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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: Rex Bundy (Part 2)

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

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REX BUNDY - GABRIEL BONDAGE (Part 2): PUBLISHED ON PRX 6 / 24 / 2022 - BEYOND A SONG originates in BLOOMINGTON, INDIANA and is sponsored by: THE BLUEBIRD NIGHTCLUB, REAL TO REELS RECORDING STUDIO, AND VISITBLOOMINGTON.COM

Beyond a Song host Rich Reardin interviews Chicago singer/songwriter Rex Bundy from the 79's progressive rock band 'Gabriel Bondage'.

 

The Beatles were on the Ed Sullivan show, and that was the end of any ambitions I might have had to become a cowboy, a fireman, or soldier. It was of course Sunday night, and my brother, three sisters, and I sat on the floor around the roasting pan of buttered popcorn that was a weekend night ritual in our house. My father, during one of his rare appearances in Chicago, sat on the couch with my mother. He wasn't around much when I was a kid. He spent his time in Southern Indiana, trying to establish a farm he was buying from his mother.

As I was watching the television screen, I was keenly aware of the effect the band was having upon the audience. It was having the same effect on my sisters. This set my imagination and ego on fire; it spoke directly to my unquenchable thirst for attention and approval. Thank God, this was before the advent of the televangelist or I might have gone in that direction.

The first stumbling block that I found in my path to fame and fortune was that I couldn't play an instrument, but I didn't let a little thing like that, plus the fact that I had absolutely no ability, sway me in the least. I took my life savings of $60 and went downtown to the pawnshops in search of my future.

In my innocence, I reasoned that the only musical instrument that required no talent or ability was the drums. So with money in hand I bought a bass drum that sported an adjustable rod that extended from the top and held a small tarnished and battered cymbal. In addition, there was a matching snare drum on a floor stand. I took my prize home on the bus and proceeded to bang away happily to the horror of the neighbors.

Not too long after this my father announced our permanent move to Indiana. I was devastated; this, or so I thought at the time, was the end of my musical career, not to mention civilization itself as I knew it. I had put together a band of neighborhood guys and we were attracting the attention of the neighborhood girls. We weren't any good at all but hey, we were attracting the attention of the neighborhood girls. In Chicago I was a star, in southern Indiana, I knew from the infrequent visits to my father's farm, I would be a hayseed farm-boy. I pictured myself in bib overalls and a straw hat, complete with a sprig of wild grass dangling from the side of my mouth.

The one bright spot about the whole affair was that the night before we moved my father agreed to drive us all out to the airport to see the Beatles land for their first concert in Chicago. Totally out of character for him but a vivid memory of mine none the less.

It was about two in the morning and so we were slightly surprised to find ourselves surrounded by an estimated 2000 Beatles fans barely controlled by about 20 of Chicago's finest. The plane landed and taxied to within 50 yards of the fence, but then just sat there on the tarmac. The fans were close to frantic, the cops had their hands full.

Eventually four long black limos pulled up to the planes' ramp and the Beatles ran down the steps and jumped into their respective cars and the caravan began to pull away. The cops went down...the fence went down...and the chase was on.

Herded back to our car by my father, we started back to the apartment to hook up the moving trailer in preparation for the next days' trip. While stopped at a red light however, I looked over at a Yellow cab idling next to us and saw the Beatles crowded into the back seat. George Harrison looked at me through the window and I waved, he returned my wave. I wonder if any of those 2000 kids ever found out that they hadn't really seen the Beatles at all. It had been a ruse.

The next day, after my sister came home from the Beatles concert (I never bothered to get a ticket, due to jealousy I threw my allegiance to the Fab four's competition at the time, the Dave Clark Five), we set out for the end of the Earth.

In Mitchell Indiana we moved into a restaurant on the highway, out in the country. The family lived in a huge back storage room. My mother ran the restaurant and my father worked on his farm. I eventually got a proper set of drums and started a band with some school friends called Unit 6. We even wrote and recorded a 45 that we had absolutely no idea what to do with.

Eventually our lead singer quit which was a shame cause we all thought he looked like Mick Jagger. He couldn't sing but he looked cool as hell. I started singing and our friend Darrel took over my drum kit, and this was the incarnation that finally went into the recording studio.

It was one of those package deals. For a fee you were given 8 hours of studio time and 500 copies of a pressed 45. The package was paid for by our rhythm guitar player, so the copies were his and I think he believed that this was the start of his music business empire.

He got airplay for us once on the local radio station, and sold 10 copies to a guy who maintained a route of local juke boxes. So I got to hear myself on the radio for the first time (and last time with Unit 6) at the tender age of 15. I did get to hear it on the juke box at the local pizza parlor however, and I'm sure the juke distributor thought he had a local hit based on the coin me and my band mates and friends fed into his machines.

After high school I eventually went back to the drums and played with various pick up bands in the area to earn a meager living. I became interested in song writing about this time as well but soon realized that it was difficult to write a tune on the drums so I picked up the guitar. “Island”, “long Time”, and “Babylon” were written in this time period.

Once I determined that Capital records wasn't going to discover me while playing country covers in Southern Indiana, I moved back to Chicago, and my old neighborhood of Bridgeport.

It was here, while playing around the neighborhood on my 12 string guitar that I met an extraordinary bass player named Tony Stram. I was playing “long time”and he joined in, naturally and seemingly effortlessly applying the bass part that eventually made it onto vinyl. Needless to say that level of musicianship blew me away and I knew that someday I would be in a band with him. You have to keep in mind that there were no trained musicians whatsoever in my past. Everyone I had known up to that point was self-taught.

Two years later, out of desperation, I placed an ad in the Chicago Tribune looking for a manager or producer. I got a call from Perry Johnson, who expressed interest in hearing the tunes I'd written thus far.

Perry had played in a band that had, eight years earlier, warmed up for the Dave Clark Five and others. Now however, he had discovered one of the two secrets to success in the music business. I used to think that the primary requisite was talent, I was wrong. Talent helps of course, but more important is the quality of persistence combined with the realization that this was the music business. How many great bands and songs have fallen by the wayside because the business was not handled correctly, Gabriel Bondage among them.

Perry, with the financial support of his family, had incorporated a holding company by the name of Saturn industries. It's immediate subsidiaries were the Amalgamated Tulip Corporation, a publishing company, and the Dharma Records label . At the time I met him he had accomplished his first release by Andrew Blueblood McMahon, a side man in Howling Wolf's band, and was finishing up a rock album by Ken Little.

I met Perry in his cluttered office, located above a bank in Niles, Illinois. I played him every song I had written up to that point and every scrap of song that I was working on at the time. He liked what he'd heard enough to arrange an audition at Streeterville recording studios in an attempt to get studio time fronted to me as a single artist. They declined, at which time Perry suggested that I form a band and get back to him. I was dismissed, and no doubt immediately forgotten.

I placed another ad in the Tribune looking for musicians interested in forming a band. The ad was answered by a guitarist named Larry Biernacki, and a saxophonist named Bill Wisniewski. I contacted Tony, and he agreed to play bass. The four of us played together acoustically for the first time sitting on the floor of my living room. For me, it was a magical moment; Songs that I'd written, simple tunes made up in my head and usually banged out on my guitar alone were being played by a group of trained proficient musicians. I was ecstatic!

Larry, a slightly built, long-haired hippie type with a baby face played acoustic and electric guitar, mandolin, and sang background vocals. Bill, a stocky music teacher in the public school system, played saxes and flute. All three of these musicians were college graduates with degrees in music. Despite the fact that I was the only amateur in the group they took me seriously and respected both myself and the songs that I'd written. To this day, although we haven't seen each other in years, I love those guys like they were three more of my brothers.

With the addition of Tony Antinarelli, a friend of Bills, on drums, and my brother Don Bundy on sound reinforcement we became a band initially called Gabriel.

The band's name was inspired by the notion that as the Angel Gabriel was the messenger of God, The band Gabriel would bring a spiritual message to mankind with our music. Granted, this all sounds a bit pompous after-the-fact, my only defense being innocent naïveté, after all it was the early 70's.

When finally ready to record our first album we were informed that a horn group called Gabriel had just signed a record deal with a major label. We had to change our name. Perry came up with the concept of spirit trapped on the material plane, and we became Gabriel Bondage.

 

Musical selections include: The Island, Ladies and Gentlemen, Birth of the Unconquered Sun, Take it on a Dare, Fallen Angels

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/Bernard Fowler Inside Out Interview Special

From Kevin Yazell | Part of the Rolling Stones Radio Hour series | 56:56

Inside_out_record_cover__small I spend the hour with Bernard Fowler's new release Inside Out. Bernard reworks and reinterprets 8 Rolling Stones songs. The songs have been turned "Inside Out" and shed new light on each of these songs' content and context.

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-1 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.