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Playlist: Tex Bailey's Favorites

Compiled By: Tex Bailey

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The Beatles: Every Little Thing - Episode 4

From Andy Cahn | Part of the The Beatles: Every Little Thing series | 54:00

ELT 4 includes a "Songs Within Songs" set (songs with references to other Beatles songs in the lyrics,) plus a two-fer from a John Lennon collection, and George Harrison discussing his first composition.

Elt-logo3_small ELT 4 includes a set of Beatles songs that mention other Beatles songs in the lyrics, Ringo Starr covering a Beatles song as a tribute to John, Paul McCartney teaming up with another British legend,  a two-fer from a John Lennon collection, and George Harrison discussing his first composition.

Beyond a Song (Series)

Produced by ISOAS Media

Most recent piece in this series:

Beyond a Song: Reed Foehl

From ISOAS Media | Part of the Beyond a Song series | 01:00:00

Prx_reed_foehll_240x240_small REED FOEHL: PUBLISHED ON PRX  2 / 15 / 2019 - BEYOND A SONG originates in BLOOMINGTON, INDIANA and is sponsored by: THE BLUEBIRD NIGHTCLUBAIRTIME RECORDING STUDIO ,  and  VISIT BLOOMINGTON.COM

Host Rich Reardin talks with singer/songwriter Reed Foehl about his life and music.

Guitarist, vocalist, and songwriter Reed Foehl first made his name as a musician while working with the jam band Acoustic Junction, and subsequently went on to a solo career that found him blurring the lines between rock, folk, bluegrass, and improvisational music. Born and raised in Boston, Foehl relocated to Boulder, Colorado in 1989, and he soon teamed up with fellow musicians Tim Roper, Curtis Thompson, and Matt Coconis to form the group Acoustic Junction. Like many acts on the jam band scene, Acoustic Junction found an audience for their eclectic music through extensive live work, and in 1991 they released their first album, Love It for What It Is. Acoustic Junction would release four more albums (including one issued under the name Fool's Progress due to pressure from their record company) before the group folded in 2000; Foehl chalked up the breakup to the stresses of ten years on the road. During his days with Acoustic Junction, Foehl first began writing material for himself, releasing a low-key collection of solo performances titled Leo's Song in 1995 (and reissuing it in 2005). After a few years of focusing on his songwriting and spending more time with his son, Foehl officially launched his solo career in 2004 with the album Spark, and soon renewed his commitment to playing live. In 2005, Foehl was invited to join Vince Herman, formerly of Leftover Salmon, in a new band he was forming for a benefit concert, Great American Taxi. While Foehl considered Herman to be a good friend and a talented collaborator, he decided his solo career was where his loyalties lay when Herman opted to make the new group a going concern, and he left Great American Taxi before they released their first album in 2007, instead putting out his third album, Stoned Beautiful, the same year. Foehl's album Once an Ocean arrived in 2009, and in 2014 he joined forces with the roots music label Immersive Records to release Lost in the West. 

With the release of Reed Foehl’s fifth solo album, Lucky Enough, fans will get a dose of powerfulmedicine, a cathartic collection of 10 songs that Foehl recorded with help from a mighty musical force, The Band of Heathens, produced by Ed Jurdi and Gordy Quist at their Finishing School studio in Austin, TX. It’s an album that will undoubtedly solidify his standing as one of the most compelling and vital Americana artists around. On Lucky Enough, Foehl touches on a range of Americana styles, all with emotionally charged lyrics and can’t-get- out-of-your-head choruses, from somber folk elegies (“Stealing Starlight” and “American Miles”) and gospel-tinged tunes (“Carousel Horses”) to barroom country singalongs (“Long Time to Make Old Friends”) and jaunty calypso-flavored, country-infused pop (“Wish I Knew”). These are deeply personal songs for Foehl, and while they were written during some dark days, there’s a sense of optimism and gratitude, an overriding feeling that the hope outshines the heartbreak. In 2017 Foehl was making a big move, heading to Nashville to continue his craft as an artist and a songwriter. That made sense after co-writing the leadoff song (“Fly”) with up-and-coming country singer/songwriter Brent Cobb on Lee Ann Womack’s 2014 Grammy-nominated album, The Way I’m Livin’. On the way, he got a call from his mother, Linda. She had lymphoma, and she needed him. He didn’t hesitate, ditching his fully loaded car in Nashville and flying straight home to Massachusetts. In that year and a half taking care of his mom, he wrote most of the songs you will hear on Lucky Enough.

Musical selections include: Hello My Dear, Takes A Long Time To Make Old Friends, Wish I Knew, Stealing Starlight, Color Me In, Carousel Horses, Running Out of You, If It Rains, American Miles

For more information, visit BEYOND A SONG.COM

Still Singing the Blues (Series)

Produced by Richard Ziglar

Most recent piece in this series:

Crescent City Blues

From Richard Ziglar | Part of the Still Singing the Blues series | 55:00

Young_at_heart_small_small Crescent City Blues  takes listeners to the hidden world of New Orleans corner joints—bars far from the French Quarter, in neighborhoods like Central City, Treme, and Pigeontown. These clubs, patronized almost entirely by locals, nurture a resilient blues and rhythm-and-blues scene that is often overshadowed by the Crescent City’s legacy as a jazz town. They are an essential part of New Orleans’ cultural history, but they are struggling—because of the recession, the aftermath of Hurricane Katrina, and potentially the BP oil spill.

This hour-long music-rich documentary features four talented musicians: Tommy Singleton, a vocalist who until recently drove an oyster truck for a living; John T. Lewis, a former appliance repairman who now plays R&B guitar full-time; Ernie Vincent, a bandleader and guitarist who learned to play at the neighborhood fish fries of his childhood; and Deacon John Moore, a bandleader and guitarist who played on hundreds of R&B recordings in the 1950s and ’60s. Also interviewed are bar owners Betty Fox (Mother-in-Law Lounge) and Guitar Joe Daniels (Guitar Joe’s House of Blues), along with other veterans of the city’s music scene.

The program takes readers back into history. They’ll visit bars like the Dew Drop Inn, with its female impersonators and all-night jam sessions, the Green Room, with its smells of spilled liquor and spittoons; and the Sportsman’s Lounge, where an underaged Deacon John witnessed police raids and back-room gambling.

Crescent City Blues is the second of a two-part series, called “Still Singing the Blues,” about older musicians in New Orleans and South Louisiana. Part 1, also called Still Singing the Blues, was released in June. The two hours can be broadcast separately and independently. Accompanying this series is a web site, http://stillsingingtheblues.org, which features additional audio clips, photographs, a blog, and links for readers who want to obtain CDs, find music venues, and learn more about non-profit organizations that promote Louisiana's music and support its musicians. The producers will add audio and photos to the site throughout the coming year.

Producers Richard Ziglar and Barry Yeoman have been interviewing older Southern blues and R&B musicians for the almost two years. Their first blues documentary, Truckin' My Blues Away, was commissioned and distributed by AARP's Prime Time Radio and broadcast on 340 stations.

The current, independently-produced “Still Singing the Blues” series is sponsored by Filmmakers Collaborative and funded, in part, by a generous grant from the Louisiana Endowment for the Humanities, a state affiliate of the National Endowment for the Humanities.

Project director Richard Ziglar is an audio documentarian whose credits include Oprah Winfrey’s Harpo Productions; AARP’s Prime Time Radio; American Public Media’s “The Story”; and the North Carolina Arts Council. Reporter Barry Yeoman, a former Louisianan, is a freelance journalist who writes for O, The Oprah Magazine; AARP The Magazine; Audubon Magazine; OnEarth; and Good Housekeeping. His radio program Picking Up the Pieces, about the parents of injured veterans, won the 2009 Gracie Allen award for outstanding mid-length documentary. Ziglar and Yeoman can be reached at info@stillsingingtheblues.org.

The Top 10 Texas Songs That Changed Rock and Roll

From KUT | 01:47:15

Which Texas songs forever changed the rock and roll landscape?

Bholly2_small Texas has left an indelible mark on the history of American music, but its impact on rock and roll has sometimes been underestimated.  When asked in an online poll which ten Texas songs changed rock and roll, our listeners picked some interesting choices, eschewing obvious names for a more varied sonic field: blues, psychedelia, soul, and even country wound up in our top ten. With insightful commentary by music journalists, local luminaries, and even rock and roll academics, we'll discover some unheralded names and even find out John Lennon's important connection to Texas music.  Hosted by David Brown.  This program is a production of Texas Music Matters, the award-winning music journalism unit at KUT Austin.

Rolling Stones Radio Hour (Series)

Produced by Kevin Yazell

Most recent piece in this series:

Rolling Stones Radio Hour/ Chuck Leavell-Chuck Gets Big

From Kevin Yazell | Part of the Rolling Stones Radio Hour series | 59:59

Chuck_gets_big_small This performance was recorded live in Spetember 2011 and features a nice career retrospective on Chucks' work with the Stones as well as his solo material over the past several years and his work with his band Sea Level and the Allman Brothers Band. The playing here is incredible and everyone in attendance is clearly having a great time!

Johnny Cash: Legend (Series)

Produced by Joyride Media

Most recent piece in this series:

Johnny Cash: The World Needs a Melody

From Joyride Media | Part of the Johnny Cash: Legend series | 01:00:40

Cashgreenacres_small One of the first country stars to write most of his own material, Johnny Cash created a songbook to rival Porter and Gershwin. We look into the craft of Cash, how he shaped his stories, told tales of the people and places around him, and influenced the songwriting and arranging of artists now. Audio will be available here by Aug 10, 2005. Please contact Andy Cahn at cahnmedia@comcast.net or 201-386-1736 for more details.

An Evening with Los Lobos-Acoustic En Vivo

From Southwest Stages | Part of the Southwest Stages series | 58:26

This program features an evening of music and interviews with Los Lobos-Acoustic En Vivo. This performance was recorded live at the Historic Rialto Theater in Tucson, Arizona.

Los_lobos__small This program features an hour of music by Los Lobos, Acousic En Vivo. This performance was recorded live at the Historic Rialto Theater in Tucson, Arizona in February of 2007. This show also contains a phone interivew with Los Lobos' Steve Berlin by Southwest Stages' host John Strader.

For nearly three decades Los Lobos have been exploring the artistic and commercial possibilities of American biculturalism, moving back and forth between their Chicano roots and their love of American rock. Although the band first gained fame as part of the early-'80s roots-rock revival, they don't so much strip music down as mix it up, playing norteño, blues, country, Tex-Mex, ballads, folk, and rock.

Los Lobos have been guests on albums by Ry Cooder, Elvis Costello, Fabulous Thunderbirds, Roomful of Blues, and Paul Simon. Their music has been used in the films La Bamba, Eating Raoul, The Mambo Kings, Alamo Bay, and Chan Is Missing.

Cesar Rosas, Conrad Lozano, David Hidalgo, and Louie Perez have known one another since they were adolescents in East L.A. They formed Los Lobos (Spanish for “the Wolves”) to play weddings and bars in their neighborhood. Although they had previously played in rock and Top 40 bands, together they decided to experiment with acoustic folk instruments and explore their Mexican heritage, playing norteño and conjunto music on instruments including the guitarron and bajo sexto. Los Lobos got their first full-time gig in 1978, playing at a Mexican restaurant in Orange County. That year they also released their debut album, Just Another Band From East L.A..

Eventually, Los Lobos’ experimentation led them back to electric instruments. They played one of their last acoustic shows opening for Public Image Ltd. at the Olympic Auditorium in L.A. in 1980, where they were booed by the audience. Nonetheless inspired by punk’s energy, Hidalgo and Perez began writing songs and playing Hollywood clubs. The Blasters became fans and urged Slash to sign Los Lobos.

...And a Time to Dance was produced by T Bone Burnett and Blasters saxman Steve Berlin. Its divergent collection of dance songs included the 70-year-old Mexican Revolution song “Anselma,” which won a Grammy in 1983 for Best Mexican-American Performance. Berlin joined Los Lobos for Will the Wolf Survive? a much praised album whose title track later became a country hit for Waylon Jennings. On By the Light of the Moon, coproduced by Burnett, Los Lobos wrote political songs about life in the barrio.

In 1987 Los Lobos recorded several Ritchie Valens songs for the La Bamba soundtrack (#1, 1987). Though the success of the title track (#1, 1987) and “Come On, Let’s Go” (#21, 1987) suddenly lifted Los Lobos out of their bar-band, critics’ fave status, they took a noncommercial detour with La Pistola y el Corazón, featuring the traditional Mexican music they had played throughout the ’70s.

On The Neighborhood they returned to more rocking material, working with John Hiatt, the Band’s Levon Helm, and drummer Jim Keltner. The album’s title paid homage to the deep connections the band still feels to East L.A. In 1991 Hidalgo and Perez wrote songs with the Band for that group’s reunion album. The material inspired Kiko, an evocative, avant-Latin-pop album produced by Mitchell Froom. In 1993 Slash released a 20-year-anniversary retrospective of Los Lobos songs; Just Another Band From East L.A.: A Collection includes material from the band’s debut LP, rare B sides, and live tracks, as well as theband’s hits.

Latin Playboys (1994), a self-titled album by an ad hoc group consisting of Hidalgo, Perez, Froom, and Tchad Blake, was a cross between the music of Los Lobos and Captain Beefheart. The muscular funk rock of Los Lobos’ next album, Colossal Head (#81 pop, 1996), split the difference between Kiko and Latin Playboys.

In 1998 Rosas and Hidalgo released Los Super Seven as part of a loose-knit Latin supergroup of the same name that included Freddy Fender, Joe Ely, and accordionist ace Flaco Jiménez, among others. A followup was released in 2001, which included vocalists Raul Malo of the Mavericks and Caetano Veloso. In 1999 Rosas released Soul Disguise, a gritty, R&B-inflected solo record. For his part, Hidalgo teamed up with ex–Canned Heat guitarist Mike Halby as Houndog for a self-titled blues album. After this rash of side projects, Los Lobos returned to the studio to make This Time, the final installment in a trilogy of heady, groove-rich albums (including Kiko and Colossal Head) exploring Mexican folklore and mysticism. In 2001 Los Lobos was the recipient of the Billboard Century Award.

from The Rolling Stone Encyclopedia of Rock & Roll (Simon & Schuster, 2001)

The Byrds: There is a Season / Farther Along (Series)

Produced by Joyride Media

Most recent piece in this series:

The Byrds (part 2): Farther Along

From Joyride Media | Part of the The Byrds: There is a Season / Farther Along series | 59:05

Unissued_small The second of two one-hour documentaries on The Byrds, the continuously groundbreaking band who bridged the gaps between The Beatles, Bob Dylan, Pete Seeger, the Beach Boys, the Los Angeles psychedelic underground and classic country. Each hour is hosted by singer-songwriter Laura Cantrell, and covers a distinct period of their prolific history that can either be aired as one two-part series, or as your choice of two insightful one-hour programs. FARTHER ALONG picks up the story in 1968 and details how the Byrds' legendary Act I was followed by one of rock history's most fascinating second acts. Despite their lower record sales, the Byrds' later incarnations alternately defined and re-defined "country-rock," thanks to the influential contributions by folks like Gram Parsons and guitarist Clarence White. As with the first segment, FARTHER ALONG feature the wide range of music that made The Byrds of the 60s most influential bands, along with comments by its two longest-lasting members: Roger McGuinn and Chris Hillman. Writers David Fricke, Anthony DeCurtis, Lenny Kaye and Byrds historian Sid Griffin are also interviewed. Instead of being directed by the singular vision of one leader, The Byrds were consistently led by everybody's contributions - from their original five members to the musicians involved with their later years. "They all brought something new and something defining," says journalist David Fricke, "and it all became part of the Byrds sound. They didn?t change the Byrds to the degree that it changed the sound. What they did became the Byrds." Broadcast Window: Begins late September 2006, available for all USA radio broadcasters at no cost. 9/30 update: In addition to the 0:59 version posted on the audio page, there is also a 0:54 "news-hole" show in two parts - a 1:00 billboard and the 53:00 program.

A Tribute to Spalding Gray

From Jon Kalish | 28:51

Interviews with Gray and those who knew him, as well as excerpts from one of his performances.

Default-piece-image-0 New York reporter Jon Kalish spent a significant amount of time with Spalding Gray in the last years of the performer's life, interviewing him about another autobiographical performer and doing a profile of Gray for NPR. The late performance artist explains the mechanics of his craft to a seminar of aspiring monologuists at a New Age institute. Kalish hangs with Gray at home on Long Island and at a summer home in upstate New York where Gray recounts his horrific auto accident in Ireland. Included in the program are excerrpts from a monologue-in-progress about the accident. Kalish also talks to performer Eric Begosian and storyteller Mike Feder, both of whom were close to the man.

HOB Radio: Trains!

From Ben Manilla | Part of the House of Blues Radio Hour series | 59:01

Hear that lonesome whistle blow!

644447123_a8bc7237de_m_small The House of Blues Radio Hour is a weekly syndicated program hosted by Elwood Blues (a.k.a. Dan Aykroyd).  In this episode, Elwood pays tribute to the locomotive and plays his favorite Blues songs about trains.  Includes music by Creedence Clearwater Revival, James Brown, The Rolling Stones, Muddy Waters, Jimi Hendrix, and more!