While Dale Hood is on vacation this week, his Thursday Slot will filled with a Special Artist Show. Craig Looney will present the Life, Career and Music of Boz Scaggs.
This show will be starting at 6:30. We'll start at the beginning with his tenure with The Steve Miller Band and proceed through his last album release in 2018. There is absolutely some fantastic stuff that we'll dig into.
Plan to tune in for a an evening of informative and entertaining music.
Dale Hood Beautiful Noise Thursday @ 6pm
Another well received, Thursday edition of Beautiful Noise this past Labor Day weekend as we celebrated the hard working men and women that keep this great country moving forward.
Opening the show with Huey Lewis and the News with “Working for a Living” set the tone for the evening.
We kept it rocking with Loverboy and “Working for the Weekend“ and did not forget our Country artist fans with songs such as “Work Hard, Play Harder” by Gretchen Wilson and “Shiftwork”by Kenny Chestney.
We celebrated working professions as well, Lawyers, Teachers, Operators, Preachers, Musicians, Postmen, and even Pirates!
Even a musical tidbit was shared with my audience, that being,
one Marvin Gaye at the young age of 22 while attempting to make his mark in the music industry played drums on the #1 Motown smash by the Marvelettes
Thanks and Keep Rocking
Dale (All Good In The) Hood
Jeff Weigl Beats Working Friday @ 4pm
The song Whole Lotta Love by Led Zeppelin was the first song by the band allowed to be a US single.It became their biggest hit, going to #4. Many of their other popular songs, like Stairway to Heaven were never released as singles.
The band War got the idea for the song Why Can’t We Be Friends when they were traveling in Japan in the early '70s. War drummer Harold Brown said: "We're all connected by language, and by our food, and by our culture.You find out we're more alike inside than we are on the outside. We started realizing that’s what is really important. You travel all over the world, you can't speak a lot of their language. But one thing they do know, they know your body language, and how you may react.”
The song Mad World by Tears for Fears is about a depressed young person who feels out of place in this world. He sees life as being empty and looks for ways to escape the pain. The line in the song, "The dreams in which I'm dying are the best I've ever had" suggests thoughts of suicide, but according to Roland Orzabal who wrote the lyrics, it relates to the psychologist Arthur Janov's idea that our most dramatic dreams release the most tension. So, the guy in the song isn't necessarily looking to die - he wakes up from morbid, lucid dreams feeling better.
The song Ghost Riders in the Sky was originally written and recorded by Stan Jones in 1948. Jones was a forest ranger who wrote songs on the side. Artists like Burl Ives, Bing Crosby, Gene Autry, Johnny Cash and The Outlaws, all recorded it, and it became a cowboy standard.
Dinnis Keefe Song Sense Saturday @ 6:30pm
Any of you regular listeners to SongSense might have noticed that I take particular interest in the season of Summer. Me, personally, I enjoy the soaking heat of the US South. But, if I surrender to the reality of where I live and where Inside The Gates Radio resides, I would have to say that Georgia Fall and Spring rule.
Georgia Summer: Hot, humidity like the equator, cicadas singing praises to this soup of sauna 24-hours a day.
Georgia Winter: Averages forty-something degrees, humidity same as summer, no frostbite here, but a bone-soaking cold that just never seems to leave without chemical intervention.
Georgia Spring: Heh. Now the secret is out. THIS is why people move here. The mid-southern United States can have travel-photo Springs (Not going to try to describe in this limited space). And that, of course, calls up...
Georgia Fall,: A photo-negative of glorious Spring, complete with leaves turning from eye-soothing greens to nerve-and-mood stimulating reds, yellows, oranges, all soaking in mild temps. What's not to like?
I started SongSense this week with what I consider one of the most joyous songs of Fall: Earth, Wind & Fire's "September." To wit:
"Do you remember
The 21st night of September?
Love was changin' the minds of pretenders
While chasin' the clouds away
Our hearts were ringin'
In the key that our souls were singin'
As we danced in the night, remember
How the stars stole the night away, oh, yeah..."
Craig Looney Looney’s Tunes Sunday @ 6:30pm
After spending 20 hours in the car Friday through Sunday, Looney's Tunes Live Show #194 kicked off with an enthusiastic gang of Looney's Tuners that created a great vibe from our opening track...Tinsley Ellis and his Don't Know Beans song from the album, Ice Cream In Hell. It was quite the ride from there out.
We had some fun with a bit of a twist on the Then And Later Segment as we followed a song (not a band or an artist) through time and with different covers. Starting with Carol King's Will You Still Love Me Tomorrow from 1971 followed shortly thereafter by Dave Mason's version from 1978. To cap it off, we then dove head first into Joe Walsh's version of the same song from his 1992 album, Songs For A Dying Planet. Very cool to hear three separate interpretations of the same song in a period over 3 decades.
I enjoy all the comments from our faithful listeners during the show, but it is really something when I hear from some of those same listeners who weren't able to listen that evening, telling me how much they missed it. Had a few Sunday night and I assured them it was all right, as I know they'll be back. One even asked if he could vote in the Battle Of The Bands Segment without being on board. I reminded him that since we have no rules...he was more than welcome to participate. So...he did! BTW...Pink Floyd nipped Led Zeppelin...
I think perhaps the largest song reaction of the show came during and just after the Sing Along Song...Del Shannon's, Runaway from 1961. I was informed of more than a few folks also getting to their feet to dance while they sang. How special is that?
Once again, my three closing tracks for the evening were quite popular. Steely Dan's The Royal Scam, Dancing Girl by Dion with Mark Knopfler and a closing track from The Allman Brothers Band, In Memory Of Elizabeth Reed made for a most sublime end to a most satisfying Looney's Tunes.
Thanks to all for tuning in...catch you next Sunday at 6:30...
Please feel free to add any comments for your DJ's below.
You can visit our increasing content website and now our new Facebook page to learn more about this most unique station. Our new FB page can be found in search mode for you Facebookers by simply typing in Inside The Gates Radio. Click the button to 'Follow'. A brand new way to interactively enjoy Inside The Gates Radio.
You'll also see our Live Programming schedules...
Thursday's, 6:00...Dale 'All Good In The' Hood's, Beautiful Noise (He'll be off this coming Thursday)
Friday's, 4:00....Jeff Weigl's, Beats Working...The Happy Hour for the weekend
Saturday's, 6:30...Dinnis Keefe's, SongSense....compelling entertainment
Sunday's, 6:30...Craig Looney's, Looney's Tunes
Monday's, 6:30...Shiraz Alikhan's, San Francisco Nights...He missed last week and is back tomorrow with all this pent-up musical energy ready to go
What’s in a name? Not what you think
BY MIKE PODSEDLY
When you begin to listen to Inside The Gates Radio, either through the free app or the player on the website, the first visual is the title and artist of what is currently playing. This information alerts you to whether you have heard it before or is performed by an artist you favor.
Titles convey a hint as to the contents and play an important function in songs, books and movies. Song titles are usually contained within the lyrics so you are likely to hear the title again but in context. Sometimes the title may be tacked on later and never heard in the song.
Popular music reflects the current culture while new sounds and themes reside among the fringes, a precursor to changes in musical direction. In the 1950’s and 1960’s increases in disposable income led to more time and money directed to leisure activities. Teens had purchasing power which allowed them to have significant influence in the music industry. Rock and Roll songs were played on the radio much more than any other genre. With the advent of TV, The American Bandstand was a logical extension. The after-school show featured clean-cut average teenagers dancing to the latest hits. There was also a guest artist to lip-sync their songs. The most memorable segment asked participants to Rate-A-Record on a 35 to 98 scale leading to the phrase “It’s got a good beat, and you can dance to it.” that everyone associates with the show. Bandstand went national in 1957 and lasted until 1963. A weekly show then continued the format until 1989.
The primary themes of young love and rebellion were reflected in the songs topping the charts during that period. Dancing was instrumental for teens to meet and impress the opposite sex. A survey of hit song titles during that time include many references to dancing as well as demonstrating how to do them.
The Temptations suggest we “Take A Look Around” at some of the songs that were being played in the 1950’s. Danny & the Juniors invited us to remove our shoes so as not to mar the gym floor and join in “At The Hop”. Bobby Freeman asks the obvious question “Do You Want To Dance” while Chris Montez is more inclusive in “Let’s Dance”. Chubby Checker introduces a mild form of oblique exercise called “The Twist”. The Isley Brothers took it one step further with “Twist and Shout”. Joey Dee and the Starliters added a little sweetener with “The Peppermint Twist”. The Drifters focus on the most important part of the evening in “Save the Last Dance for Me. Martha And The Vandellas seek to expand the party by “Dancing In The Street”. Little Eva found her step with “The Loco-Motion” which was followed up by “Let’s Turkey Trot”. Dee Dee Sharp was prolific in her variety of dance crazes with “Mashed Potato Time”, “Ride!” and “Do the Bird”. In an effort to keep the party going The Dovells said “You Can’t Sit Down” especially when doing the “Bristol Stomp”. Bobby Rydell made it easy for teens on the low end of rhythmic skills with the “Sway”.
After discovering someone you like on the dance floor the vagaries of young love come to the forefront. Imagine The Everly Brothers panic over breaking curfew with a girl when they struggle to “Wake Up Little Suzie”. Ricky Nelson dreads meeting the girl’s father as he tries to navigate his choices when he realizes “It’s Late”.
Dion laments the range of emotions, both happy and sad, he faces being “A Teenager In Love”.
Approaches to finding love vary despite The Monotones writing the “Book of Love”. The “Dream Lover” pictured by Bobby Darin is for a lifetime and not a short fling. Buddy Holly thinks about striking up a romantic relationship “Everyday”. Once you become a steady couple The Flamingos describe the feeling as “I Only Have Eyes for You”. The Miracles took it a step further declaring “You Really Got a Hold on Me”. Smokey Robinson penned two songs of unconditional love, first for Mary Wells in “My Guy” and then for the Temptations to extoll the virtues of “My Girl”. The Shirelles brazenly declare that “Baby It’s You”.
Facing being apart for the summer Brian Hyland promises to send a daily letter that’s “Sealed With A Kiss” while on the other end The Marvalettes ask politely “Please Mr. Postman” do you have a letter for me?
Maurice Williams & The Zodiacs pleads for his girl to “Stay”. When she doesn’t, Neil Sedaka confronts the situation saying “Breaking Up Is Hard To Do”. Gene Pitney has a sadder reaction saying “Only Love Can Break A Heart”. Del Shannon stands in the rain and questions what went wrong with his little “Runaway”. The Supremes reflect on the situation asking “Where Did Our Love Go”. Dion’s remedy is to avoid attachments by becoming “The Wanderer”.
Frankie Lyman & The Teenagers are left to sum up the journey by asking “Why Do Fools Fall In Love”. The answer of course is because we do.
The sophisticated Inside The Gates listeners may find many of these songs trite now but for those growing up during that time they were important social guideposts. Plus, they led to the greatest era of rock music just ahead.
Check out our website insidethegatesradio.com for past articles, music trivia and station news.
"No Sing Along For Me"
BY MIKE PODSEDLY
I enjoy the great music of my generation that is played nonstop on Inside The Gates Radio. I experience the emotion and memory produced by the music that has been documented in earlier articles. One thing that is missing is my ability to sing along in a pleasant voice that the music deserves. I elicit groans and pleas to stop when in the company of others. This condition has been consistent throughout my life and has led me to be a closet car and shower singer.
I can trace this lack of ability to sing to an event that occurred back in the fifth grade. My class was to perform a choral presentation at a school function. We had a tiered platform, robes and the works. After the music was selected it became imperative to rehearse for the upcoming show. I had memorized the words and was ready to go. After a few practice sessions I was pulled aside and directed to pantomime instead of singing. This evaluation was to plant the idea that singing was something I should avoid at all costs. This feeling has persisted into my senior years.
While helping launch ITG Radio I began to listen to music more often. I heard many different vocal styles that I had not paid attention to before. I wondered why my voice did not come close to being within this rather wide range of recorded musicians.
So, I put on my research hat to determine the cause of my seemingly outlier of a singing voice. I first came upon a test for being tone deaf on musical-u.com. I put on my best noise cancelling headphones and began the test. It was divided into three sections, all comparing two tones. First was responding whether the tones were the same or different, second consisted if the sequence of tones went up or down and lastly if the tones were higher or lower. I was surprised by my score of 83% correct. I could eliminate being tone deaf as a reason for my poor singing voice.
On the musical-u website they offer training to improve your musical ability. They state that there are two aspects to singing in tune, voice control and hearing the notes. Voice control is about 20% of what it takes to sing while the ability to hear the note you should sing compared to note you are singing makes up the other 80%. As in most activities, the brain must be trained to recognize pitch and tuning.
I found another article that supported the assessment that that pitch accuracy is primary cause of bad singing. There is an interview with Sean Hutchins, while he was at BRAMS (International Laboratory for Brain, Music and Sound Research), studying the neuroscience of music. “Hutchins says that even though nearly all of us are equipped with the biological hardware to produce a wide range of notes, bad singing is rampant. ‘Singing is a complex expression,’ he explains. ‘The majority of people, around 60 percent, have a difficult time’ with it. (Discover Magazine, Can't Sing? Blame Your Brain, James Dziezynski, June 22, 2014). The problem was not the perception of a note but the ability to reproduce the sound with their voices. Hutchins’ conclusion: “Our brains have the ability to signal the voice to produce the correct note, but have mapped out the wrong output to match a perceived note. ‘Our brains are quite good at perception, which is why so many of us enjoy listening to music without being great musicians,’ he says. But those same brains give our vocal cords faulty instructions.”
There are many articles debating whether musicality is an innate or acquired skill. Aside from those rare individuals who are born with perfect pitch, I believe it is a skill that requires both an aptitude and practice. People born with physical assets such as height, speed, stamina, etc. are drawn to sports activities if they wish to exploit their advantages. The same holds true for people that test well may focus on academics. I have heard comments from musicians about the need to practice regularly or they see deterioration in their skill level in a relatively short time. This complaint is often repeated by participants in sports such as golf, tennis and many others. After several interruptions to my golf game, I would remark that it felt like I was starting over when I got back to the course.
It appears that for me to improve my singing voice it would take a vigorous and sustained effort to train my brain to match the notes in my head to those coming from my vocal cords. Given my age and a myriad of other interests, this will not happen for me. I will proudly continue in the company of the 60% of the population that are considered “bad singers”. I will continue to experience the music on Inside The Gates Radio library, the greatest music of our lifetime!
Please visit our website insidethegatesradio.com for information about connecting options, download apps, live show schedules and station news. Send us an email to ITGRadio@bigcanoepoa.org to express your questions, comments or suggestions.
Inside The Gates Radio Embraces Cover Songs
BY: MIKE PODSEDLY
Cover Songs have an important place in the rock music universe. I have looked for cover versions of songs because the interpretations by other artists are fascinating listening. Covers range from duplicating the original performance to putting a whole new spin on the song.
In popular music, a cover version, remake, cover song, revival, or simply cover, is a new performance or recording by someone other than the original artist or composer of a song. No matter how unique and different your version is, someone else legally owns the song and is therefore entitled to royalties. By requesting a mechanical license, you are ensuring that the original creator of the song is getting their fair share of the sales of the cover.
The advent of the singer/songwriter era, around the late 60s or early 70s, many artists’ songs had greater lyrical and musical depth leaving room for an evolving re-interpretation of a song’s feel or meaning. Using someone else’s hit song has often been a way for a new act to get heard and recognized.
Nowadays, a “cover-version” of a writers’ song is considered a high compliment. It means that the effort has garnered attention and appreciation to the point of other stylists wanting to add their interpretation to a song they find appealing.
I have selected a list of cover songs that I consider significant in some way. I have added some comments to each song of interest.
“Twist And Shout” (1963) cover by The Beatles of The Isley Brothers: In the beginning of their career The Beatles covered a lot of songs. This one was especially attention getting.
“House Of The Rising Sun” (1964) cover by The Animals of Unknown: This song is so old, its origin is unknown with many theories.
“With A Little Help From My Friends” (1968) cover by Joe Cocker of The Beatles: These versions couldn't sound less alike. The Beatles version sounds vanilla, while Joe's is gospel soul bliss.
“Everybody’s Talkin’” (1968) cover by Harry Nilsson of Fred Neil: Nilsson had been a computer programmer at a bank in Los Angeles. He released “Everybody’s Talkin'” on his 1968 album, “Aerial Ballet”. The next year it stole the show as the featured theme song of the 1969 cult classic film, Midnight Cowboy. The song helped solidify Nilsson’s career as a countercultural poet with no master.
“Woodstock” (1970) cover by Crosby, Stills, Nash & Young of Joni Mitchell: Joni Mitchell wrote and recorded the definitive song about the Woodstock festival. She did not attend but watched the TV coverage from her hotel room. Crosby, Stills, Nash & Young did appear, playing an acoustic set followed by an electric set around 3 a.m.
“Me and Bobby McGee” (1971) cover by Janis Joplin of Kris Krisofferson: This was written by Kris Kristofferson, but it was Janis Joplin's hit cover that gave his career a lift. The song was released after she died of a heroin overdose. It was the second song that was #1 in US after the artist had died.
“Lucy in The Sky With Diamonds” (1974) cover by Elton John of John Lennon: As the story goes, Elton made a bet with Lennon that he could make a #1 hit with it. After he lost, Lennon came out of retirement during Elton's show got up on stage for 3 songs.
“Blinded By The Light” (1976) cover by Manfred Mann's Earth Band of Bruce Springsteen: This cover version from went #1 in 1976. Ironically, Bruce used to perform the Manfred Mann hit “Pretty Flamingo” in early concerts.
“Cocaine” (1977) cover by Eric Clapton of J J Cale: Another song that was recorded and released originally by J J Cale. The success of the song led to Cale getting a record deal enabling him to have enough money to make music on his own terms.
“Ooh Baby Baby” (1978) cover by Linda Ronstadt of Smokey Robinson & The Miracles: Linda was not a songwriter, so it was about picking the right song. Her styling was the key to her success. She covered many songs but this was a perfect choice for her.
“Walk Away Renee” (1983) cover by Rickie Lee Jones of The Left Banks: Rickie was a great interpreter of Rock and has done an entire album of covers. This one is from the highly praised "Girl At Her Volcano" LP.
“Alone” (1987) cover by Heart of i-Ten: “Alone” first appeared on i-Ten's 1983 album with little success. They heard that Heart was looking for a power ballad and Alone came to mind. They liked everything about the song except for the first line of the chorus.
After investigating cover songs I wanted to get reactions from the Inside The Gates DJs, a most knowledgeable group.
Dinnis Keefe has a live show on Saturday evenings at 6:30pm titled SoundSense. He has been in the radio and recording business for years and his experience is reflected in his show commentary.
“Everybody wants to cover a Dylan song. First off, the songs are almost all lyrically marvelous and melodically obliging. It’s hard not to look and sound good with one of these tunes coming out of your mouth. And frankly, Mr D’s original renditions usually leave some room for refinements.”
Keefe described what he looks for in a cover saying “For taking a song as far as conceivable from its original intent and turning it into something astonishing, if not unrepeatable. Bettye Lavette’s ‘Interpretations: The British Rock Songbook’ takes the gold. Start with George Harrison’s ‘Isn't It A Pity.’ Listen sitting down to avoid injury when your knees buckle.”
Alikhan shares his favorites
Shiraz Alikhan has a live show on Sundays at 4:30 pm named San Francisco Nights. He was in a cover band here in Big Canoe for several years called Off the Record. He also performs a lot of covers at the Acoustic Showcase performances
Alikhan commented about “’With a Little Help From My Friends’. John and Paul wrote this for Ringo to sing on ‘Sgt. Pepper’ and deliberately wrote a melody with limited range. Cocker put himself on the rock music map with his aching, soulful version at Woodstock which became a kind of anthem. That concert and the movie documenting it displayed Cocker's rather eccentric singing style that some people mocked. He was good natured during his ‘Dueling Cockers’ appearance on SNL in 1976. Then John Belushi joined him on another great Cocker cover, Dave Mason & Traffic's ‘Feeling Alright’”.
Alikhan further pointed out that “We have a great cover of Procul Harum’s ’A Whiter Shade of Pale’ by Annie Lennox and also have a terrific cover of ‘Ain't No Sunshine’ a Bill Withers classic by Joan Osborne in our library. My wife really likes this version.”
Looney’s Tunes too
Craig Looney has a Live Show on Sundays at 6:30 pm appropriately called Looney’s Tunes
Looney remarked that “Cover songs are the topic and I think all of the ITG Radio DJ's are huge fans of them. I enjoy them so very much that I started a new regular segment on Looney's Tunes, Cover Me Up.
Each week I play an original track from an artist/band and go to great lengths to find an interesting cover version. The covers I most enjoy are versions that consider the original as a foundation and build it into something unique, respectful of the original, but distinct in their own interpretation.
I have found some great ones during my research, including Simon & Garfunkel's ‘Scarborough Fair’ covered by the band Sea Level, Simon & Garfunkel's ‘Sound Of Silence’ covered by the artist, Disturbed, Aerosmith's ‘Sweet Emotion’ covered by Leo Kottke and Mike Gordon and Johnny Cash's ‘Ring of Fire’ covered by Ruthie Foster”
Please visit our website insidethegatesradio.com for information about connecting options, download apps, live show schedules and station news. Send us an email to TGRadio@bigcanoepoa.org to express your questions, comments or suggestions.
BY MIKE PODSEDLY
I watched a TV documentary on EPIX recently titled “Laurel Canyon: A Place In Time” directed by Alison Ellwood that sought to capture one of rock music’s greatest eras. Constructed from old videos and photos augmented by new interviews, it told the story of this landmark music scene. Many of the songs generated during this time are mainstays in the Inside the Gates Radio vast music library.
The golden years of the Laurel Canyon scene, roughly 1967-74, saw the birth of the singer-songwriter movement and the rise of huge stars, from folk-rock bands like the Byrds and the Mamas and the Papas to Crosby, Stills & Nash, Joni Mitchell, Neil Young, Jackson Browne, Carole King, James Taylor, Linda Ronstadt, the Flying Burrito Brothers, America, and the Eagles—many of whom played on each other’s records.
Artists didn’t initially move to Laurel Canyon because it was a musical mecca. They moved there because it was a cheap place to live, with easy access to L.A. and clubs like the Troubadour and Whisky A-Go-Go that would give new artists a shot. Musicians gravitated to places that were inexpensive and then their friends gravitated there. Pretty soon, no one but musicians lived there.
There were so many artists that had gotten out of folk music because folk had gone out of fashion. The music produced there has often been labeled as folk or soft rock for its mellow sound, but the canyon was a melting pot, cross-breeding the genres of folk, psychedelia, pop, blues, country and rock. Laurel Canyon bloomed with melodic, atmospheric and politicized songs that defined the moment, made by artists who defined a generation.
Laurel Canyon was an idyll for musicians, a place secluded from the bright lights of Los Angeles, where they could breathe the same air and create freely, together. During the show photographer Henry Diltz, who saw and documented much of the scene, narrates the encounter where David Crosby recalls inviting his protégé, an unknown Joni Mitchell, to a party arranged by Cass Elliott to welcome Eric Clapton on his first visit to America. Clapton sat mesmerized, Crosby recalls, by Mitchell’s unique guitar-fingering style.
In a new interview for the show, “We were living in the very center of this beautiful bubble of friendship, sunshine, sex, drugs and music,” says Graham Nash, the British Invasion veteran who defected to Southern California, where he became a charter member of Laurel Canyon society, hooking up with David Crosby of the Byrds and Stephen Stills of Buffalo Springfield at the Laurel Canyon home of Joni Mitchell, Nash’s girlfriend at the time, to form Crosby, Stills & Nash.
The heyday of the Laurel Canyon music scene may be over, but that’s the point. Lisa Robinson wrote in a February 8, 2015 Vanity Fair article entitled “An Oral History of Laurel Canyon, the 60s and 70s Music Mecca”, “Scenes aren’t meant to last. They sparkle with activity, flourish, then burn out.” It’s never forgotten though — the musical style and sound lives on, continuing to inspire and influence the artists of today.
Gary Tripp from Long Live Vinyl.net compiled a list of 40 albums in terms of Laurel Canyon-ness. I have selected some of the great albums released from his list during this time have endured time and genre changes. They are big part of “the Greatest Music of our Lifetime” played on the Inside The Gates Radio rotation.
“Buffalo Springfield” (1967): Buffalo Springfield’s songwriting power trio of Young, Stills and Richie Furay combined to produce a timeless and stupidly influential release.
“Crosby, Stills & Nash” (1969): The harmonies and the confessional songwriting of CSN’s debut has come to define the Laurel Canyon sound.
“Sweet Baby James” James Taylor (1970): After recording his debut in the UK for The Beatles’ Apple label, Taylor decamped to Laurel Canyon, adding to the ranks of straggly-haired, denim-clad, introspective singer-songwriters.
“Ladies of the Canyon” Joni Mitchell (1970): Moving away from the airy folkiness of her first two albums, the singer-songwriter’s transitional third opens her up as an artist of boundless talent.
“Déjà Vu” Crosby, Stills, Nash & Young (1970) Crosby, Stills and Nash were bolstered by the arrival of Neil Young into their fold. the album’s magical harmonies and memorable songs mark it out as a milestone of the movement. It remains the quintessential Laurel Canyon LP.
“If I Could Only Remember My Name” David Crosby (1971)
Surfing the wave of Déjà Vu, David Crosby invited his mates to help him out on his solo debut and Neil Young, Joni Mitchell, Grace Slick and Jerry Garcia, among others, answered the call.
“Tapestry” –Carole King (1971)
Carole King had written a string of hits for others as a songwriter in New York’s Brill Building, but on “Tapestry”, she was singing for herself. Its perfectly crafted songs marked it as one of the quintessential singer-songwriter albums of the 70s.
“Songs For Beginners” Graham Nash (1971) Nash recorded his first solo album in the wake of his split with Joni Mitchell, and many of the songs lament the time spent together.
“For Everyman” Jackson Browne (1973) Equal parts bluesy folk and piano-driven ballads, Laurel Canyon resident Jackson Browne. The serene songwriter was able to enlist a star-studded supporting cast including his buddies Glenn Frey and Don Henley, while Elton John, credited as “Rockaday Johnnie,” contributes some piano. As a side note, the genius of Jackson Browne was presented in a midweek special show by Craig Looney on Inside the Gates Radio Live.
Please visit our website insidethegatesradio.com for information about connecting options, download apps, live show schedules and station news. Send us an email to ITGRadio@bigcanoepoa.org to express your questions, comments or suggestions.