June 16, 2025 • 17 mins
Join @thebuzzknight and @theharryjacobs for another look at the week in Music History for the week of 6-16.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:04):
This is Buzsnight and welcome to the Taking a Walk podcast,
And welcome to another episode of This Week in Music
History for the week of June sixteenth, and we go
over to the music history desk. It's a little placard
over there, it says purveyor of all things music, Harry Jacobs.
Speaker 2 (00:22):
Harry, welcome to this Week in Music History.
Speaker 3 (00:27):
My plaque is no better than in any way than
the plaque you used to have on your desk at
your work. Can we talk about Joe Schwartz for a minute.
You're old, You're old. We've got it right here.
Speaker 4 (00:38):
Do what you say you're gonna do.
Speaker 2 (00:39):
There it is, baby, you're gonna do.
Speaker 3 (00:41):
And he also gave you a quote. I think you
may have had a plaque for this as well. It's
you have ulcers, don't get them right, be someone's pain
in the ass.
Speaker 4 (00:51):
Don't let it.
Speaker 2 (00:52):
That is it. He still says it, Jos. He's a
wise man, as are you.
Speaker 4 (00:57):
Thank you. I appreciate that.
Speaker 3 (00:59):
For sixteenth nineteen seventy two, David Bowie had this career
defining moment with the rise and fall of Ziggy Stardust
and the Spiders from Mars. This was a breakthrough in
a lot of ways, sold over seven million copies, which
was a lot back in that day. A couple of
bangers on that Suffragette City rock and Roll Suicide Starman,
(01:23):
and it just became a monster of an album. And
you were a fan of the Thin White Duke, I
mean you were a Bowie guy.
Speaker 1 (01:30):
Yeah, not as big then that I would become. I
didn't get it as quickly as I should have. And
then over time really grew to, you know, respect him
as an artist and be fascinated by him and like
the music over the years like that, But I didn't
(01:51):
get it like I would eventually get it.
Speaker 4 (01:53):
You know. Let me ask you a question.
Speaker 3 (01:56):
It's funny that you say that, because I have a
couple in my head that are like that. How many
of those artists like Bowie where they came out, you know,
in the sixties or seventies or whenever, that you didn't
really appreciate, you know, we because we came out of radio.
We have this disadvantage. Like I'll give you an example.
(02:17):
I hated Hotel California for years. I hated it and
I haven't worked on the radio in thirty years, and
now I hear Hotel California, and I turn it up,
and I get my guitar and I put the capo
on the seventh threat, and I want to learn every
little nuanced piece of it. And I just so when
you're in it like we were in it, who were
(02:37):
the artists that maybe you didn't really give the attention
to until you were out of radio and then all
of a sudden you get it. So Bowie's a good
example from one of mine is Neil Young.
Speaker 2 (02:48):
You're up to a degree the Eagles.
Speaker 1 (02:51):
I mean, I really enjoyed the Eagles and appreciated them.
But the more over time, especially when you go back
to the beginning of the Eagles, it really, you know,
makes you think differently about someone who we were routinely
playing a lot in the on the playlist, and but
(03:11):
you know, let's be honest with radio playlists.
Speaker 2 (03:15):
When you're playing it as an on air.
Speaker 4 (03:17):
Person, you kind of get sick of some of this
rock radio.
Speaker 3 (03:22):
We were playing five hundred songs, six hundred songs. You know,
you you allowed us to play some deep treks, so
maybe we had a thousand possible songs, you know, additional
to that that were deep cuts, but they didn't get
played all the time. So with the Eagles, Tequila Sunrise
and you know, peaceful, easy feeling, those were the songs
where they would come on, or I would have to
play them. I'd go, oh god, this direk, this drek.
(03:43):
And then now that we're out of it, I'm like, oh,
it's all magnificent.
Speaker 2 (03:47):
Come closer. I'll tell you another secret.
Speaker 4 (03:50):
Yes please.
Speaker 1 (03:50):
Do you know.
Speaker 2 (03:53):
How these playlists are now these days? I from these
these radio stations.
Speaker 3 (04:00):
Dummy three hundred on a classic rock station, three hundred
three twenty.
Speaker 4 (04:10):
I'm stunned. Well, think about it. Fifteen songs an hour.
Speaker 2 (04:15):
I'm sorry to let the cat out of the bag.
Oh gosh, I don't have.
Speaker 1 (04:19):
Any particular clients that I'm disclosing information.
Speaker 4 (04:26):
If you're listening to this, think about this for a minute.
Speaker 2 (04:31):
You're going to think less of me. If you're listening
to this.
Speaker 1 (04:33):
Don't think I contributed to this, because I really don't
think I did.
Speaker 3 (04:40):
What Buzz just said is three hundred and twenty songs.
If you're a radio listener and you are someone who
works grave or doubles or whatever, three hundred and twenty
songs at fifteen songs an hour, which is the average.
Speaker 4 (04:55):
It was the average, maybe it's less now. Even if
it's twelve.
Speaker 3 (04:59):
The playo turns around every single day. That means if
you hear peaceful easy the way the radio stations do it.
If I hear peaceful easy feeling on my way to
work today, I might hear it during lunchtime tomorrow, and
then I might hear it during you know, uh, you know,
afternoon drive the following day. You know that's how quickly. Oh,
(05:21):
it's disgusting to me.
Speaker 1 (05:22):
I'm going to climb you know what I'm doing right now,
climbing up the steps here out of our rabbit hole.
Speaker 3 (05:30):
Okay, gosh, let's do it. That's a good way to
go anyway. So for you, for me, it was Neil
Young I bring us back. Were there were there any
art of other artists that you didn't really appreciate like that?
Speaker 1 (05:45):
I can't think of one right off the bat, but
I'm sure when we stopped recording it'll it'll come to me.
Speaker 4 (05:51):
Yeah.
Speaker 1 (05:52):
I mean, I probably always appreciated the progressive rock bands artists,
so they always were solid.
Speaker 3 (06:01):
But you didn't have a lot to do with progressive
rock during the heyday of your career when you were
doing classic rock. It wasn't until you went from ZLX
to then taking WROR which was classic kids, and then
WBOS for those of you in Boston, which was a
progressive kind of station where you were playing you know,
the different artists.
Speaker 2 (06:21):
Right, I have another dirty secret for you.
Speaker 1 (06:23):
The other dirty secret here is that that's not true
completely because a lot of the progressive bands over their
time and evolution, I dare say I was playing them
as current artists.
Speaker 4 (06:37):
Okay, that makes sense.
Speaker 3 (06:38):
I'm just thinking when I say progressive, them thinking triple A.
Speaker 4 (06:41):
Anyway, we're in the rabbit hole.
Speaker 2 (06:42):
That's I'm climbing out right now of the rabbit hole.
Speaker 4 (06:44):
Let's do it.
Speaker 3 (06:45):
Nineteen sixty seven, the birth of the Modern Music Festival.
It was the first of the Monterey Pop Festivals at
Country Fairgrounds up in Monterey Beautiful area.
Speaker 4 (06:54):
And it was a monster of an event.
Speaker 3 (06:57):
Who the Dead, the Airplane, Janis Joplin, me Hendricks, the Animals,
three days and it's set kind of it's set, the set,
the tone for which you know would end up being Woodstock.
Speaker 4 (07:11):
Right.
Speaker 3 (07:12):
This was the brainchild of John Phillips. Mama was napapas
Lou Adler was in them.
Speaker 1 (07:16):
Of that, I'm going back into the rabbit hole for
a second, because there is somebody who I thought was
wonderful in his own way but didn't get and that
was who played there, Robbie Shankar.
Speaker 4 (07:31):
Oh.
Speaker 1 (07:32):
Now he brought the the sitar, which ultimately, you know,
bands like the Rolling Stones would use and and make
part of their repertoire, but the citar was not ultimately
a particularly popular popular choice.
Speaker 4 (07:50):
And and Harrison got into it too.
Speaker 2 (07:52):
That's right, and through Robbie.
Speaker 1 (07:54):
So Robbie was Robbie was adorable, but I didn't get them.
But anyway, sorry to digress.
Speaker 3 (08:00):
No, that's great, that's a sing story anyway. Nineteen sixty seven,
the Monterey Pop Festival lasted three days. Just touch on
this real quick. In twenty ten, Metallic, a Mega Death
Slayer and Anthrax played at the at a show together.
I was never and I appreciate out of that group.
I look at it and going Metallica. I love Metallica,
(08:21):
I just but I just know the hits. I'm one
of those guys, but I was never into that kind
of rock. Mega Death Slayer, Anthrax, the hairbands.
Speaker 1 (08:32):
Boy, I don't even know if those were would you
call those hair bands are just real heavy metal bands.
I mean Anthrax. I wouldn't consider Anthrax a hair band,
you know.
Speaker 3 (08:43):
I will I will quote something that you used to
say to me all the time about something like that.
Speaker 4 (08:48):
You would say, I don't know.
Speaker 3 (08:49):
For Manthrax, that's exactly right, like an old Jewish guy.
Speaker 4 (08:53):
I don't know Manthrax. That's right. Yeah, same, same, same deal.
And this is cool.
Speaker 3 (08:59):
Fact and two, that remixed version of Elvis's A Little
Less Conversation hit number one.
Speaker 4 (09:06):
You're familiar with that version of A Little Less Conversation.
Speaker 2 (09:09):
No, I'm actually not.
Speaker 4 (09:10):
You can. I'll send you a link to your phone.
You can listen to it all you're on vacation.
Speaker 2 (09:14):
Okay, well that sounds good.
Speaker 3 (09:15):
You're recreating A Little Less Conversation hit number one in
the UK nineteen seventy two on the seventeenth of June,
the Watergate break in the DNC headquarters at the Watergate Hotel.
This was this was a president that thought he could
do whatever he wanted to do, and this was a
(09:37):
nightmare for him. This was his undoing.
Speaker 2 (09:40):
Pretty freaky moment for sure.
Speaker 4 (09:43):
Remind me of the movie Tricky Dick and.
Speaker 2 (09:46):
Ye Man in Black Johnny Cash Yes.
Speaker 4 (09:49):
In nineteen seventy one.
Speaker 3 (09:50):
June seventeenth, Carol King began this fifteen week run at
the top of the US charts with Tapestry. It was
on the billboard two hundred for six years. The sheer
volume of songs hit songs that were on Tapestries. You know,
it's like Sergeant Pepper's, It's like pet Sounds, It's you know,
(10:13):
seven eight nine songs You Got a Friend. She and
James Taylor were both working on that song at the
same time. Came out in seventy James Taylor won the
Grammy in seventy two of My Memories correct and very
rare to have a song come out, same song come
out by two different artists at the same time.
Speaker 1 (10:32):
And loved talking to the great Russell Kunkle, who was
part of that session, who talked about that kind of
as he remembered it, it was it almost seemed effortless,
even though there was many hours and hard work put
into it. But you know, he was really I think,
(10:53):
as I recall talking about just the general great flow
of that session, and look at what that yielded. It
yield it a masterpiece of an album.
Speaker 3 (11:02):
Yeah, magnificent album. And I forget about the Russ Hunkle
connection to that as well. On the nineteenth of June
two thousand and six. We don't do a lot of
swifty talk, but Taylor, you could do some swift he talk.
I think I only know one song by the way,
I know she's a monster and that she'd be embarrassed.
(11:22):
But in two thousand and six, she released her first single.
Tim McGraw had of her forthcoming self titled debut album
in June of two thousand and six, and it was
written by her when she was a freshman in high school.
And the song Sweat, you know, really set her on
this path to success and.
Speaker 4 (11:46):
You know, superstardom. It's just unbelievable what she's accomplished.
Speaker 1 (11:50):
And then the recent news of her, you know, buying
back that the catalog as well, you know, not only
what she did when she lost the catalog, which was
a fairly badass move to make, but then the recent
repurchasing of the catalog.
Speaker 2 (12:08):
It's pretty unbelievable.
Speaker 3 (12:10):
Yeah, I you know, I wonder what the motivation is
with that, because once these guys, I mean I get
it for you know, for Dylan and Springsteen and Neil Young.
You know, three hundred to five hundred million, you know,
a piece. They're never going to make that money, you
know at this point. But Taylor, you know, why dump
it and then why go and re buy it? I
(12:30):
have a friend I watched one time, by the way,
speaking of that buy a car, sell that car because
he felt guilty about it, and then he went literally
crossed two states to go buy the car back from
a dealer and must have lost thirty thousand dollars on
this insane car. But like, why why sell it and
then go chasing after it?
Speaker 4 (12:50):
And you know why?
Speaker 1 (12:51):
Because your friends saw it helped for his problem. That's
the first question. And then the second part of it
is for her, why do it? Because she can't.
Speaker 3 (13:00):
My friend's owned sixty seven cars in his life and
he's only sixty five years old. So no, he hasn't
sought any help. And I don't see that coming, Okay,
And Taylor, you know, there's obviously logic and there's council there.
Speaker 2 (13:15):
My friend has no counsel, and there's ego there too.
I hate to break that to you.
Speaker 3 (13:20):
Listen, both stories, both of these people, Taylor Swift and
my friend Big Bob. So you're absolutely right about right
about that. In nineteen fifty on June nineteenth, Ann Wilson
from Heart was born, and she's she's had some health problems.
Speaker 4 (13:37):
I saw her on a video on stage. She's singing
in a wheelchair.
Speaker 2 (13:41):
And yeah, I hate seeing that. I love her and
I hate seeing that.
Speaker 4 (13:46):
You know.
Speaker 3 (13:47):
Yeah, they are back out, you know, on the road
in the middle of a tour right now. But she's
she's had a go of it for whatever reason. But man,
her voice is so good. Hearing her sing Barracuda or
praising on you, it's just fantastic.
Speaker 4 (14:05):
And I love Nancy's guitar playing.
Speaker 2 (14:07):
Oh yeah now.
Speaker 3 (14:09):
June twentieth, two thousand and four, Paul McCartney performed this
three thousandth live show and that was the show in
Saint Petersburg, Russia.
Speaker 2 (14:17):
What a show off, you know, God.
Speaker 4 (14:20):
Right, Another little Beatles connection.
Speaker 3 (14:23):
Billy Preston, the writer and performer of Nothing from Nothing
Leaves Nothing and Will It Go Around and Circle? I
mean a bunch of great songs from Billy. His funeral
two thousand and six in Inglewood, Little Richard, Della Reese,
The Temptations, Ali Ali Joe Cocker, who sang you are
(14:45):
so Beautiful. I didn't realize until doing the research for
this week that Billy Preston wrote you are so beautiful.
Speaker 2 (14:54):
Yeah, I didn't realize it either.
Speaker 3 (14:56):
What a wonderful Even today, I'm not a fan of
a lot of sappy music, but when I hear Joe
Cocker seeing you are so Beautiful, it's like, Man, what
a moving song that is?
Speaker 2 (15:06):
Like made for him?
Speaker 4 (15:08):
Yeah.
Speaker 3 (15:09):
The last couple of couple of things here June twenty first,
sixty seven, San Francisco's Golden Gate Park Monster Free Concert
celebrating the Summer Solstice. The Dead, Big Brother and the
Holding Company Quicksilver Messenger all performed there at a big
one at the Golden Gate Park and then another Taylor
(15:30):
Swift story.
Speaker 4 (15:31):
Why not do two since we did one?
Speaker 1 (15:32):
Go ahead before you get to Taylor and the Dead
and Company playing, I think three three dates at Candlestick
Park coming up in August.
Speaker 2 (15:45):
I think this will be the.
Speaker 1 (15:48):
One hundred and seventy fifth anniversary or something of the band,
and it will be, I'm sure a big moment. I
don't know if this is a one off show and
they're going to keep playing after this.
Speaker 2 (15:59):
But did you hear about this?
Speaker 3 (16:01):
I didn't hear about it, but you know they were here.
They played the Yeah the sphere and it was crazy
because you know the dead logo. You know, I can
see that from my house, like I can see it
from my backyard.
Speaker 4 (16:11):
It's like the moon.
Speaker 2 (16:12):
Could you smell the petuli oil from your house?
Speaker 4 (16:15):
I've only by the way.
Speaker 3 (16:16):
I've only been by there once, and I think it
was to drop you off after the dinner where everyone
at Piero's knew who you were and no one knew
who I was. But yeah, I think I was over
by there when I dropped you off of your hotel.
But no, I didn't smell anything, not up here. Twenty fifteen,
June twenty first, Taylor Swift. Taylor wrote a letter to
the company, an open letter, threatening to withhold her album
(16:37):
nineteen eighty nine if artists weren't paid what they were
deserved in royalties. And I don't think that worked out
so well.
Speaker 4 (16:44):
For the artists.
Speaker 1 (16:45):
Well here you go, though, still Swifty is going to
take a stand.
Speaker 4 (16:49):
M hm.
Speaker 2 (16:50):
Got to admire that buzz.
Speaker 4 (16:52):
That's the week of June twenty first.
Speaker 1 (16:54):
Oh Harry, thank you as always, This is a blast
taking a look at this week in music history. And
thank you, thank you Harry Jacobs, and thanks for checking
out the Taking a Walk podcast. We are available Apple Podcasts,
Spotify and part of the iHeart podcast network.
This is Buzsnight and welcome to the Taking a Walk podcast,
And welcome to another episode of This Week in Music
History for the week of June sixteenth, and we go
over to the music history desk. It's a little placard
over there, it says purveyor of all things music, Harry Jacobs.
Speaker 2 (00:22):
Harry, welcome to this Week in Music History.
Speaker 3 (00:27):
My plaque is no better than in any way than
the plaque you used to have on your desk at
your work. Can we talk about Joe Schwartz for a minute.
You're old, You're old. We've got it right here.
Speaker 4 (00:38):
Do what you say you're gonna do.
Speaker 2 (00:39):
There it is, baby, you're gonna do.
Speaker 3 (00:41):
And he also gave you a quote. I think you
may have had a plaque for this as well. It's
you have ulcers, don't get them right, be someone's pain
in the ass.
Speaker 4 (00:51):
Don't let it.
Speaker 2 (00:52):
That is it. He still says it, Jos. He's a
wise man, as are you.
Speaker 4 (00:57):
Thank you. I appreciate that.
Speaker 3 (00:59):
For sixteenth nineteen seventy two, David Bowie had this career
defining moment with the rise and fall of Ziggy Stardust
and the Spiders from Mars. This was a breakthrough in
a lot of ways, sold over seven million copies, which
was a lot back in that day. A couple of
bangers on that Suffragette City rock and Roll Suicide Starman,
(01:23):
and it just became a monster of an album. And
you were a fan of the Thin White Duke, I
mean you were a Bowie guy.
Speaker 1 (01:30):
Yeah, not as big then that I would become. I
didn't get it as quickly as I should have. And
then over time really grew to, you know, respect him
as an artist and be fascinated by him and like
the music over the years like that, But I didn't
(01:51):
get it like I would eventually get it.
Speaker 4 (01:53):
You know. Let me ask you a question.
Speaker 3 (01:56):
It's funny that you say that, because I have a
couple in my head that are like that. How many
of those artists like Bowie where they came out, you know,
in the sixties or seventies or whenever, that you didn't
really appreciate, you know, we because we came out of radio.
We have this disadvantage. Like I'll give you an example.
(02:17):
I hated Hotel California for years. I hated it and
I haven't worked on the radio in thirty years, and
now I hear Hotel California, and I turn it up,
and I get my guitar and I put the capo
on the seventh threat, and I want to learn every
little nuanced piece of it. And I just so when
you're in it like we were in it, who were
(02:37):
the artists that maybe you didn't really give the attention
to until you were out of radio and then all
of a sudden you get it. So Bowie's a good
example from one of mine is Neil Young.
Speaker 2 (02:48):
You're up to a degree the Eagles.
Speaker 1 (02:51):
I mean, I really enjoyed the Eagles and appreciated them.
But the more over time, especially when you go back
to the beginning of the Eagles, it really, you know,
makes you think differently about someone who we were routinely
playing a lot in the on the playlist, and but
(03:11):
you know, let's be honest with radio playlists.
Speaker 2 (03:15):
When you're playing it as an on air.
Speaker 4 (03:17):
Person, you kind of get sick of some of this
rock radio.
Speaker 3 (03:22):
We were playing five hundred songs, six hundred songs. You know,
you you allowed us to play some deep treks, so
maybe we had a thousand possible songs, you know, additional
to that that were deep cuts, but they didn't get
played all the time. So with the Eagles, Tequila Sunrise
and you know, peaceful, easy feeling, those were the songs
where they would come on, or I would have to
play them. I'd go, oh god, this direk, this drek.
(03:43):
And then now that we're out of it, I'm like, oh,
it's all magnificent.
Speaker 2 (03:47):
Come closer. I'll tell you another secret.
Speaker 4 (03:50):
Yes please.
Speaker 1 (03:50):
Do you know.
Speaker 2 (03:53):
How these playlists are now these days? I from these
these radio stations.
Speaker 3 (04:00):
Dummy three hundred on a classic rock station, three hundred
three twenty.
Speaker 4 (04:10):
I'm stunned. Well, think about it. Fifteen songs an hour.
Speaker 2 (04:15):
I'm sorry to let the cat out of the bag.
Oh gosh, I don't have.
Speaker 1 (04:19):
Any particular clients that I'm disclosing information.
Speaker 4 (04:26):
If you're listening to this, think about this for a minute.
Speaker 2 (04:31):
You're going to think less of me. If you're listening
to this.
Speaker 1 (04:33):
Don't think I contributed to this, because I really don't
think I did.
Speaker 3 (04:40):
What Buzz just said is three hundred and twenty songs.
If you're a radio listener and you are someone who
works grave or doubles or whatever, three hundred and twenty
songs at fifteen songs an hour, which is the average.
Speaker 4 (04:55):
It was the average, maybe it's less now. Even if
it's twelve.
Speaker 3 (04:59):
The playo turns around every single day. That means if
you hear peaceful easy the way the radio stations do it.
If I hear peaceful easy feeling on my way to
work today, I might hear it during lunchtime tomorrow, and
then I might hear it during you know, uh, you know,
afternoon drive the following day. You know that's how quickly. Oh,
(05:21):
it's disgusting to me.
Speaker 1 (05:22):
I'm going to climb you know what I'm doing right now,
climbing up the steps here out of our rabbit hole.
Speaker 3 (05:30):
Okay, gosh, let's do it. That's a good way to
go anyway. So for you, for me, it was Neil
Young I bring us back. Were there were there any
art of other artists that you didn't really appreciate like that?
Speaker 1 (05:45):
I can't think of one right off the bat, but
I'm sure when we stopped recording it'll it'll come to me.
Speaker 4 (05:51):
Yeah.
Speaker 1 (05:52):
I mean, I probably always appreciated the progressive rock bands artists,
so they always were solid.
Speaker 3 (06:01):
But you didn't have a lot to do with progressive
rock during the heyday of your career when you were
doing classic rock. It wasn't until you went from ZLX
to then taking WROR which was classic kids, and then
WBOS for those of you in Boston, which was a
progressive kind of station where you were playing you know,
the different artists.
Speaker 2 (06:21):
Right, I have another dirty secret for you.
Speaker 1 (06:23):
The other dirty secret here is that that's not true
completely because a lot of the progressive bands over their
time and evolution, I dare say I was playing them
as current artists.
Speaker 4 (06:37):
Okay, that makes sense.
Speaker 3 (06:38):
I'm just thinking when I say progressive, them thinking triple A.
Speaker 4 (06:41):
Anyway, we're in the rabbit hole.
Speaker 2 (06:42):
That's I'm climbing out right now of the rabbit hole.
Speaker 4 (06:44):
Let's do it.
Speaker 3 (06:45):
Nineteen sixty seven, the birth of the Modern Music Festival.
It was the first of the Monterey Pop Festivals at
Country Fairgrounds up in Monterey Beautiful area.
Speaker 4 (06:54):
And it was a monster of an event.
Speaker 3 (06:57):
Who the Dead, the Airplane, Janis Joplin, me Hendricks, the Animals,
three days and it's set kind of it's set, the set,
the tone for which you know would end up being Woodstock.
Speaker 4 (07:11):
Right.
Speaker 3 (07:12):
This was the brainchild of John Phillips. Mama was napapas
Lou Adler was in them.
Speaker 1 (07:16):
Of that, I'm going back into the rabbit hole for
a second, because there is somebody who I thought was
wonderful in his own way but didn't get and that
was who played there, Robbie Shankar.
Speaker 4 (07:31):
Oh.
Speaker 1 (07:32):
Now he brought the the sitar, which ultimately, you know,
bands like the Rolling Stones would use and and make
part of their repertoire, but the citar was not ultimately
a particularly popular popular choice.
Speaker 4 (07:50):
And and Harrison got into it too.
Speaker 2 (07:52):
That's right, and through Robbie.
Speaker 1 (07:54):
So Robbie was Robbie was adorable, but I didn't get them.
But anyway, sorry to digress.
Speaker 3 (08:00):
No, that's great, that's a sing story anyway. Nineteen sixty seven,
the Monterey Pop Festival lasted three days. Just touch on
this real quick. In twenty ten, Metallic, a Mega Death
Slayer and Anthrax played at the at a show together.
I was never and I appreciate out of that group.
I look at it and going Metallica. I love Metallica,
(08:21):
I just but I just know the hits. I'm one
of those guys, but I was never into that kind
of rock. Mega Death Slayer, Anthrax, the hairbands.
Speaker 1 (08:32):
Boy, I don't even know if those were would you
call those hair bands are just real heavy metal bands.
I mean Anthrax. I wouldn't consider Anthrax a hair band,
you know.
Speaker 3 (08:43):
I will I will quote something that you used to
say to me all the time about something like that.
Speaker 4 (08:48):
You would say, I don't know.
Speaker 3 (08:49):
For Manthrax, that's exactly right, like an old Jewish guy.
Speaker 4 (08:53):
I don't know Manthrax. That's right. Yeah, same, same, same deal.
And this is cool.
Speaker 3 (08:59):
Fact and two, that remixed version of Elvis's A Little
Less Conversation hit number one.
Speaker 4 (09:06):
You're familiar with that version of A Little Less Conversation.
Speaker 2 (09:09):
No, I'm actually not.
Speaker 4 (09:10):
You can. I'll send you a link to your phone.
You can listen to it all you're on vacation.
Speaker 2 (09:14):
Okay, well that sounds good.
Speaker 3 (09:15):
You're recreating A Little Less Conversation hit number one in
the UK nineteen seventy two on the seventeenth of June,
the Watergate break in the DNC headquarters at the Watergate Hotel.
This was this was a president that thought he could
do whatever he wanted to do, and this was a
(09:37):
nightmare for him. This was his undoing.
Speaker 2 (09:40):
Pretty freaky moment for sure.
Speaker 4 (09:43):
Remind me of the movie Tricky Dick and.
Speaker 2 (09:46):
Ye Man in Black Johnny Cash Yes.
Speaker 4 (09:49):
In nineteen seventy one.
Speaker 3 (09:50):
June seventeenth, Carol King began this fifteen week run at
the top of the US charts with Tapestry. It was
on the billboard two hundred for six years. The sheer
volume of songs hit songs that were on Tapestries. You know,
it's like Sergeant Pepper's, It's like pet Sounds, It's you know,
(10:13):
seven eight nine songs You Got a Friend. She and
James Taylor were both working on that song at the
same time. Came out in seventy James Taylor won the
Grammy in seventy two of My Memories correct and very
rare to have a song come out, same song come
out by two different artists at the same time.
Speaker 1 (10:32):
And loved talking to the great Russell Kunkle, who was
part of that session, who talked about that kind of
as he remembered it, it was it almost seemed effortless,
even though there was many hours and hard work put
into it. But you know, he was really I think,
(10:53):
as I recall talking about just the general great flow
of that session, and look at what that yielded. It
yield it a masterpiece of an album.
Speaker 3 (11:02):
Yeah, magnificent album. And I forget about the Russ Hunkle
connection to that as well. On the nineteenth of June
two thousand and six. We don't do a lot of
swifty talk, but Taylor, you could do some swift he talk.
I think I only know one song by the way,
I know she's a monster and that she'd be embarrassed.
(11:22):
But in two thousand and six, she released her first single.
Tim McGraw had of her forthcoming self titled debut album
in June of two thousand and six, and it was
written by her when she was a freshman in high school.
And the song Sweat, you know, really set her on
this path to success and.
Speaker 4 (11:46):
You know, superstardom. It's just unbelievable what she's accomplished.
Speaker 1 (11:50):
And then the recent news of her, you know, buying
back that the catalog as well, you know, not only
what she did when she lost the catalog, which was
a fairly badass move to make, but then the recent
repurchasing of the catalog.
Speaker 2 (12:08):
It's pretty unbelievable.
Speaker 3 (12:10):
Yeah, I you know, I wonder what the motivation is
with that, because once these guys, I mean I get
it for you know, for Dylan and Springsteen and Neil Young.
You know, three hundred to five hundred million, you know,
a piece. They're never going to make that money, you
know at this point. But Taylor, you know, why dump
it and then why go and re buy it? I
(12:30):
have a friend I watched one time, by the way,
speaking of that buy a car, sell that car because
he felt guilty about it, and then he went literally
crossed two states to go buy the car back from
a dealer and must have lost thirty thousand dollars on
this insane car. But like, why why sell it and
then go chasing after it?
Speaker 4 (12:50):
And you know why?
Speaker 1 (12:51):
Because your friends saw it helped for his problem. That's
the first question. And then the second part of it
is for her, why do it? Because she can't.
Speaker 3 (13:00):
My friend's owned sixty seven cars in his life and
he's only sixty five years old. So no, he hasn't
sought any help. And I don't see that coming, Okay,
And Taylor, you know, there's obviously logic and there's council there.
Speaker 2 (13:15):
My friend has no counsel, and there's ego there too.
I hate to break that to you.
Speaker 3 (13:20):
Listen, both stories, both of these people, Taylor Swift and
my friend Big Bob. So you're absolutely right about right
about that. In nineteen fifty on June nineteenth, Ann Wilson
from Heart was born, and she's she's had some health problems.
Speaker 4 (13:37):
I saw her on a video on stage. She's singing
in a wheelchair.
Speaker 2 (13:41):
And yeah, I hate seeing that. I love her and
I hate seeing that.
Speaker 4 (13:46):
You know.
Speaker 3 (13:47):
Yeah, they are back out, you know, on the road
in the middle of a tour right now. But she's
she's had a go of it for whatever reason. But man,
her voice is so good. Hearing her sing Barracuda or
praising on you, it's just fantastic.
Speaker 4 (14:05):
And I love Nancy's guitar playing.
Speaker 2 (14:07):
Oh yeah now.
Speaker 3 (14:09):
June twentieth, two thousand and four, Paul McCartney performed this
three thousandth live show and that was the show in
Saint Petersburg, Russia.
Speaker 2 (14:17):
What a show off, you know, God.
Speaker 4 (14:20):
Right, Another little Beatles connection.
Speaker 3 (14:23):
Billy Preston, the writer and performer of Nothing from Nothing
Leaves Nothing and Will It Go Around and Circle? I
mean a bunch of great songs from Billy. His funeral
two thousand and six in Inglewood, Little Richard, Della Reese,
The Temptations, Ali Ali Joe Cocker, who sang you are
(14:45):
so Beautiful. I didn't realize until doing the research for
this week that Billy Preston wrote you are so beautiful.
Speaker 2 (14:54):
Yeah, I didn't realize it either.
Speaker 3 (14:56):
What a wonderful Even today, I'm not a fan of
a lot of sappy music, but when I hear Joe
Cocker seeing you are so Beautiful, it's like, Man, what
a moving song that is?
Speaker 2 (15:06):
Like made for him?
Speaker 4 (15:08):
Yeah.
Speaker 3 (15:09):
The last couple of couple of things here June twenty first,
sixty seven, San Francisco's Golden Gate Park Monster Free Concert
celebrating the Summer Solstice. The Dead, Big Brother and the
Holding Company Quicksilver Messenger all performed there at a big
one at the Golden Gate Park and then another Taylor
(15:30):
Swift story.
Speaker 4 (15:31):
Why not do two since we did one?
Speaker 1 (15:32):
Go ahead before you get to Taylor and the Dead
and Company playing, I think three three dates at Candlestick
Park coming up in August.
Speaker 2 (15:45):
I think this will be the.
Speaker 1 (15:48):
One hundred and seventy fifth anniversary or something of the band,
and it will be, I'm sure a big moment. I
don't know if this is a one off show and
they're going to keep playing after this.
Speaker 2 (15:59):
But did you hear about this?
Speaker 3 (16:01):
I didn't hear about it, but you know they were here.
They played the Yeah the sphere and it was crazy
because you know the dead logo. You know, I can
see that from my house, like I can see it
from my backyard.
Speaker 4 (16:11):
It's like the moon.
Speaker 2 (16:12):
Could you smell the petuli oil from your house?
Speaker 4 (16:15):
I've only by the way.
Speaker 3 (16:16):
I've only been by there once, and I think it
was to drop you off after the dinner where everyone
at Piero's knew who you were and no one knew
who I was. But yeah, I think I was over
by there when I dropped you off of your hotel.
But no, I didn't smell anything, not up here. Twenty fifteen,
June twenty first, Taylor Swift. Taylor wrote a letter to
the company, an open letter, threatening to withhold her album
(16:37):
nineteen eighty nine if artists weren't paid what they were
deserved in royalties. And I don't think that worked out
so well.
Speaker 4 (16:44):
For the artists.
Speaker 1 (16:45):
Well here you go, though, still Swifty is going to
take a stand.
Speaker 4 (16:49):
M hm.
Speaker 2 (16:50):
Got to admire that buzz.
Speaker 4 (16:52):
That's the week of June twenty first.
Speaker 1 (16:54):
Oh Harry, thank you as always, This is a blast
taking a look at this week in music history. And
thank you, thank you Harry Jacobs, and thanks for checking
out the Taking a Walk podcast. We are available Apple Podcasts,
Spotify and part of the iHeart podcast network.
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