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Speaker 1: This is Buzsnight and welcome to the Taking a Walk podcast,

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Speaker 1: And welcome to another episode of This Week in Music

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Speaker 1: History for the week of June sixteenth, and we go

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Speaker 1: over to the music history desk. It's a little placard

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Speaker 1: over there, it says purveyor of all things music, Harry Jacobs.

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Speaker 2: Harry, welcome to this Week in Music History.

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Speaker 3: My plaque is no better than in any way than

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Speaker 3: the plaque you used to have on your desk at

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Speaker 3: your work. Can we talk about Joe Schwartz for a minute.

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Speaker 3: You're old, You're old. We've got it right here.

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Speaker 4: Do what you say you're gonna do.

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Speaker 2: There it is, baby, you're gonna do.

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Speaker 3: And he also gave you a quote. I think you

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Speaker 3: may have had a plaque for this as well. It's

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Speaker 3: you have ulcers, don't get them right, be someone's pain

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Speaker 3: in the ass.

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Speaker 4: Don't let it.

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Speaker 2: That is it. He still says it, Jos. He's a

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Speaker 2: wise man, as are you.

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Speaker 4: Thank you. I appreciate that.

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Speaker 3: For sixteenth nineteen seventy two, David Bowie had this career

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Speaker 3: defining moment with the rise and fall of Ziggy Stardust

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Speaker 3: and the Spiders from Mars. This was a breakthrough in

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Speaker 3: a lot of ways, sold over seven million copies, which

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Speaker 3: was a lot back in that day. A couple of

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Speaker 3: bangers on that Suffragette City rock and Roll Suicide Starman,

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Speaker 3: and it just became a monster of an album. And

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Speaker 3: you were a fan of the Thin White Duke, I

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Speaker 3: mean you were a Bowie guy.

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Speaker 1: Yeah, not as big then that I would become. I

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Speaker 1: didn't get it as quickly as I should have. And

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Speaker 1: then over time really grew to, you know, respect him

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Speaker 1: as an artist and be fascinated by him and like

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Speaker 1: the music over the years like that, But I didn't

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Speaker 1: get it like I would eventually get it.

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Speaker 4: You know. Let me ask you a question.

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Speaker 3: It's funny that you say that, because I have a

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Speaker 3: couple in my head that are like that. How many

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Speaker 3: of those artists like Bowie where they came out, you know,

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Speaker 3: in the sixties or seventies or whenever, that you didn't

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Speaker 3: really appreciate, you know, we because we came out of radio.

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Speaker 3: We have this disadvantage. Like I'll give you an example.

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Speaker 3: I hated Hotel California for years. I hated it and

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Speaker 3: I haven't worked on the radio in thirty years, and

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Speaker 3: now I hear Hotel California, and I turn it up,

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Speaker 3: and I get my guitar and I put the capo

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Speaker 3: on the seventh threat, and I want to learn every

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Speaker 3: little nuanced piece of it. And I just so when

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Speaker 3: you're in it like we were in it, who were

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Speaker 3: the artists that maybe you didn't really give the attention

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Speaker 3: to until you were out of radio and then all

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Speaker 3: of a sudden you get it. So Bowie's a good

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Speaker 3: example from one of mine is Neil Young.

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Speaker 2: You're up to a degree the Eagles.

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Speaker 1: I mean, I really enjoyed the Eagles and appreciated them.

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Speaker 1: But the more over time, especially when you go back

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Speaker 1: to the beginning of the Eagles, it really, you know,

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Speaker 1: makes you think differently about someone who we were routinely

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Speaker 1: playing a lot in the on the playlist, and but

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Speaker 1: you know, let's be honest with radio playlists.

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Speaker 2: When you're playing it as an on air.

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Speaker 4: Person, you kind of get sick of some of this

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Speaker 4: rock radio.

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Speaker 3: We were playing five hundred songs, six hundred songs. You know,

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Speaker 3: you you allowed us to play some deep treks, so

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Speaker 3: maybe we had a thousand possible songs, you know, additional

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Speaker 3: to that that were deep cuts, but they didn't get

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Speaker 3: played all the time. So with the Eagles, Tequila Sunrise

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Speaker 3: and you know, peaceful, easy feeling, those were the songs

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Speaker 3: where they would come on, or I would have to

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Speaker 3: play them. I'd go, oh god, this direk, this drek.

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Speaker 3: And then now that we're out of it, I'm like, oh,

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Speaker 3: it's all magnificent.

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Speaker 2: Come closer. I'll tell you another secret.

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Speaker 4: Yes please.

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Speaker 1: Do you know.

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Speaker 2: How these playlists are now these days? I from these

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Speaker 2: these radio stations.

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Speaker 3: Dummy three hundred on a classic rock station, three hundred

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Speaker 3: three twenty.

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Speaker 4: I'm stunned. Well, think about it. Fifteen songs an hour.

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Speaker 2: I'm sorry to let the cat out of the bag.

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Speaker 2: Oh gosh, I don't have.

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Speaker 1: Any particular clients that I'm disclosing information.

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Speaker 4: If you're listening to this, think about this for a minute.

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Speaker 2: You're going to think less of me. If you're listening

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Speaker 2: to this.

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Speaker 1: Don't think I contributed to this, because I really don't

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Speaker 1: think I did.

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Speaker 3: What Buzz just said is three hundred and twenty songs.

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Speaker 3: If you're a radio listener and you are someone who

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Speaker 3: works grave or doubles or whatever, three hundred and twenty

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Speaker 3: songs at fifteen songs an hour, which is the average.

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Speaker 4: It was the average, maybe it's less now. Even if

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Speaker 4: it's twelve.

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Speaker 3: The playo turns around every single day. That means if

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Speaker 3: you hear peaceful easy the way the radio stations do it.

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Speaker 3: If I hear peaceful easy feeling on my way to

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Speaker 3: work today, I might hear it during lunchtime tomorrow, and

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Speaker 3: then I might hear it during you know, uh, you know,

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Speaker 3: afternoon drive the following day. You know that's how quickly. Oh,

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Speaker 3: it's disgusting to me.

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Speaker 1: I'm going to climb you know what I'm doing right now,

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Speaker 1: climbing up the steps here out of our rabbit hole.

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Speaker 3: Okay, gosh, let's do it. That's a good way to

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Speaker 3: go anyway. So for you, for me, it was Neil

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Speaker 3: Young I bring us back. Were there were there any

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Speaker 3: art of other artists that you didn't really appreciate like that?

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Speaker 1: I can't think of one right off the bat, but

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Speaker 1: I'm sure when we stopped recording it'll it'll come to me.

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Speaker 4: Yeah.

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Speaker 1: I mean, I probably always appreciated the progressive rock bands artists,

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Speaker 1: so they always were solid.

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Speaker 3: But you didn't have a lot to do with progressive

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Speaker 3: rock during the heyday of your career when you were

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Speaker 3: doing classic rock. It wasn't until you went from ZLX

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Speaker 3: to then taking WROR which was classic kids, and then

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Speaker 3: WBOS for those of you in Boston, which was a

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Speaker 3: progressive kind of station where you were playing you know,

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Speaker 3: the different artists.

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Speaker 2: Right, I have another dirty secret for you.

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Speaker 1: The other dirty secret here is that that's not true

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Speaker 1: completely because a lot of the progressive bands over their

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Speaker 1: time and evolution, I dare say I was playing them

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Speaker 1: as current artists.

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Speaker 4: Okay, that makes sense.

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Speaker 3: I'm just thinking when I say progressive, them thinking triple A.

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Speaker 4: Anyway, we're in the rabbit hole.

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Speaker 2: That's I'm climbing out right now of the rabbit hole.

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Speaker 4: Let's do it.

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Speaker 3: Nineteen sixty seven, the birth of the Modern Music Festival.

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Speaker 3: It was the first of the Monterey Pop Festivals at

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Speaker 3: Country Fairgrounds up in Monterey Beautiful area.

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Speaker 4: And it was a monster of an event.

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Speaker 3: Who the Dead, the Airplane, Janis Joplin, me Hendricks, the Animals,

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Speaker 3: three days and it's set kind of it's set, the set,

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Speaker 3: the tone for which you know would end up being Woodstock.

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Speaker 4: Right.

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Speaker 3: This was the brainchild of John Phillips. Mama was napapas

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Speaker 3: Lou Adler was in them.

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Speaker 1: Of that, I'm going back into the rabbit hole for

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Speaker 1: a second, because there is somebody who I thought was

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Speaker 1: wonderful in his own way but didn't get and that

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Speaker 1: was who played there, Robbie Shankar.

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Speaker 4: Oh.

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Speaker 1: Now he brought the the sitar, which ultimately, you know,

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Speaker 1: bands like the Rolling Stones would use and and make

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Speaker 1: part of their repertoire, but the citar was not ultimately

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Speaker 1: a particularly popular popular choice.

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Speaker 4: And and Harrison got into it too.

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Speaker 2: That's right, and through Robbie.

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Speaker 1: So Robbie was Robbie was adorable, but I didn't get them.

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Speaker 1: But anyway, sorry to digress.

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Speaker 3: No, that's great, that's a sing story anyway. Nineteen sixty seven,

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Speaker 3: the Monterey Pop Festival lasted three days. Just touch on

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Speaker 3: this real quick. In twenty ten, Metallic, a Mega Death

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Speaker 3: Slayer and Anthrax played at the at a show together.

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Speaker 3: I was never and I appreciate out of that group.

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Speaker 3: I look at it and going Metallica. I love Metallica,

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Speaker 3: I just but I just know the hits. I'm one

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Speaker 3: of those guys, but I was never into that kind

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Speaker 3: of rock. Mega Death Slayer, Anthrax, the hairbands.

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Speaker 1: Boy, I don't even know if those were would you

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Speaker 1: call those hair bands are just real heavy metal bands.

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Speaker 1: I mean Anthrax. I wouldn't consider Anthrax a hair band,

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Speaker 1: you know.

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Speaker 3: I will I will quote something that you used to

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Speaker 3: say to me all the time about something like that.

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Speaker 4: You would say, I don't know.

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Speaker 3: For Manthrax, that's exactly right, like an old Jewish guy.

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Speaker 4: I don't know Manthrax. That's right. Yeah, same, same, same deal.

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Speaker 4: And this is cool.

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Speaker 3: Fact and two, that remixed version of Elvis's A Little

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Speaker 3: Less Conversation hit number one.

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Speaker 4: You're familiar with that version of A Little Less Conversation.

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Speaker 2: No, I'm actually not.

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Speaker 4: You can. I'll send you a link to your phone.

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Speaker 4: You can listen to it all you're on vacation.

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Speaker 2: Okay, well that sounds good.

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Speaker 3: You're recreating A Little Less Conversation hit number one in

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Speaker 3: the UK nineteen seventy two on the seventeenth of June,

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Speaker 3: the Watergate break in the DNC headquarters at the Watergate Hotel.

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Speaker 3: This was this was a president that thought he could

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Speaker 3: do whatever he wanted to do, and this was a

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Speaker 3: nightmare for him. This was his undoing.

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Speaker 2: Pretty freaky moment for sure.

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Speaker 4: Remind me of the movie Tricky Dick and.

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Speaker 2: Ye Man in Black Johnny Cash Yes.

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Speaker 4: In nineteen seventy one.

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Speaker 3: June seventeenth, Carol King began this fifteen week run at

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Speaker 3: the top of the US charts with Tapestry. It was

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Speaker 3: on the billboard two hundred for six years. The sheer

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Speaker 3: volume of songs hit songs that were on Tapestries. You know,

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Speaker 3: it's like Sergeant Pepper's, It's like pet Sounds, It's you know,

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Speaker 3: seven eight nine songs You Got a Friend. She and

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Speaker 3: James Taylor were both working on that song at the

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Speaker 3: same time. Came out in seventy James Taylor won the

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Speaker 3: Grammy in seventy two of My Memories correct and very

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Speaker 3: rare to have a song come out, same song come

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Speaker 3: out by two different artists at the same time.

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Speaker 1: And loved talking to the great Russell Kunkle, who was

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Speaker 1: part of that session, who talked about that kind of

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Speaker 1: as he remembered it, it was it almost seemed effortless,

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Speaker 1: even though there was many hours and hard work put

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Speaker 1: into it. But you know, he was really I think,

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Speaker 1: as I recall talking about just the general great flow

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Speaker 1: of that session, and look at what that yielded. It

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Speaker 1: yield it a masterpiece of an album.

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Speaker 3: Yeah, magnificent album. And I forget about the Russ Hunkle

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Speaker 3: connection to that as well. On the nineteenth of June

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Speaker 3: two thousand and six. We don't do a lot of

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Speaker 3: swifty talk, but Taylor, you could do some swift he talk.

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Speaker 3: I think I only know one song by the way,

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Speaker 3: I know she's a monster and that she'd be embarrassed.

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Speaker 3: But in two thousand and six, she released her first single.

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Speaker 3: Tim McGraw had of her forthcoming self titled debut album

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Speaker 3: in June of two thousand and six, and it was

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Speaker 3: written by her when she was a freshman in high school.

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Speaker 3: And the song Sweat, you know, really set her on

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Speaker 3: this path to success and.

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Speaker 4: You know, superstardom. It's just unbelievable what she's accomplished.

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Speaker 1: And then the recent news of her, you know, buying

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Speaker 1: back that the catalog as well, you know, not only

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Speaker 1: what she did when she lost the catalog, which was

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Speaker 1: a fairly badass move to make, but then the recent

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Speaker 1: repurchasing of the catalog.

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Speaker 2: It's pretty unbelievable.

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Speaker 3: Yeah, I you know, I wonder what the motivation is

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Speaker 3: with that, because once these guys, I mean I get

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Speaker 3: it for you know, for Dylan and Springsteen and Neil Young.

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Speaker 3: You know, three hundred to five hundred million, you know,

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Speaker 3: a piece. They're never going to make that money, you

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Speaker 3: know at this point. But Taylor, you know, why dump

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Speaker 3: it and then why go and re buy it? I

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Speaker 3: have a friend I watched one time, by the way,

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Speaker 3: speaking of that buy a car, sell that car because

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Speaker 3: he felt guilty about it, and then he went literally

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Speaker 3: crossed two states to go buy the car back from

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Speaker 3: a dealer and must have lost thirty thousand dollars on

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Speaker 3: this insane car. But like, why why sell it and

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Speaker 3: then go chasing after it?

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Speaker 4: And you know why?

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Speaker 1: Because your friends saw it helped for his problem. That's

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Speaker 1: the first question. And then the second part of it

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Speaker 1: is for her, why do it? Because she can't.

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Speaker 3: My friend's owned sixty seven cars in his life and

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Speaker 3: he's only sixty five years old. So no, he hasn't

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Speaker 3: sought any help. And I don't see that coming, Okay,

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Speaker 3: And Taylor, you know, there's obviously logic and there's council there.

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Speaker 2: My friend has no counsel, and there's ego there too.

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Speaker 2: I hate to break that to you.

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Speaker 3: Listen, both stories, both of these people, Taylor Swift and

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Speaker 3: my friend Big Bob. So you're absolutely right about right

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Speaker 3: about that. In nineteen fifty on June nineteenth, Ann Wilson

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Speaker 3: from Heart was born, and she's she's had some health problems.

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Speaker 4: I saw her on a video on stage. She's singing

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Speaker 4: in a wheelchair.

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Speaker 2: And yeah, I hate seeing that. I love her and

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Speaker 2: I hate seeing that.

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Speaker 4: You know.

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Speaker 3: Yeah, they are back out, you know, on the road

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Speaker 3: in the middle of a tour right now. But she's

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Speaker 3: she's had a go of it for whatever reason. But man,

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Speaker 3: her voice is so good. Hearing her sing Barracuda or

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Speaker 3: praising on you, it's just fantastic.

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Speaker 4: And I love Nancy's guitar playing.

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Speaker 2: Oh yeah now.

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Speaker 3: June twentieth, two thousand and four, Paul McCartney performed this

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Speaker 3: three thousandth live show and that was the show in

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Speaker 3: Saint Petersburg, Russia.

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Speaker 2: What a show off, you know, God.

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Speaker 4: Right, Another little Beatles connection.

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Speaker 3: Billy Preston, the writer and performer of Nothing from Nothing

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Speaker 3: Leaves Nothing and Will It Go Around and Circle? I

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Speaker 3: mean a bunch of great songs from Billy. His funeral

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Speaker 3: two thousand and six in Inglewood, Little Richard, Della Reese,

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Speaker 3: The Temptations, Ali Ali Joe Cocker, who sang you are

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Speaker 3: so Beautiful. I didn't realize until doing the research for

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Speaker 3: this week that Billy Preston wrote you are so beautiful.

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Speaker 2: Yeah, I didn't realize it either.

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Speaker 3: What a wonderful Even today, I'm not a fan of

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Speaker 3: a lot of sappy music, but when I hear Joe

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Speaker 3: Cocker seeing you are so Beautiful, it's like, Man, what

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Speaker 3: a moving song that is?

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Speaker 2: Like made for him?

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Speaker 4: Yeah.

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Speaker 3: The last couple of couple of things here June twenty first,

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Speaker 3: sixty seven, San Francisco's Golden Gate Park Monster Free Concert

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Speaker 3: celebrating the Summer Solstice. The Dead, Big Brother and the

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Speaker 3: Holding Company Quicksilver Messenger all performed there at a big

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Speaker 3: one at the Golden Gate Park and then another Taylor

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Speaker 3: Swift story.

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Speaker 4: Why not do two since we did one?

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Speaker 1: Go ahead before you get to Taylor and the Dead

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Speaker 1: and Company playing, I think three three dates at Candlestick

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Speaker 1: Park coming up in August.

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Speaker 2: I think this will be the.

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Speaker 1: One hundred and seventy fifth anniversary or something of the band,

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Speaker 1: and it will be, I'm sure a big moment. I

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Speaker 1: don't know if this is a one off show and

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Speaker 1: they're going to keep playing after this.

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Speaker 2: But did you hear about this?

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Speaker 3: I didn't hear about it, but you know they were here.

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Speaker 3: They played the Yeah the sphere and it was crazy

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Speaker 3: because you know the dead logo. You know, I can

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Speaker 3: see that from my house, like I can see it

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Speaker 3: from my backyard.

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Speaker 4: It's like the moon.

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Speaker 2: Could you smell the petuli oil from your house?

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Speaker 4: I've only by the way.

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Speaker 3: I've only been by there once, and I think it

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Speaker 3: was to drop you off after the dinner where everyone

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Speaker 3: at Piero's knew who you were and no one knew

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Speaker 3: who I was. But yeah, I think I was over

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Speaker 3: by there when I dropped you off of your hotel.

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Speaker 3: But no, I didn't smell anything, not up here. Twenty fifteen,

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Speaker 3: June twenty first, Taylor Swift. Taylor wrote a letter to

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Speaker 3: the company, an open letter, threatening to withhold her album

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Speaker 3: nineteen eighty nine if artists weren't paid what they were

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Speaker 3: deserved in royalties. And I don't think that worked out

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Speaker 3: so well.

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Speaker 4: For the artists.

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Speaker 1: Well here you go, though, still Swifty is going to

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Speaker 1: take a stand.

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Speaker 4: M hm.

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Speaker 2: Got to admire that buzz.

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Speaker 4: That's the week of June twenty first.

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Speaker 1: Oh Harry, thank you as always, This is a blast

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Speaker 1: taking a look at this week in music history. And

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Speaker 1: thank you, thank you Harry Jacobs, and thanks for checking

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Speaker 1: out the Taking a Walk podcast. We are available Apple Podcasts,

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Speaker 1: Spotify and part of the iHeart podcast network.