May 12, 2025 • 19 mins
Join @thebuzzknight and @theharryjacobs at the Music History Desk for the week of 5-12.
A Note to our Community
Your support means everything to us! As we continue to grow, we’d love to hear what guests you might find interesting and what conversations you’d like us to explore nest.
Have a friend who might enjoy our conversations? Please share our podcast with them! Your word of mouth recommendations help us reach new listeners that could benefit from our content.
Thank you for being part of our community. We’re excited for what’s ahead!
Warmly
Buzz Knight
Founder Buzz Knight Media Productions
See omnystudio.com/listener for privacy information.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:04):
I'm Buzz Night, the host of the Taking a Walk
podcast music History on Foot, and we take a look
now at the week in music from May twelfth, and
we go over to the music history desk. I'm going
to call him right now, since I often call him
different names, now he's going to be called the Maestro
of all things music, Harry Jacobs.
Speaker 2 (00:26):
What do you think about that? Harry? I like that.
Speaker 3 (00:28):
But when I heard you say I'm going to call
him a name, I always call him names. I started
to get nervous about, you know, your propensity to bully
me periodically with some of these names, you know, comparing
me to well hot dog vendor with my music facts
and things like things.
Speaker 2 (00:44):
Such as these.
Speaker 3 (00:45):
But yes, I will take that, and I will accept that,
and I will just say, you may want to rework
the setup on that.
Speaker 2 (00:51):
You know, I don't call him names. I give him
different titles. These titles. I bestow different titles on him.
Speaker 3 (00:59):
A much kinder way say that. And I'm sensitive. I
need a safe space.
Speaker 4 (01:02):
I thought, there's this says a safe space exactly.
Speaker 2 (01:05):
All right.
Speaker 3 (01:06):
Let's start at May twelfth. This is the week of
May twelfth through the eighteenth. May twelfth, Bob Dylan walked
off the Ed Sullivan Show after CBS censors refused to
let him perform the song talking John Birch Paranoid Blues.
I didn't know anything about John Birch, and I didn't
know about this. This highlighted his defiance on the tension
(01:29):
over free expression and Birch.
Speaker 2 (01:31):
I did some research this morning. John. Do you know,
by the way, anything about John Birch at all.
Speaker 1 (01:35):
I want to hear what you have to say and
see what I can offer to counter it or acknowledge it.
Speaker 2 (01:42):
Let's just say this. He was a Republican.
Speaker 3 (01:44):
He was an intelligence military This was I think PRECIA,
so he was a military intelligence officer and was anti
the counterculture.
Speaker 2 (01:56):
Right.
Speaker 3 (01:56):
He was a white shirt, red tie wearing conservative that
the kids, you know in the sixties were rebelling against
that type of person.
Speaker 1 (02:06):
And I remember my older brothers talking about quote unquote
the Butchers, but I did not know that moment on
the Ed Sullivan Show with Bob happened.
Speaker 2 (02:17):
So that is a new one.
Speaker 1 (02:20):
I know he always liked to, you know, poke in
the face of what was going on, and that was
part of him building his incredible legacy.
Speaker 2 (02:31):
But didn't know that story.
Speaker 3 (02:33):
Yeah, you know, and this is interesting because the you know,
the Ed Sullivan show, they made the Stones, you know, censor,
you know, let's spend the night together. It was let's
spend some time together. And I'm looking for the for
the date on that, but that, you know, that was
around the same time. That was, you know, sixty three
(02:54):
for Dylan and sixty seven is when it looked like
it it happened for the Stones. So CBS cnsers definitely
had their way with with the rock music.
Speaker 1 (03:04):
Ed Sullivan being a little cranky pants himself too. The
sensors you know, rang true back then for sure.
Speaker 2 (03:11):
Yeah, they did.
Speaker 3 (03:13):
May twelfth, in nineteen forty eight, Steve Winwood was born.
And Steve Winwood, you know, had an amazing career as
a very young man. Think about it when they recorded
when Spencer Davis recorded give Me Some Loving, he was
like sixteen years old at that point. So he's had
an amazing career. Traffic and Spencer Davis and the solo
(03:35):
career Blind Faith. I loved his solo career like roll
with It, you know what a great song that was.
Speaker 2 (03:43):
So I'm I'm a Steve Winwood fan.
Speaker 1 (03:46):
Oh yeah, and from that other era there, the you know,
the solo career back in the High Life again was
one of the great great songs.
Speaker 2 (03:57):
Boy, you want to go down.
Speaker 1 (03:58):
A bunch of nice rabbit holes with a playlist, you
can do that with with Stevie Blind Faith, Traffic, you know,
walking in the Wind by Traffic, how about that one?
And John Barleycorn Must Die.
Speaker 2 (04:16):
Oh my god, Yes, And I saw It's funny.
Speaker 3 (04:18):
I saw not long ago a video of him sitting
in his you know study, hearing him play that song
on his own in his study with a beautiful Martin
acoustic guitar was really a tree.
Speaker 1 (04:31):
I don't know what he's what he's really up to
these days in terms of, you know, going out on
any small day tours or anything, or or recording any
new music. I do know, like a lot of the
musicians over you know, the recent years, among other places,
one of the places that he has relocated to is
(04:54):
the outskirts of Nashville.
Speaker 3 (04:56):
He is playing this summer, some dates this summers. Matter
of fact, he's going to in the fall. He's going
to be not far away from you. He's playing in
Beverly No early mass Yeah. So he's got July thirteenth
through you know, the end of September. There are handful
(05:17):
of dates, a few on the East Coast. He's going
to be in Wilkesbary, Pennsylvania, Morristown, New Jersey, Atlantic City, Verona,
New York at the Turning Stone Casino, Red Bank, New Jersey,
port Chester, New York. Beverly, mass right, which is just
kind of a funny anything. Everything you got around where
(05:37):
you are Beverly is an interesting spot. But he's going
to be out maybe you know, listen to throw the
idea there. Maybe he's taken a walk guest. Maybe you know,
you end up backstage and get to take a walk
with him backstage.
Speaker 2 (05:49):
Oh be magical to talk to you. What an icon.
Speaker 3 (05:52):
Nineteen thirty two, the body of Charles Lindbergh Junior was found.
He was the son of the famous aviator and he
was found in New Jersey weeks after his abduction.
Speaker 2 (06:05):
Course that's the beat.
Speaker 1 (06:06):
I mean, you think about the true crime stories that
was you know, that was one back back in the day.
Speaker 2 (06:13):
For sure. I hadn't thought about it when we were
doing the research.
Speaker 3 (06:17):
That's one of the things that came up was this
was the early you know, really one of the earliest,
you know, true crime media kind of stories. It was
a big deal in this country when I happened interesting
nineteen sixty seven, Radio London debuted Sergeant Pepper's in its entirety.
This is an interesting concept to play an album in
(06:39):
its entirety. You want to speak to this because this
is something you as a radio programmer. This was something
that you did fairly often in your career.
Speaker 2 (06:49):
Yeah, this was a thing that you did.
Speaker 1 (06:52):
Then when a major release came out, you would, you know,
as a program you would or the programmers we work
for you'd feature songs from uh, you know, from that
new release, and then frequently would be and you know what,
and we're going to roll the entire album tonight. And
(07:14):
then that got heavily discouraged at a point. I don't
think there was a legality discouraging, you know, comment there,
but it was discouraged because it was thought when we
did that that we took away severely from the artists'
sales of that release.
Speaker 4 (07:35):
Isn't that funny thinking about that now?
Speaker 2 (07:38):
It really isn't it.
Speaker 3 (07:39):
It's when you think about it, you know, you were
on the radio at that time, but for you know,
I was a kid in the seventies, and as a
matter of fact, I'll give you a story.
Speaker 2 (07:50):
I was on AF when I was a kid.
Speaker 3 (07:52):
I was fourteen years old, and one of the things
I had to do I had to work midnight to
nine am Sunday morning, Saturday night to Sunday morning. And
what AAF did on Saturday nights was they did something
called the Saturday Night six Pack, and they would play
six albums start to finish. And I remember setting my
cassette recorder up some nights to tape and if I
(08:13):
didn't have the money to buy an album and they
were running, you know whatever it was it you know
ac DC's Back in Black all the way through Saturday
night at midnight, I would set my cassette player up
and that's how I listened to Back in Black, which
I taped it from the radio.
Speaker 1 (08:28):
Right, So you did contribute then to the taken away
sales from the artists by doing that.
Speaker 2 (08:33):
So you've just brought some truth to it.
Speaker 3 (08:36):
Ac DC got some ticket money out of me, and
they did end up getting some albums. And I now
I pay for my streaming, so whatever applied to it
is paying.
Speaker 2 (08:44):
They're getting from me.
Speaker 4 (08:45):
I think, yeah, everything's even now.
Speaker 3 (08:47):
You know, when I worked for you, we would do
that if something important came out that that would that
was a neat, little, neat little thing.
Speaker 2 (08:54):
Yep. We talked in one.
Speaker 3 (08:57):
Of our recent episodes about the Kent State shooting and
you shared the story that you had hitchhiked home from
Dayton to back home to Connecticut and spent a night
at Kent State. This is the day May fourteenth that Crosby,
Stills and Nash actually got Ohio out. They rushed to
record it. So it's kind of funny that we talked
(09:19):
about the incident happening now in the next week or
two weeks later, we're saying the record actually came out.
Neil Young wrote it and they recorded it. It was quick.
May fourth, nineteen seventy is the date of the shooting.
And here we are talking about this on May fourteenth.
Speaker 2 (09:34):
Yeah.
Speaker 4 (09:34):
It is cool how the things you know cycle through.
Speaker 2 (09:38):
I love it.
Speaker 3 (09:39):
Yeah, And in this day and age, think about that
that would have happened, you know immediately that's right.
Speaker 2 (09:44):
Right next to next.
Speaker 3 (09:45):
Two days later on this date in nineteen ninety eight,
the Seinfeld finale aired on NBC drew seventy six million viewers.
Speaker 2 (09:56):
This was as as they say, I show about nothing.
Speaker 1 (10:01):
Yeah, it was a terrible finale, but you know, I
don't know, we're run across once in a while. Someone
who goes I never really listened watched that show or got.
Speaker 4 (10:11):
It, but it was a part of do you get it?
Speaker 1 (10:15):
I don't know, really, I can't really answer that, but
I will say I'm privileged to say. There was a
few moments early on in Jerry Seinfeld's career as he
was still a great you know, he was a great
stand up then had appeared on The Tonight Show frequently.
But when I worked in Connecticut and did mornings there,
(10:41):
did afternoons, eventually there he came up a few times
to spend some time on the show. And then one
other time when I was doing afternoons in Ohio, he
came up as well. And I'll never forget it.
Speaker 2 (10:56):
I mean, it was one of these things.
Speaker 1 (10:58):
Legacy was weird that there were many people who would say, oh,
when Jerry comes on the radio, he's they thought he
was terrible, But I completely disagree with that. Very business like,
I mean, it wasn't really a chit chatty relationship. When
the mic was off by any stretch, but I thought
he brought it every time and was was brilliant. And
(11:23):
at the outset of COVID, I found some of those
air check tapes and actually digitized the Seinfeld interviews.
Speaker 2 (11:31):
Oh, it be great to it'd be great to hear those.
Speaker 3 (11:34):
When I started watching the last season of Larry David
and there was the issue in Georgia giving them the
bottle of water, sure that the guy that I was
watching it with my buddy, I said, this is how
it's going to end. They're going to end up in court.
This is going to be the end of Seinfeld done
the right way. Yeah, he said, that's interesting. And as
(11:55):
the as it went on, I kept saying, remember what
I said, Remember what I said. And they did the
Larry David thing the same way they did Seinfeld, which
was interesting, right, Yeah it was, And even he made
the comment, this is how we should have ended the show.
May fifteen, nineteen seventy five, first episode of Saturday Night
Live aired, and this was kind of an interesting ordeal
(12:19):
leading up to it. There was a lot of controversy
with the we're talking about sensors, with the Ed Sullivan thing.
You know, ten twelve years later, still going on, you know,
at the NBC level. This time they were against what
Lorne Michaels was trying to do. And he was also
very secretive about what the show was going to be
about the concept of a sketch show in a different
(12:41):
way than like you know, the Smothers Brothers or the
Karrol Burnett Show. This was going to be a little
bit more reverent. This was going to be a little
bit more different. And he was very secretive and they
were on him about this. It looked like did you
see the movie.
Speaker 1 (12:54):
About did And then they got the censors got burned
a few times by him.
Speaker 2 (13:00):
Did so.
Speaker 3 (13:01):
On May fifteen, twenty nineteen, Tom Petty's two daughters ended
up suing his wife because of the trusts, you know, money.
If things aren't set up properly there even if they are,
you know, there can be disputes. And this is one
of them. The three Tom Petty's, the three women in
his life ended up in a five million dollar lawsuit
(13:26):
and that got ugly for a minute.
Speaker 1 (13:29):
And this is why they say, among other reasons, that
so many of the artists are you know, selling the
catalogs as a way to get well ahead of this
whole estate and the management of it and who gets what.
So that was told to me by a few people
close to the legal side of those things, that it's
(13:52):
really it's done for a lot of reasons, but one
of it is so that doesn't become this legal entanglement
that occurs.
Speaker 3 (13:59):
You brought them up, and I think that I think
I heard either Neil Young or Bob Dylan talking about that,
Neil Young basically saying, you know, who gives a shit,
it's my money, I want it now, right, you know,
like kind of like that's one aspect of it, and
the other is to make sure people aren't fighting about
it when it's over. But the nice thing about this
(14:20):
suit is that it ended in this little organization called
the Tom Petty Legacy Company, And all three women came
out afterwards and said that they were embarrassed.
Speaker 2 (14:33):
They acknowledged how.
Speaker 3 (14:34):
Hurtful it was to have the lawsuit going on, and
they now work basically in concert, if you'll excuse the pun,
on everything that happens with Tom's you know, music and
his legacy now together.
Speaker 2 (14:47):
So kind of a nice deal.
Speaker 3 (14:48):
The lawsuit was settled and now everyone's working together, yet
we all get along.
Speaker 2 (14:53):
Yep, I want to stop this real quick.
Speaker 3 (14:57):
Sure that that's really funny. That's really funny. Can I
talk about this? Can I please talk about this? If
you're listening to the show, if you're listening to podcasts,
you obviously are the reason. Buzz says, can I stop this?
And he holds his phone up. We're doing this over zoom.
We're twenty three hundred miles away from each other, and
(15:18):
his phone says, Peter Wolf is calling him the Wolf Off,
the lead singer of the Jay Giles Band, who has
been more elusive than the Pulp try to get an
interview with him, and now he's calling you during this
week in music history.
Speaker 2 (15:34):
I love him that.
Speaker 3 (15:36):
You know, we talked about Pet Sounds recently in the
various you know releases of that. But on May sixteenth,
nineteen sixty six, they released Pet Sounds and this was
a disappointment. You know, we talked about all the great
tracks on it, you know, last week or the week before,
and this really changed and raised the bar with how
(15:58):
the competitors and that day for the Beach Boys, Stones
and the Beatles in particular with production value, with things.
Speaker 2 (16:07):
Right, masterful, production value.
Speaker 3 (16:09):
Absolutely gotta believe Phil Spector was in there looking at that, going, hold.
Speaker 2 (16:12):
How do I compete with this? That's right? Yeah.
Speaker 3 (16:16):
Nineteen eighty seven, With or Without You YouTube's first number
one song the US charts. What an album the Joshua
Tree album.
Speaker 4 (16:27):
Was, I'd say, every song right, yeah, yeah.
Speaker 2 (16:30):
Yeah, yeah, was tripped through your wires on that, yeah,
I believe. So. Yeah, just a great album.
Speaker 3 (16:36):
They did that concert on the roof in LA that
video they released, Yeah, it still gives me chills to
watch that.
Speaker 2 (16:43):
The tip of the hat to the Beatles.
Speaker 3 (16:45):
Oh, you know, the rooftop concert and people in the
streets and buildings. I mean, that's a good one to
go and go down the YouTube rabbit hole for videos
of that of that concert. But that was that was
pretty amazing. But at any rate, whe Or Without You
hit number one May sixteenth of nineteen eighty seven. May seventeenth,
nineteen seventy five, Elton John released Captain Fantastic and the
(17:08):
Brown Dirt Cowboy number one on the Billboard Top two hundred,
which was a rare feature at the time as I
understand it, And it was an autobiographal biographical album that
really solidified a lot for elbum and there were two
releases of that.
Speaker 2 (17:26):
Do you know that? Are you aware of that? No?
Speaker 3 (17:29):
There was the release in seventy five and then a
later release that included Lucy in the Sky with Diamonds
and Philadelphia Freedom two other tracks as well, But the
first release of that album did not have Philadelphia Freedom
or Lucy in the Sky.
Speaker 2 (17:45):
I didn't know that, which is interesting.
Speaker 1 (17:47):
We have to salute Elton right now for putting out
brand new music with Brandy Carlisle, which I think is
pretty cool.
Speaker 2 (17:55):
And it seemed like it.
Speaker 4 (17:57):
Seemed like all that came together quickly and.
Speaker 1 (18:02):
It sounds beautiful and I just love seeing those two collaborate.
Speaker 3 (18:06):
Did you see any of the video where they forget
who it was who's producing it, but who kind of
described to Elton the music that he heard with the
song and then Elton just started to play and it
was literally immediately like, yes, that's it, that's exactly it.
That's great talking to him and Elton just spits it out.
Speaker 2 (18:25):
I love it.
Speaker 3 (18:26):
Last item for the week in this is a kind
of a guilty pleasure.
Speaker 2 (18:31):
Of mine and I'll probably catch some grief about this.
Speaker 3 (18:34):
Twenty twelve Donna Summer died on May seventeenth, and I'm
a closet Donna Summer and disco fan.
Speaker 2 (18:42):
Does that make me a bad person? I don't think
it does.
Speaker 1 (18:46):
I would I would watch it just a little bit
to see that this does not go out of control.
But I think so far just calling it a guilty pleasure,
I think that's okay.
Speaker 3 (18:58):
I'm not gonna prescribe the discobiotics yet quite.
Speaker 4 (19:01):
Not yet, but keep it up and you'll never know.
Speaker 2 (19:04):
At a lot of great songs from Donna Summer and.
Speaker 4 (19:07):
She what's your favorite one?
Speaker 3 (19:10):
You know? I loved like you know, dim all the
Lights and MacArthur Pie.
Speaker 2 (19:16):
Now you're embarrassing me, you're laughing at me. This is over.
Speaker 3 (19:19):
That's this week for whatever the days are, I don't know.
Through the eighteenth May, I'm done. I might be ending
in my notice virtually.
Speaker 1 (19:28):
Harry Jacobs, thank you so much for this week in
music history this week and Donna Summer history for the
week of May the twelfth. And this is the Taking
a While podcast. Thanks for checking us out. We are
part of the iHeart Podcast network. I quit and I
(19:49):
Will survive.
Speaker 2 (19:51):
That was Gloria Gayner. Sorry, wee
I'm Buzz Night, the host of the Taking a Walk
podcast music History on Foot, and we take a look
now at the week in music from May twelfth, and
we go over to the music history desk. I'm going
to call him right now, since I often call him
different names, now he's going to be called the Maestro
of all things music, Harry Jacobs.
Speaker 2 (00:26):
What do you think about that? Harry? I like that.
Speaker 3 (00:28):
But when I heard you say I'm going to call
him a name, I always call him names. I started
to get nervous about, you know, your propensity to bully
me periodically with some of these names, you know, comparing
me to well hot dog vendor with my music facts
and things like things.
Speaker 2 (00:44):
Such as these.
Speaker 3 (00:45):
But yes, I will take that, and I will accept that,
and I will just say, you may want to rework
the setup on that.
Speaker 2 (00:51):
You know, I don't call him names. I give him
different titles. These titles. I bestow different titles on him.
Speaker 3 (00:59):
A much kinder way say that. And I'm sensitive. I
need a safe space.
Speaker 4 (01:02):
I thought, there's this says a safe space exactly.
Speaker 2 (01:05):
All right.
Speaker 3 (01:06):
Let's start at May twelfth. This is the week of
May twelfth through the eighteenth. May twelfth, Bob Dylan walked
off the Ed Sullivan Show after CBS censors refused to
let him perform the song talking John Birch Paranoid Blues.
I didn't know anything about John Birch, and I didn't
know about this. This highlighted his defiance on the tension
(01:29):
over free expression and Birch.
Speaker 2 (01:31):
I did some research this morning. John. Do you know,
by the way, anything about John Birch at all.
Speaker 1 (01:35):
I want to hear what you have to say and
see what I can offer to counter it or acknowledge it.
Speaker 2 (01:42):
Let's just say this. He was a Republican.
Speaker 3 (01:44):
He was an intelligence military This was I think PRECIA,
so he was a military intelligence officer and was anti
the counterculture.
Speaker 2 (01:56):
Right.
Speaker 3 (01:56):
He was a white shirt, red tie wearing conservative that
the kids, you know in the sixties were rebelling against
that type of person.
Speaker 1 (02:06):
And I remember my older brothers talking about quote unquote
the Butchers, but I did not know that moment on
the Ed Sullivan Show with Bob happened.
Speaker 2 (02:17):
So that is a new one.
Speaker 1 (02:20):
I know he always liked to, you know, poke in
the face of what was going on, and that was
part of him building his incredible legacy.
Speaker 2 (02:31):
But didn't know that story.
Speaker 3 (02:33):
Yeah, you know, and this is interesting because the you know,
the Ed Sullivan show, they made the Stones, you know, censor,
you know, let's spend the night together. It was let's
spend some time together. And I'm looking for the for
the date on that, but that, you know, that was
around the same time. That was, you know, sixty three
(02:54):
for Dylan and sixty seven is when it looked like
it it happened for the Stones. So CBS cnsers definitely
had their way with with the rock music.
Speaker 1 (03:04):
Ed Sullivan being a little cranky pants himself too. The
sensors you know, rang true back then for sure.
Speaker 2 (03:11):
Yeah, they did.
Speaker 3 (03:13):
May twelfth, in nineteen forty eight, Steve Winwood was born.
And Steve Winwood, you know, had an amazing career as
a very young man. Think about it when they recorded
when Spencer Davis recorded give Me Some Loving, he was
like sixteen years old at that point. So he's had
an amazing career. Traffic and Spencer Davis and the solo
(03:35):
career Blind Faith. I loved his solo career like roll
with It, you know what a great song that was.
Speaker 2 (03:43):
So I'm I'm a Steve Winwood fan.
Speaker 1 (03:46):
Oh yeah, and from that other era there, the you know,
the solo career back in the High Life again was
one of the great great songs.
Speaker 2 (03:57):
Boy, you want to go down.
Speaker 1 (03:58):
A bunch of nice rabbit holes with a playlist, you
can do that with with Stevie Blind Faith, Traffic, you know,
walking in the Wind by Traffic, how about that one?
And John Barleycorn Must Die.
Speaker 2 (04:16):
Oh my god, Yes, And I saw It's funny.
Speaker 3 (04:18):
I saw not long ago a video of him sitting
in his you know study, hearing him play that song
on his own in his study with a beautiful Martin
acoustic guitar was really a tree.
Speaker 1 (04:31):
I don't know what he's what he's really up to
these days in terms of, you know, going out on
any small day tours or anything, or or recording any
new music. I do know, like a lot of the
musicians over you know, the recent years, among other places,
one of the places that he has relocated to is
(04:54):
the outskirts of Nashville.
Speaker 3 (04:56):
He is playing this summer, some dates this summers. Matter
of fact, he's going to in the fall. He's going
to be not far away from you. He's playing in
Beverly No early mass Yeah. So he's got July thirteenth
through you know, the end of September. There are handful
(05:17):
of dates, a few on the East Coast. He's going
to be in Wilkesbary, Pennsylvania, Morristown, New Jersey, Atlantic City, Verona,
New York at the Turning Stone Casino, Red Bank, New Jersey,
port Chester, New York. Beverly, mass right, which is just
kind of a funny anything. Everything you got around where
(05:37):
you are Beverly is an interesting spot. But he's going
to be out maybe you know, listen to throw the
idea there. Maybe he's taken a walk guest. Maybe you know,
you end up backstage and get to take a walk
with him backstage.
Speaker 2 (05:49):
Oh be magical to talk to you. What an icon.
Speaker 3 (05:52):
Nineteen thirty two, the body of Charles Lindbergh Junior was found.
He was the son of the famous aviator and he
was found in New Jersey weeks after his abduction.
Speaker 2 (06:05):
Course that's the beat.
Speaker 1 (06:06):
I mean, you think about the true crime stories that
was you know, that was one back back in the day.
Speaker 2 (06:13):
For sure. I hadn't thought about it when we were
doing the research.
Speaker 3 (06:17):
That's one of the things that came up was this
was the early you know, really one of the earliest,
you know, true crime media kind of stories. It was
a big deal in this country when I happened interesting
nineteen sixty seven, Radio London debuted Sergeant Pepper's in its entirety.
This is an interesting concept to play an album in
(06:39):
its entirety. You want to speak to this because this
is something you as a radio programmer. This was something
that you did fairly often in your career.
Speaker 2 (06:49):
Yeah, this was a thing that you did.
Speaker 1 (06:52):
Then when a major release came out, you would, you know,
as a program you would or the programmers we work
for you'd feature songs from uh, you know, from that
new release, and then frequently would be and you know what,
and we're going to roll the entire album tonight. And
(07:14):
then that got heavily discouraged at a point. I don't
think there was a legality discouraging, you know, comment there,
but it was discouraged because it was thought when we
did that that we took away severely from the artists'
sales of that release.
Speaker 4 (07:35):
Isn't that funny thinking about that now?
Speaker 2 (07:38):
It really isn't it.
Speaker 3 (07:39):
It's when you think about it, you know, you were
on the radio at that time, but for you know,
I was a kid in the seventies, and as a
matter of fact, I'll give you a story.
Speaker 2 (07:50):
I was on AF when I was a kid.
Speaker 3 (07:52):
I was fourteen years old, and one of the things
I had to do I had to work midnight to
nine am Sunday morning, Saturday night to Sunday morning. And
what AAF did on Saturday nights was they did something
called the Saturday Night six Pack, and they would play
six albums start to finish. And I remember setting my
cassette recorder up some nights to tape and if I
(08:13):
didn't have the money to buy an album and they
were running, you know whatever it was it you know
ac DC's Back in Black all the way through Saturday
night at midnight, I would set my cassette player up
and that's how I listened to Back in Black, which
I taped it from the radio.
Speaker 1 (08:28):
Right, So you did contribute then to the taken away
sales from the artists by doing that.
Speaker 2 (08:33):
So you've just brought some truth to it.
Speaker 3 (08:36):
Ac DC got some ticket money out of me, and
they did end up getting some albums. And I now
I pay for my streaming, so whatever applied to it
is paying.
Speaker 2 (08:44):
They're getting from me.
Speaker 4 (08:45):
I think, yeah, everything's even now.
Speaker 3 (08:47):
You know, when I worked for you, we would do
that if something important came out that that would that
was a neat, little, neat little thing.
Speaker 2 (08:54):
Yep. We talked in one.
Speaker 3 (08:57):
Of our recent episodes about the Kent State shooting and
you shared the story that you had hitchhiked home from
Dayton to back home to Connecticut and spent a night
at Kent State. This is the day May fourteenth that Crosby,
Stills and Nash actually got Ohio out. They rushed to
record it. So it's kind of funny that we talked
(09:19):
about the incident happening now in the next week or
two weeks later, we're saying the record actually came out.
Neil Young wrote it and they recorded it. It was quick.
May fourth, nineteen seventy is the date of the shooting.
And here we are talking about this on May fourteenth.
Speaker 2 (09:34):
Yeah.
Speaker 4 (09:34):
It is cool how the things you know cycle through.
Speaker 2 (09:38):
I love it.
Speaker 3 (09:39):
Yeah, And in this day and age, think about that
that would have happened, you know immediately that's right.
Speaker 2 (09:44):
Right next to next.
Speaker 3 (09:45):
Two days later on this date in nineteen ninety eight,
the Seinfeld finale aired on NBC drew seventy six million viewers.
Speaker 2 (09:56):
This was as as they say, I show about nothing.
Speaker 1 (10:01):
Yeah, it was a terrible finale, but you know, I
don't know, we're run across once in a while. Someone
who goes I never really listened watched that show or got.
Speaker 4 (10:11):
It, but it was a part of do you get it?
Speaker 1 (10:15):
I don't know, really, I can't really answer that, but
I will say I'm privileged to say. There was a
few moments early on in Jerry Seinfeld's career as he
was still a great you know, he was a great
stand up then had appeared on The Tonight Show frequently.
But when I worked in Connecticut and did mornings there,
(10:41):
did afternoons, eventually there he came up a few times
to spend some time on the show. And then one
other time when I was doing afternoons in Ohio, he
came up as well. And I'll never forget it.
Speaker 2 (10:56):
I mean, it was one of these things.
Speaker 1 (10:58):
Legacy was weird that there were many people who would say, oh,
when Jerry comes on the radio, he's they thought he
was terrible, But I completely disagree with that. Very business like,
I mean, it wasn't really a chit chatty relationship. When
the mic was off by any stretch, but I thought
he brought it every time and was was brilliant. And
(11:23):
at the outset of COVID, I found some of those
air check tapes and actually digitized the Seinfeld interviews.
Speaker 2 (11:31):
Oh, it be great to it'd be great to hear those.
Speaker 3 (11:34):
When I started watching the last season of Larry David
and there was the issue in Georgia giving them the
bottle of water, sure that the guy that I was
watching it with my buddy, I said, this is how
it's going to end. They're going to end up in court.
This is going to be the end of Seinfeld done
the right way. Yeah, he said, that's interesting. And as
(11:55):
the as it went on, I kept saying, remember what
I said, Remember what I said. And they did the
Larry David thing the same way they did Seinfeld, which
was interesting, right, Yeah it was, And even he made
the comment, this is how we should have ended the show.
May fifteen, nineteen seventy five, first episode of Saturday Night
Live aired, and this was kind of an interesting ordeal
(12:19):
leading up to it. There was a lot of controversy
with the we're talking about sensors, with the Ed Sullivan thing.
You know, ten twelve years later, still going on, you know,
at the NBC level. This time they were against what
Lorne Michaels was trying to do. And he was also
very secretive about what the show was going to be
about the concept of a sketch show in a different
(12:41):
way than like you know, the Smothers Brothers or the
Karrol Burnett Show. This was going to be a little
bit more reverent. This was going to be a little
bit more different. And he was very secretive and they
were on him about this. It looked like did you
see the movie.
Speaker 1 (12:54):
About did And then they got the censors got burned
a few times by him.
Speaker 2 (13:00):
Did so.
Speaker 3 (13:01):
On May fifteen, twenty nineteen, Tom Petty's two daughters ended
up suing his wife because of the trusts, you know, money.
If things aren't set up properly there even if they are,
you know, there can be disputes. And this is one
of them. The three Tom Petty's, the three women in
his life ended up in a five million dollar lawsuit
(13:26):
and that got ugly for a minute.
Speaker 1 (13:29):
And this is why they say, among other reasons, that
so many of the artists are you know, selling the
catalogs as a way to get well ahead of this
whole estate and the management of it and who gets what.
So that was told to me by a few people
close to the legal side of those things, that it's
(13:52):
really it's done for a lot of reasons, but one
of it is so that doesn't become this legal entanglement
that occurs.
Speaker 3 (13:59):
You brought them up, and I think that I think
I heard either Neil Young or Bob Dylan talking about that,
Neil Young basically saying, you know, who gives a shit,
it's my money, I want it now, right, you know,
like kind of like that's one aspect of it, and
the other is to make sure people aren't fighting about
it when it's over. But the nice thing about this
(14:20):
suit is that it ended in this little organization called
the Tom Petty Legacy Company, And all three women came
out afterwards and said that they were embarrassed.
Speaker 2 (14:33):
They acknowledged how.
Speaker 3 (14:34):
Hurtful it was to have the lawsuit going on, and
they now work basically in concert, if you'll excuse the pun,
on everything that happens with Tom's you know, music and
his legacy now together.
Speaker 2 (14:47):
So kind of a nice deal.
Speaker 3 (14:48):
The lawsuit was settled and now everyone's working together, yet
we all get along.
Speaker 2 (14:53):
Yep, I want to stop this real quick.
Speaker 3 (14:57):
Sure that that's really funny. That's really funny. Can I
talk about this? Can I please talk about this? If
you're listening to the show, if you're listening to podcasts,
you obviously are the reason. Buzz says, can I stop this?
And he holds his phone up. We're doing this over zoom.
We're twenty three hundred miles away from each other, and
(15:18):
his phone says, Peter Wolf is calling him the Wolf Off,
the lead singer of the Jay Giles Band, who has
been more elusive than the Pulp try to get an
interview with him, and now he's calling you during this
week in music history.
Speaker 2 (15:34):
I love him that.
Speaker 3 (15:36):
You know, we talked about Pet Sounds recently in the
various you know releases of that. But on May sixteenth,
nineteen sixty six, they released Pet Sounds and this was
a disappointment. You know, we talked about all the great
tracks on it, you know, last week or the week before,
and this really changed and raised the bar with how
(15:58):
the competitors and that day for the Beach Boys, Stones
and the Beatles in particular with production value, with things.
Speaker 2 (16:07):
Right, masterful, production value.
Speaker 3 (16:09):
Absolutely gotta believe Phil Spector was in there looking at that, going, hold.
Speaker 2 (16:12):
How do I compete with this? That's right? Yeah.
Speaker 3 (16:16):
Nineteen eighty seven, With or Without You YouTube's first number
one song the US charts. What an album the Joshua
Tree album.
Speaker 4 (16:27):
Was, I'd say, every song right, yeah, yeah.
Speaker 2 (16:30):
Yeah, yeah, was tripped through your wires on that, yeah,
I believe. So. Yeah, just a great album.
Speaker 3 (16:36):
They did that concert on the roof in LA that
video they released, Yeah, it still gives me chills to
watch that.
Speaker 2 (16:43):
The tip of the hat to the Beatles.
Speaker 3 (16:45):
Oh, you know, the rooftop concert and people in the
streets and buildings. I mean, that's a good one to
go and go down the YouTube rabbit hole for videos
of that of that concert. But that was that was
pretty amazing. But at any rate, whe Or Without You
hit number one May sixteenth of nineteen eighty seven. May seventeenth,
nineteen seventy five, Elton John released Captain Fantastic and the
(17:08):
Brown Dirt Cowboy number one on the Billboard Top two hundred,
which was a rare feature at the time as I
understand it, And it was an autobiographal biographical album that
really solidified a lot for elbum and there were two
releases of that.
Speaker 2 (17:26):
Do you know that? Are you aware of that? No?
Speaker 3 (17:29):
There was the release in seventy five and then a
later release that included Lucy in the Sky with Diamonds
and Philadelphia Freedom two other tracks as well, But the
first release of that album did not have Philadelphia Freedom
or Lucy in the Sky.
Speaker 2 (17:45):
I didn't know that, which is interesting.
Speaker 1 (17:47):
We have to salute Elton right now for putting out
brand new music with Brandy Carlisle, which I think is
pretty cool.
Speaker 2 (17:55):
And it seemed like it.
Speaker 4 (17:57):
Seemed like all that came together quickly and.
Speaker 1 (18:02):
It sounds beautiful and I just love seeing those two collaborate.
Speaker 3 (18:06):
Did you see any of the video where they forget
who it was who's producing it, but who kind of
described to Elton the music that he heard with the
song and then Elton just started to play and it
was literally immediately like, yes, that's it, that's exactly it.
That's great talking to him and Elton just spits it out.
Speaker 2 (18:25):
I love it.
Speaker 3 (18:26):
Last item for the week in this is a kind
of a guilty pleasure.
Speaker 2 (18:31):
Of mine and I'll probably catch some grief about this.
Speaker 3 (18:34):
Twenty twelve Donna Summer died on May seventeenth, and I'm
a closet Donna Summer and disco fan.
Speaker 2 (18:42):
Does that make me a bad person? I don't think
it does.
Speaker 1 (18:46):
I would I would watch it just a little bit
to see that this does not go out of control.
But I think so far just calling it a guilty pleasure,
I think that's okay.
Speaker 3 (18:58):
I'm not gonna prescribe the discobiotics yet quite.
Speaker 4 (19:01):
Not yet, but keep it up and you'll never know.
Speaker 2 (19:04):
At a lot of great songs from Donna Summer and.
Speaker 4 (19:07):
She what's your favorite one?
Speaker 3 (19:10):
You know? I loved like you know, dim all the
Lights and MacArthur Pie.
Speaker 2 (19:16):
Now you're embarrassing me, you're laughing at me. This is over.
Speaker 3 (19:19):
That's this week for whatever the days are, I don't know.
Through the eighteenth May, I'm done. I might be ending
in my notice virtually.
Speaker 1 (19:28):
Harry Jacobs, thank you so much for this week in
music history this week and Donna Summer history for the
week of May the twelfth. And this is the Taking
a While podcast. Thanks for checking us out. We are
part of the iHeart Podcast network. I quit and I
(19:49):
Will survive.
Speaker 2 (19:51):
That was Gloria Gayner. Sorry, wee
Host
Lynn Hoffman
Popular Podcasts
Amy Robach & T.J. Holmes present: Aubrey O’Day, Covering the Diddy Trial
Introducing… Aubrey O’Day Diddy’s former protege, television personality, platinum selling music artist, Danity Kane alum Aubrey O’Day joins veteran journalists Amy Robach and TJ Holmes to provide a unique perspective on the trial that has captivated the attention of the nation. Join them throughout the trial as they discuss, debate, and dissect every detail, every aspect of the proceedings. Aubrey will offer her opinions and expertise, as only she is qualified to do given her first-hand knowledge. From her days on Making the Band, as she emerged as the breakout star, the truth of the situation would be the opposite of the glitz and glamour. Listen throughout every minute of the trial, for this exclusive coverage. Amy Robach and TJ Holmes present Aubrey O’Day, Covering the Diddy Trial, an iHeartRadio podcast.
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com
The Breakfast Club
The World's Most Dangerous Morning Show, The Breakfast Club, With DJ Envy And Charlamagne Tha God!