia - where you were and what you were doing at the time you first heard something. It's different for everybody.

Anyway, give this one a listen - you may love it or you may hate it. You have the Play and Stop buttons at your fingertips.
Eric Burdon & The Animals - BBC Session 1965 - Past Daily Soundbooth - Birthday Edition Eric Burdon - Hittin' the Big Seven-Five today.



Eric Burdon The Animals - BBC Sessions - April-July 1965 - BBC Radio 1 -

The inimitable Eric Burdon in session tonight. Two of several he recorded for the BBC between 1964 and 1968. And in case you didn't know, has a birthday today (May 11, 1941). Seventy-five big ones. Quite incredible, but not so much when you consider he's still performing and gigging around.

One of the first of the British Invasion bands to hit the U.S. in 1964, The Animals scored instant hits, with a heavy blues influence and the soulful vocals of Eric Burdon - they had a string of number one hits all the way through the mid-60s period and continued (via different incarnations of the band lineup) to score hits into the 70s.

Over the years the music has changed; grown, refined, went back-home, got streamlined and compact, but Burdon has maintained his uniquely individual sound. From the initial forays with The Animals, consisting of future Jimi Hendrix Manager Chas Chandler, Hilton Valentine, Alan Price and John Steel, to the split up in 1969 and his involvement with War and his solo career afterwards, he has kept the ball rolling and kept things fresh in the process.

But tonight it's the early stuff - the stuff everyone of a certain age remembers when and where they first heard it. Eric Burdon was an integral part of our discovery of a new breed of Rock n' Roll - one that wasn't home-grown, but came from overseas. And it was exciting and there was a lot of it - and we just couldn't get enough.

If you remember, this ought to ring a lot of bells - if you don't, or have never heard of Eric Burdon and The Animals, they were one of those bands who changed the face of Rock in the 1960s - and we never looked back.

Crank it up and enjoy and Happy Birthday Eric Burdon!
The Zombies - In Session 1966-1967 - Past Daily Soundbooth The Zombies - A band equally at home with their own material as Burt Bacharach's.



The Zombies - in session for Top Of The Pops - 1966-1967 - BBC Radio 1 -

If they recorded nothing else, The Zombies would be cemented in the legacy of 60s indelibles with She's Not There and Tell Her No. But they recorded a lot more - and during the time of their initial tenure, they recorded a huge range of music and made it their own in the process.

Evidenced by this series of BBC Sessions for the Top Of The Pops Radio series from 1966 and 1967. Covering American Soul classics Goin' Out of My Head, This Old Heart Of Mine and the haunting Burt Bacharach tune The Look Of Love, it was clear The Zombies had a lot more to offer than the acknowledged hits.

You may not be familiar with this aspect of The Zombies, or these tracks, which were not officially released (until a recent release of BBC session material came out). By the time they did the 1967 session which included The Look Of Love, music was changing, and so was the band. The Zombies would disband in December of 1967, leaving the milestone Odessey and Oracle (their misspelling) as a final gesture until reuniting many years later. Rod Argent would go on to found Argent, which became a huge success during the early 70s.

But this is The Zombies during their period of transition, and they offer some covers of songs which were hits for other people, but done in the inimitable Zombies style and shouldn't be missed.

Crank it up and enjoy.
And please don't forget to make your Tax Deductible contribution, during the final days of The Past Daily Spring Fundraiser - we need your help and we are appealing to you to chip in what you can (if you haven't already, and a LOT of you already have!) and tell your friends. This is the kind of stuff we offer every day of the week, and have since 2012. We want to stay here and continue doing what we're doing - we also want to be able to finish the herculean effort of preserving and restoring the thousands of hours of historic broadcasts, interviews, concerts and Pop Culture left to do. We can't do it without your help - so we're asking you to make the choice, and click on the link in the box below and give what you can - a little means a lot to us and it is all greatly appreciated and gratefully received.
The Good Rats - Live At My Father's Place - July 4, 1979 - Past Daily Soundbooth The Good Rats - Epitome of the Uber-Cult band.



The Good Rats - in Concert at My Father's Place - July 4, 1979 - WLIR-FM -

The Good Rats, often referred to as "The most famous unknown band in America", got their start in 1964. The Long Island, New York natives have had a consistent cult following, and it's only grown over the years. Although they've had some minor national and international success over the years, they are primarily known on the East Coast of the U.S. - or more exactly, the Long Island, New York part of the East Coast.

But to say they are a cult band gives you the impression they are followed by a distinctly small following of die-hard fans. They actually have a huge local following, and because of that, they are sometimes characterized as an "uber-cult band".

Their brand of Rock goes to straight Americana - with a liberal dollop of Blues, but basically The Good Rats are a Hard Rock outfit, pure and simple.

This concert, on their home turf, is from the fabled My Father's Place in Roslyn, New York - it was recorded by WLIR-FM as one of their regular weekly concerts on the 4th of July 1979.

Over the course of their career, The Good Rats have released some 14 albums on various labels over the years. Although they are not as active as they once were (as well as lead singer Pepi Marchello's recent passing as the result of a heart attack in 2013), the band still gets together occasionally just to remind people that the Long Island Sound is alive and well.

If you've been around you have no doubt heard of them, although they may not register instantly - if you haven't heard of them, here is a taste of what a local band with a big cult following sounds like.
And while you're listening - please make your tax deductible donation to help keep Past Daily up and running and to keep the Archive actively preserving and digitizing the thousands of hours of rare broadcasts, interviews, Concerts and Pop Culture to offer you every day. Please click on the link in the box below, or click on the Fractured Atlas logo to the right of this page and chip in what you can - it takes a minute but it lasts forever. I can't thank enough those of you who have turned out and contributed and told your friends - you've stepped up to the plate and are supporting one of the best sites on the Internet. Keep up the fantastic work!
Fleetwood Mac In Session - 1968 - Past Daily Soundbooth Fleetwood Mac - To many, this was the only version that mattered.



Fleetwood Mac - In Session for Saturday Club/Top Of The Pops - April 9, 1968 - BBC Radio 1 -

Early Fleetwood Mac tonight. Years before their transformation into a hit-making machine, Fleetwood Mac was a serious blues-based band. Heavily rooted in the Chicago sound and the rural classics of American blues, the British Quartet (later Quintet) had established themselves as one of the go-to bands in the mid-1960s, and enjoyed a large and loyal following on both sides of the Atlantic. Those of us who saw them during this early period found a band overflowing with energy and conviction, who fit right in with the Blues revival going on in the States at the time, and who were one of the best live bands making the concert circuit. That their huge hit, Black Magic Woman would later be a signature tune for Santana, gave further evidence of just how influential a band Fleetwood Mac were at the time.

When they went through the transformation, it was a huge disappointment for many (me included) - but Fleetwood Mac were always something of a stopping off/evolution place for a lot of musicians. In that respect, they were very similar to John Mayall's Bluesbreakers (a band which featured future Fleetwood Mac founders). But with each lineup revision came a shift in direction. So by the time the Buckingham-Nicks era arrived, the gritty blues they were so heavily associated with in the beginning was largely gone.

But this is the early stuff - as originally recorded for the Saturday Club program on April 9th, 1968, and later re-broadcast as part of the Top Of The Pops series for the BBC Transcription Service. This is the Blues/early Rock n' Roll incarnation of Fleetwood Mac as many of us remembered and were diehard fans of.

If you aren't familiar with this early phase of the band, it may sound strange to you. But this was who they were in the beginning - and you were either high on the floor of the Shrine Expo Hall listening to them, or you were dancing your ass off. They worked either way.

Crank it up and enjoy.
And while you're doing that - please-please-please chip in what you can to keep Past Daily up and running and bringing you all these rarities to you every day. We're smack in the middle of our Spring Fundraiser and we do this a couple times a year to ask for your support and your tax deductible contributions. We're not asking a lot - the price of a cup of coffee is fine - but we need all of you, who are listening and downloading and telling your friends to join us and help us keep going. All you have to do is take a minute out to click on the link in the box below - or click on the Fractured Atlas logo on the column to the right of this page, and make your contribution and your pledge of support. We'll be here as long as you are. If you're enjoying us, join us.
Terry Reid - In Session 1969 - Past Daily Soundbooth Terry Reid - Unsung Hero



Terry Reid - In Session for Beat Club - Dec. 31, 1969 - RBB Berlin

Terry Reid tonight. Probably more well known by fans as "the man who turned down Led Zeppelin" than for the actual artist himself, Terry Reid was a well respected and moderately successful artist in his own right, and the Led Zeppelin legend seems to short change and overlook the lasting and substantial part - Terry Reid was (and still is) a helluva singer who was influential to a number of artists over the years, not the least Robert Plant himself.

But Reid hasn't been all that well represented in albums, and even less well-represented in live performance recordings throughout his career. There was a Peel session in 1969 as well as Top Of The Pops and Old Grey Whistle Test appearances and a few others, including this live appearance on the German show Beat Club. But, unless something else appears (as it is almost sure to do), that's largely it for the early part of Terry Reid's career. Tantalizing and a little frustrating, but grateful it has survived nonetheless.

For those of you just getting your feet wet with the legacy of Terry Reid, this Beat Club performance is a good one and is a good place to start. But check out his BBC appearances and seek out his albums, including his 1968 debut U.S. album for Epic (Bang,Bang. You're Terry Reid) - and go from there. A lot of good material from an extraordinary and well-regarded musician.
And while you're listening - I have to remind you to chip in what you can during our Past Daily Spring Fundraiser - we do this a couple times a year and have to raise enough money to keep the site up and the Archive afloat - we have a lot of preserving and digitizing to do and it costs a fortune. So, please click on the link and dig in and give what you can - it's Tax Deductible and it only takes a second to make a huge difference. Click on the link in the box below and chip in; a little or a lot - it's all gratefully appreciated. And a huge debt of thanks and gratitude to those of you who have chipped in so far. I couldn't do it without you!
3 Colours Red - Live At Reading 1996 - Past Daily Soundbooth Or as John Peel said from the stage; "The soothing sounds of 3 Colours Red".



3 Colours Red - live at Reading 1996 - August 25, 1996 - John Peel - BBC Radio 1 -

3 Colours Red, continuing our romp through Reading '96 this week, via John Peel and BBC Radio 1 on August 25, 1996. 3 Colours Red were a somewhat short-lived phenomenon. Part of the Britrock revival in the late 90s, the band achieved a considerable amount of success in a short period - with three albums in the UK top 20 between 1996 and 2004 and a goodly amount of recognition via a commercial (as a lot of bands do these days) for Fox Sports Channel. Although the band were only together for some four years before their first split - they got back together in 2002 and carried on until 2005 when the split became permanent.

Tonight its 3 Colours Red during their initial rise to fame, having just finished their debut album (which would be released the following May). They were already getting a lot of word of mouth and a following. So their appearance at Reading was confirmation they were on to something. It also helped they were getting a push via John Peel at the BBC.

You may not be all that familiar with 3 Colours Red (and are wondering what the title of the band is all about - think of the classic Polish film trilogy 3 Colours - the final movie in the trilogy was Red - now you know) - but you might be familiar with the Britrock revival of the late 90s - this was one of the bands very much part of that seismic movement.
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March 4, 1962 - You're A Teenager, You Live In Providence Rhode Island - It's 28 Degrees Outside - And You're Listening To The Radio - Past Daily Weekend Pop Chronicles March 4, 1962  . . . and Spring was just around the corner.



March 4, 1962 - WPRO-AM, Providence Rhode Island 11:00 am - 12:00 noon - Gordon Skene Sound Collection -

March 4, 1962 - If you were around this day, 54 years ago - and you lived in Providence Rhode Island, you'd be contemplating another day of snow. It would be 28 degrees outside at eleven in the morning, and chances were, you'd be listening to your radio, or have a transistor plugged into your ear. Your radio might be tuned to WPRO and you'd be listening to the hits of the week.

One of the things that made Top-40 radio interesting during the 1950s and 1960s was the fact that every town and city, all over America had their very own bastion of Popular Culture - and most every one was different - every town had their Pop star, some more than others. And every radio station in every town and city had their own personalities. Listening to radio in Providence, Rhode Island may have seemed the same as listening to radio in Los Angeles or New York, but there were differences. Local events were talked about, local personalities made records - and not everybody liked the same music the same way. Homogenizing radio and what people listened to hadn't happened yet - it was still up in the air as far as musical tastes were and not one musical genre prevailed over the others.

And maybe that was the common ground - everybody heard a lot of different music, all under the heading of Pop - and whether you were heading up to Malibu on the West Coast, or shoveling snow on the East Coast, you got a musical education whether you knew it or not.

So this hour, from a Sunday Morning in March in 1962 was a sample of what was going on in Providence, Rhode Island at the time - maybe it wasn't exactly what you were listening to at the time where you lived - and maybe you were a little younger or a little older than High School age. In a little under 2 years your entire world would change and music would be different forever after that. Some call these early years of the 60s the doldrums - where Pop music was going through a sedentary period and going through the motions until the next big thing arrived.

Whatever it was, this is what was going on in your world, as of 1962. If you're from Providence Rhode Island, this may have special meaning to you - if you aren't, or if you weren't even born in 1962, this is what people who are wandering in the direction of 70 this year were listening to during their formative years.

Think about that one for a while.
Deep Purple In Concert 1974 - Past Daily Soundbooth. Deep Purple - once laid claim to "Loudest Band In The World".



Deep Purple - In Concert - July 6, 1974 - BBC Radio 1 In Concert Series -

Deep Purple in concert from 1974 tonight. As a sort of companion to last night's Faces concert, the hard-Rock juggernaut of the early 70s continues with a band who once took credit for the claim to be the "Loudest Band In The World".

Well, a lot of bands were claiming that in the early 70s - and it probably speaks volumes about the massive loss of hearing most people of a "certain age" are experiencing now. The sign of a good concert in the late 60s and early 70s usually meant how many days after your ears were still ringing. Some people cheated by getting very close to the stage and practically climbing into the monitors - some of that was no doubt drug inspired, but the bottom line was just how profound a sonic experience you had when you wandered into the concert hall for a night of lung-rumbling rock n' roll. If you were drained, incoherent and vacant, the show was a success.

And Deep Purple were, admittedly, high on the list. Before the days of infinite sub-genres in rock, Deep Purple were considered Hard Rock; flat-out - no glam, no heavy-metal, no psych. Just hard, thumping, head-banging Rock. Although a journalist did once label them "The Ultimate Sweat-Band".

And even though there were forays into Progressive territory, they maintained their roots and never stopped cranking out anthems (i.e. Smoke On The Water) to legions of diehard fans, who filled stadiums and arenas all over the world.

Over the years, lineups changed and articles proclaimed them the epitome of Heavy Metal. But they were still, as always, a Hard Rock band - cranking it out and cranking it raw. With the inimitable Jon Lord at the helm and a veritable who's who of bandmates passing through the ranks; Deep Purple were one of the pivotal bands during the upheaval years of the early 70s, and who became highly influential for a fleet of bands to come along later.

Tonight it's a concert during the height of their huge popularity - recorded by the BBC for their weekly Radio 1 Program, In Concert, Deep Purple turn out a turbo-charged set, which more than justifies the claim they were the Loudest Rock Band in The World.

Maybe you don't need to crank it up so loud this time - but have a listen and see what you think. And if you aren't familiar or never heard of them; time to broaden your horizons and dig a bit of history.
4 By The Walker Brothers - 1964 - Past Daily Weekend Soundbooth The Walker Brothers - Local L.A. band didn't click with audiences until they settled in London.




Click on the link here for Audio Player - The Walker Brothers - Demo Sessions - 1964 - Gordon Skene Sound Collection

When they became overnight sensations with their smash hit The Sun Ain't Gonna Shine Anymore, it was assumed The Walker Brothers were yet another British Invasion band. Their debut hit got started in the UK. Their first album was issued in the UK before it was released in the U.S. - and they more than looked the part.

But truths to tell, The Walker Brothers, aside from not being brothers weren't even British. In fact, prior to their pilgrimage to London, Scott Engle, John Maus and Gary Leeds were making the rounds as studio musicians around L.A. and were, at one time, recording several sessions under the name The Routers (but never performed as them). Leeds was a member of The Standells.

So the transformation to Pop icons was quick, but not entirely by accident.

The band formed in 1964 and put together a series of demos, some of which had been licensed to other companies prior to their signing to Phillips in the UK, and some after they had hit pop stardom.

This group of tracks is from a 1964 session, initially done for Vee-Jay Records (who originally had The Beatles and were further getting their feet wet with The Honeycombs), but didn't get past the Demo stage. Primarily because financial problems and the injunction from Capitol regarding the debut Beatles album was the tip of what would become the bankruptcy iceberg for the company.

Nonetheless, these demos sat in the vaults, languishing for the better part of 40 years. They give some indication of what The Walker Brothers would eventually become. They've seen some reissue over the years, and a few of them were originally posted on my other site several years ago. But for the most part, these are recent discoveries.

It gives you some idea of what still sits in vaults that hasn't been destroyed or erased. The possibilities are quite endless.

Enjoy.
30 Minutes That Shaped A Generation - The Selling Of Youth Culture In The 60s - Past Daily Pop Chronicles The Come Alive Generation: Behind every kid was a dollar bill, struggling to get out.







Something interesting happened around the time of the British Invasion in the early 1960s'; teenagers in America were suddenly discovered to be a massive consumer market.

Not that there hasn't always been a goodly chunk of the population hovering under 30 - it's just this particular generation, the one that's come to be known as Baby Boomers, represented an enormous flood of people in that age group. More so than any other generation before it, the Baby Boom Generation was seen as the one group of people who spent the most money, went the most places and bought the most clothes. Not so much the big ticket items (although cars were integral in American life in the 1960s, buying new ones was still in the domain of the relatively few), but lots of small-ticket items which came to be the fodder for an entire genre of Advertising.

And because top-40 radio had achieved virtual supremacy of the airwaves during this time, Youth-oriented Advertising was the key ingredient in furthering the goal of a consumer-oriented society. Even if sometimes the products weren't all that Youth-Oriented (i.e. Beer and Wine and cigarettes), the nudge-nudge/wink-wink that kids smoked and drank was abundantly apparent.

For the next 30 minutes, when you hit the play button above, you'll get a small sampling of what America's Youth were being hit with, almost non-stop during those heady years of 1964-1969. Of course, youth-oriented Advertising didn't stop there - it's carried on as an almost predominant form of selling to this day. And, for the sake of not inducing an overdose, it's just a 30 minute sampling - it could be for hours. But like anything - a little goes a long way and you may not make it past the 5-minute mark - I don't blame you.

But it got started somewhere - and as clumsy and naive as it sometimes was, it managed to climb right into the collective American psyche and persuade us to part freely with our hard-earned/hard-panhandled/hard-promised dimes and dollars.

We've never looked back and we never spent more.

Enjoy (?)
Spoon - Is Love Forever? - Past Daily Soundbooth Spoon - and the answer to that is . . .dunno.

Click on the link here for Audio Player - Spoon - Is Love Forever - 2010

Taking a minor break from the mountain of Shellac tonight, with Austin's very own Spoon and their 2010 single Is Love Forever?

They are currently knee-deep in touring, with an expected L.A. visit on August 8th. In the meantime, they are currently in a worldwide way, playing Portugal tomorrow (June 5th) and heading to New York for a few dates before heading West. Finally landing in native Austin in October.

So, to refresh your memory - hit the play button and dig the oldies.
Related articles

Spoon To Headline Hollywood Forever Cemetery
Poco - In Session - Paris 1972 - Nights At The Roundtable: Mini-Concert/Session Edition Americana to wow the Parisians.

Click on the link here for Audio Player - Poco - Studio session in Paris - 1972 - RFI

A taste of homegrown Americana tonight. Poco, part of the cornerstone and first wave of the West Coast Country-Rock genre of the late 1960s/early 1970s. One of those bands coming together as the result of the demise of another legendary band. Founders Richie Furay, Jim Messina and Rusty Young all came from the ashes of Buffalo Springfield, forming Poco in 1969 and adding members (and losing members) along the way.

Tonight's session is actually an in-studio concert from 1972 in Paris. It features the band during the middle period; just after Jim Messina left to form Loggins and Messina and just before Richie Furay left to form The Souther, Hillman, Furay band. It's a little short, coming in at just a shade under 18 minutes, but it's considered to be one of the high periods of the band and further evidence the West Coast influence was being enjoyed all over the place, even in Europe.

The sound is quite good, but mixed a little ragged in spots - doing it on-the-fly is always a challenging experience. But sometimes, for art you must suffer.

Or words to that effect.

Enjoy and play loud anyway.
KFWB On KMET - 1972 - Past Daily Pop Chronicles What L.A. popped it's fingers to in 1962.

Click on the link here for Audio Player - KFWB on KMET - Gary Owens Show - November 11, 1972 - Gordon Skene Sound Collection

Unless you grew up in L.A. in the 1960s, or have an interest in Top-40 radio in the Los Angeles area in the 1960s, this post may not be very interesting to you.

However, if you did grow up in L.A. in the 60s, you would vividly remember what a powerhouse KFWB was, and how it was almost required listening if you had any interest in Pop music at all. KFWB, from the 1950s all the way to its demise and format change in 1968, was the be-all/end-all in knowing things musical and popular culture. In its heyday, stations like KFWB, KRLA and later, KHJ would rule the airwaves and became the cornerstone in Rock n' Roll.

But radio changed dramatically once FM became the popular medium in 1967. And stations like KFWB were no longer deemed vital, when stations like KMET were around.

And so it was somewhat ironic that, in 1972 when KMET was at the height of its popularity, it should turn over a whole day of its programming to re-creating a day in the life of KFWB, circa 1962. For 24 hours, KMET turned back the clock and became KFWB, with all the original jocks, all the original jingles and all the original records played during that time. The only thing then-current were the commercials, including one for Deep Throat and another with Woody Allen promoting a concert he was doing with Jim Croce. A day loaded with ironies. . . . and Gary Owens reading a waterbed commercial.

Ironically, KMET has long been gone from the airwaves. Replaced by The Wave. The station (one of them) largely responsible for rendering AM top-40 radio obsolete itself became obsolete a few years after this broadcast. Pop Culture is just like that, it seems.

Since I can't play the full 24 hours (although I could, but it would be overwhelming to me and to you), I grabbed an hour hosted by the legendary Gary Owens - one of the fixtures in radio and voice overs for decades - 6:30 am to 7:30 am as it was originally broadcast on November 11, 1972 - recreating a November 11th in 1962.

If you're hearing this or the first time it will sound completely strange to you. Radio bears no resemblance to that now. But bear in mind, this is where a lot of us formed our musical opinions on things - where we came to hear what was new and interesting. As a kid, it was an education.

Enjoy it in the spirit it was presented.

One of the purveyors of Pop expertise in Los Angeles.
The Everly Brothers - Live - 1958 - (RIP Phil Everly - 1939-2014) - Past Daily Pop Chronicles: Tribute Edition The Everly Brothers - synonymous with the Golden Age of Rock n' Roll.

Click on the link here for Audio Player - The Everly Brothers - Live on The Big Record - June 15, 1958 - Gordon Skene Sound Collection

Starting the year off with the passing of another icon from the early days of Rock n' Roll. The sad news earlier today that Phil Everly, the younger half of The Everly Brothers, lost his battle with Chronic Obstructive Pulmonary Disease earlier today at the age of 74.

The Everly Brothers were without a doubt two of the bigger influences on the Music world. Their close harmonies were an indelible trademark and their songs were covered by practically everyone.

By way of tribute tonight, I thought I would run one of their appearances on the CBS-TV program The Big Record, from June 15, 1958. The sound was recorded by a production engineer working on the program, so the recording is pretty sensational - as is fitting for the tremendous talent The Everly Brothers were. They are introduced by Patti Page, another memorable talent who we've also lost.

RIP - Phil Everly. The tributes will no doubt be pouring in for quite some time. Ironically, there's a tribute album that just came out featuring Norah Jones and Billie Joe Armstrong of Green Day singing the music of the Everly Brothers.

Goes to show you how timeless they are.
Simple Minds In Concert 1995 - Nights At The Roundtable - Mini-Concert Edition Some 80s Pop tonight.

Click on the link here for Audio Player - Simple Minds in Concert - Royal Concert Hall, Glasgow 1995 - BBC6 Music

Heading into familiar territory this Sunday night. Post-Punk-turned-Pop-Powerhouse Simple Minds, in a homecoming concert from Glasgow, recorded at the Royal Concert Hall by BBC6 Music in 1995.

One of those bands whose music was pretty much a backdrop for the 80s with an almost endless string of hits, Simple Minds were a regular staple in the diet of early MTV. And even though their popularity suffered a decline in the 90s, they had, and continue to have, a huge following. The band has gone a great distance from the old days as a Post-Punk outfit, and have undergone numerous personnel changes in the process. But the core of the band is still very much alive, well and kicking.

And here's what they sounded like in 1995.
Half Moon Run - Live At La Maroquinerie - 2013 - Nights At The Roundtable: Festival Edition-Rock Without Borders Criss-crossing Europe and still amazed audiences sing along.



Click on the link here for Audio Player - Half Moon Run - live at La Maroguinerie - April 23, 2013 - RFI-Le Mouv'

Together for just a little over 3 years, Montreal-based Half Moon Run have already acquired a large International following. This concert, recorded on April 23rd of this year at the festival La Maroquiniere, finds the band a little stunned that the audience is singing along, even on the newest songs. Word gets around.

They've been touring almost constantly, hitting just about every festival in Europe this summer. They're heading back to Europe (after a quick race through the U.S.) to finish out what has been a very busy and very successful year.

In case you missed them during one of their appearances here in the States, here they are at one of the many Spring festivals that went on this year.

Something to kick your weekend off with.

Enjoy.
JJ Cale (1938-2013) Live At Ebbets Field, Denver - 1975 - Past Daily Tribute Edition Created more than a few anthems for a generation.

Click on the link here for Audio Player - JJ Cale - Live in Concert At Ebbets Field, Denver - Feb. 13, 1975 - Gordon Skene Sound Collection

Another sad passing to report - another in the growing list of talent no longer with us. This one is JJ Cale, who left us at 8:00 last night as the result of a fatal heart attack.

Cale is probably best remembered by a lot of people, people of a certain age who had more than the average run of "too-much-fun" nights, as the one who wrote two of the biggest anthems of the 70s - Cocaine and After Midnight, both popularized by Eric Clapton, but both written by the immortal JJ Cale.

On his own he was an incredible talent - giving us the Tulsa Sound which was a loose mash-up of Country, Rockabilly, Blues and Jazz rolled up into one. His music was popularized by more than Eric Clapton, his material was covered by everyone from Lynyrd Skynyrd to Johnny Cash. But it's his own interpretations I always liked the most. Certainly, in the early 70s Crazy Mama from his Naturally album was on my must-play-daily list. His music and his voice just had that extra edge.

So this weekend, as tribute to the man and his music, I unearthed a copy of this 1975 broadcast from Ebbets Field in Denver - featuring JJ Cale at his best.

Rest in Peace and a heartfelt thanks for all the good times.
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US singer-songwriter JJ Cale dies of heart attack, aged 74 (bbc.co.uk)
JJ Cale, songwriter behind Cocaine and After Midnight, dies aged 74 (guardian.co.uk)
Grammy-winning musician JJ Cale dies at 74 (cbc.ca)
Tulsa Sound songwriter JJ Cale dies (thetimes.co.uk)
Writer of hits JJ Cale dead at 74 (cnn.com)
Silverhead In Concert - 1973 - Nights At The Roundtable: Mini-Concert Edition Silverhead - maybe not so much who they were but what they became. (photo credit: Jorgen Angel)

Click on the link here for Audio Player:

The 70s tonight. Silverhead were a brief foray into Glam by a band consisting of future luminaries Michael DesBarres and Nigel Harrison.

Although they achieved a moderate amount of success, Silverhead didn't last beyond 1974 when the group disbanded and Des Barres went off to form Detective and later, Chequered Past. Nigel Harrison did a brief stint with Chequered Past before heading off to Blondie and Des Barres eventually heading off to Power Station, replacing Robert Palmer.

Tonight it's Silverhead, as they appeared at the Paris Theater in London in 1973. Recorded by the venerable BBC Radio 1 for their In Concert series.

Another reminder of the short-lived phenomenon known as Glam during a period of constantly changing musical tastes.
Deke Leonard's Iceberg - Live In London 1973 - Nights At The Roundtable: Mini-Concert Edition Deke Leonard - One of the prime suspects in the Welsh Connection.

Click on the link here for Audio Player:

An example of a somewhat short-lived genre from the early 1970s, one that translated well in the States. PubRock was very big in the UK - it was basic stripped-down/no-frills Rock n' Roll, concentrating on upbeat numbers that appealed to the Pub audience. Unlike a lot of bars in the U.S., Pubs were larger gathering spots, with the same amount of drinking as their American counterparts, but with the extra added bonus of floor space; not only for dancing but large enough to accomodate a band.

The genre spawned a lot of successful groups during that time. Among them were Help Yourself, Bees Make Honey, Ducks Deluxe and a Welsh outfit; Man who, at various times had Deke Leonard on vocals and guitar.

For this concert, Deke had left Man and formed his own band, Iceberg. He was in the midst of promoting his debut album and those songs are featured prominently in this 30 minute set. Ironically, the second band on the bill (not featured tonight, but will another night) is his former band, Man. Ironically, Deke Leonard would re-join Man a little over a year later, while still balancing his solo career.

Man (and Iceberg) were very popular in the U.S. and toured here often. As huge fans of Quicksilver Messenger Service, they enlisted the services of the great John Cippolina at one point to sit in on some of their tours and eventually record with them.

Sadly, nothing ever lasts and Man dissolved towards the end of the 70s. Deke Leonard re-formed Iceberg frequently over the ensuing years.

But tonight it's a concert during that halcyon period featuring Deke Leonard's Iceberg. Recorded by BBC Radio 1 for the In Concert Series on October 27, 1973.

You might want to grab a Guinness or Newcastle Brown and crank this one up. The weekend is coming up rather soon.
A Word Or Two From Annette Funicello (1942-2013) - RIP - Past Daily Pop Chronicles: Tribute Edition Annette Funicello - the face that epitomized the great Rite of Passage in the 1950s.

Click on the link here for Audio Player: Annette-Anka-Dick Clark - 1960

It almost goes without saying this year is shaping up to be one with a lot of loss attached to it. This one in particular, I think, affects a lot of people of a certain age, who grew up watching Annette Funicello grow up as a Mouseketeer on Walt Disney's Mickey Mouse Club, and later came to epitomize an entire genre of movies known as The Beach Party Films.

That she came to symbolize the popularity of certain myths; a certain chaste quality of life quickly dissolving by the day in the 1960s, didn't seem to matter all that much. She would always be known as our "first crush". And a lot could be forgiven at even the mention of her name. Annette Funicello was just different. She was the one you hoped your girl friend would be like - she became the prototype. She had no pretense and she was the one you wished had the same classes as you.

And as time went on and she faded from view there was always the memory and the ideal that lingered. So it was still shocking, even knowing she had been battling MS for many years, which took her from public life into a private one, hearing of her passing today.

Further evidence you can never go back and further evidence the passage of time is inevitable.

But as a small reminder - I found this audio clip from a Dick Clark Beechnut Show, airing in 1960 which features Annette and Paul Anka along with Dick Clark, breaking into impromptu song. It's one of those unscripted moments that sum up the innocent charm of  the period and the disarming likability of Annette Funicello.

Our First Crush will be missed.
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A Beatles Christmas - 1967 - Past Daily Pop Chronicles: Holiday Edition And now a word from John, Paul, George and Ringo.

Click on the link here for Audio Player: Beatles - Christmas 1967

As long as we're in a celebratory mood, you can't have Christmas without this one - Christmas Time Is Here Again, from the Beatles Fanclub release of 1967.

A word from The Fab Four.
The Rolling Stones In Concert - 1965-1967 - Past Daily Backstage Weekend The fantastic mayhem

Click on the link here for the Audio Player: The Rolling Stones In Concert - 1965-1967

Since we're right in the midst of the Rolling Stones 50th Anniversary tour, I thought it might be fun to have a listen to some of the earlier stuff.

So . . I dug up two concerts, given in Paris at The Olympia Theater. The first is from April 18, 1965 and the second is from April 11, 1967.

You can get some idea is just how insane these early concerts were. As was so often mentioned in the past, sound systems at concerts were crude at best, there were no stage monitors and with a sold-out audience, screaming at the top of their lungs, impossible to hear yourself, let alone bandmates.

Given all that, these concerts (extended excerpts of what exists so far) sound remarkable. Thanks in no small part to the sound archivists, collectors and engineers who have labored for months over getting the best possible recordings and compiling them in a way that preserves the historic significance for people who weren't around at the time.

So if you've been watching the YouTube clips from opening night concerts of this latest tour, you might want to give these a quick listen, just to know what all the insanity was about the first time around. And believe me, it was insane.

Enjoy and play loud.
The Misunderstood - 1966 - Nights At The Roundtable The Misunderstood - Originally a surf band from Riverside, found a champion in John Peel and a calling in groundbreaking Psychedelia.

Click on the link here for Audio Player: The Misunderstood - I Can Take You To The Sun - 1966

Probably one of the saddest stories in the annals of Rock, The Misunderstood were originally a surf band from Riverside California who drew the attention of British DJ John Peel who urged them to settle in the UK. Between Riverside and London The Misunderstood underwent a dramatic change. And what emerged was one of the truly groundbreaking bands of the Psychedelic period.

Their first single was released in 1966. Let Me Take You To The Sun, was met with enthusiasm from critics and the audience alike, with Peel proclaiming it one of the greatest songs ever written. But just as the band were poised to achieve great success, tragedy struck. In this case it was the Draft Board, first taking lead singer Rick Brown into the Army and Vietnam and then taking lead guitarist Greg Treadway into the Navy. The band splintered and fell apart, with the remaining members discouraged and demoralized. What had started off with huge hopes and expectations dissipated, leaving a handful of singles and a lot of potential.

Here is that debut single. If you haven't heard Let Me Take You To The Sun before, or only heard vaguely about The Misunderstood, here's a chance to get acquainted.
A Word Or Two From Pete Townshend - Past Daily Pop Chronicles Pete Townshend - without him, one just wonders.

Click on the link here for Audio Player: FrontRow_ Pete Townshend Special

In light of the media blitz currently going on over the release of Who founder Pete Townshend's autobiography Who I Am, the airwaves have been awash with interviews and reviews of the book.

In case you may have missed this one, and certainly you would if you lived in the U.S., here is an interview done earlier this past week on the BBC Radio 4 program Front Row where Townshend discusses a number of subjects, current as well as past.

It's a half-hour full of insights along with some contention (the British Press are just good at doing that), and if you haven't heard it yet, it's another element in the complex tapestry of one of Rock's most legendary and enduring individuals.

The Sixties would have been strange without him.
The Zen Circus - 2006 - Nights At The Roundtable: Rock Without Borders Edition. The Zen Circus - truly international - tar and feathers or not.

The Zen Circus - Fino A Speccarti Due o Tre Denti - 2006

One of the bands making huge international inroads from the studio to the concert stage are The Zen Circus; a French/Italian/American band that has gathered big success in Europe and starting to get word-of-mouth going here.

Tonight it's a relatively early track. Fino a Speccatari due O Tre Denti from 2006, just prior to the appearance of Brian Ritchie from The Violent Femmes and taking the Rock Without borders concept several steps further.
Elvis Presley Has A Word Or Two - 1960 Interview - Past Daily Pop Chronicles Special. Elvis Presley - leaving the Army in March, 1960.

Click on the link here for Audio player: Elvis_Presley_Interview_March_1960

Thirty-five years ago today the sad news flashed around the world that Elvis Presley, the King of Rock n' Roll had suddenly died. Tributes came pouring in and most every radio and TV station had some sort of remembrance of one of Pop Music's most enduring icons.

And thirty-five years later the remembrances are still pouring in. So with that, I thought I would offer something slightly unusual - an interview Sgt. Elvis Presley gave for Armed Forces Radio as he was being discharged from his 18 month commitment on March of 1960.

Here is the complete interview, and a reminder if you've heard it, and a chance to discover it if you haven't.