#Larry gatlin

[randomrichards]

JUNE (2024):

The country singer

With family legacy

Love of Johnny Cash

[svalleynow]

David Carroll's News and Notes: Time Out for Bad Behavior

David Carroll's News and Notes: Time Out for Bad Behavior

David Carroll When I was writing a book about all the famous people who had visited my hometown, I interviewed Hugh Moore, an attorney who has attended more than a thousand concerts. Rock, country, soul, classical, you name it. He has kept track of each one, dating back to the 1960s. I thought I would give it a try. As I compiled data for the book, I made note of the shows I had attended, mostly…

[radiomaxmusic]

Thursday, May 2, 2024: 12pm ET: Feature Artist: Larry Gatlin & The Gatlin Brothers

Larry Wayne Gatlin (born May 2, 1948) is an American country and Southern gospel singer-songwriter. As part of the Gatlin Brothers trio that included his younger brothers Steve and Rudy, he achieved considerable success within the country music genre, performing on 33 top 40 country singles, a total inclusive of his recordings as a solo artist and with the group. Gatlin is known for his tenor…

[xtruss]

Jimmy Carter’s Rock-and-Roll Legacy

The former President has a surprisingly long list of musician friends, some of whom, in the past days and weeks, have been reflecting on the time they’ve had with him.

In recent weeks, the former President has mostly been listening to favorites like Willie Nelson, whose music helped get him through the Iran hostage crisis. Photograph by Thomas S. England/Getty

In the decades since Jimmy Carter left the White House, there have been many reconsiderations of the former President’s legacy. Among the more unexpected of these is “Jimmy Carter: Rock & Roll President,” a documentary released in 2020, which chronicles Carter’s overlooked relationship not only with rock and roll but also with country, jazz, folk, and other genres. The movie had accidental beginnings: its lead producer, Chris Farrell, who’d previously worked in finance and had never made a film, set out to make a movie about the Allman Brothers Band, a group that, like him, hails from Jacksonville, Florida. Then a friend suggested that he call up some people in Atlanta who had worked for Carter.

“They start telling me all these amazing stories about Carter and the Allmans,” Farrell recalled recently. Carter had struck up a friendship with the band’s members when he was the governor of Georgia, in the early nineteen-seventies. One night, Carter and Gregg Allman, the band’s lead singer, were drinking scotch on the porch of the Governor’s Mansion, and Carter told Allman he was going to be President. (Allman said that they had had “just about all” of a bottle of J&B; Carter recalled only “a drink.”) “We all thought, Oh, really,” Chuck Leavell, the band’s pianist at their peak, in the early seventies, told me. “But we did some concerts for him. We thought, Wouldn’t it be great to have a President from Georgia?” The band had split, temporarily, by the time Carter took office, but they were invited to some formal White House events. “We weren’t sure how to act,” Leavell said. Greg Allman came to one dinner with his then wife, Cher, who mistook a finger bowl for a drink and downed it.

The former Carter staffers Peter Conlon and Tom Beard had more stories—about Willie Nelson, for instance, who, Farrell learned, had smoked pot on the White House roof with the President’s son Chip. At Nelson’s Georgia shows, Carter would sometimes take the stage and pretend to play the harmonica during “Georgia on My Mind,” while Mickey Raphael was really playing it in the wings. After these and other tales, Farrell was about to say goodbye to Conlon and Beard when one of them asked, “Wanna hear about Bob Dylan?”

The stories that Farrell heard that day immediately changed his focus. (Conlon, who became an executive producer on the film, and is now the chairman of Live Nation Georgia, told me that making a film about “the first President to embrace rock music in his campaign” was his idea.) Farrell called an old friend, Mary Wharton, who had produced and directed a number of music-related TV shows. She agreed to direct the film. The veteran music journalist Bill Flanagan helped track down and interview the musicians who appeared in the movie: Garth Brooks, Trisha Yearwood, Larry Gatlin, Nile Rodgers, Jimmy Buffett, Rosanne Cash, Bono.

Dylan, who rarely grants interviews, was maybe the most coveted target on the filmmakers’ list. “Bob was the white whale,” Farrell told me. Flanagan, who was close with Dylan’s manager, put in a request, and eventually got good news. “Even on the day it finally happened,” Farrell said, “I remember waiting for him to show up and thinking, I don’t know.”

“He wanted to do his interview in a kitchen,” Wharton told me. “I was, like, I wonder if he’s gonna share some recipes with us.” They met at a house in Connecticut, near a gig that Dylan had at the time. When he arrived, Dylan made it clear that he didn’t like the kitchen. He helped Wharton decorate another room to his taste. (Among the items he suggested was a triptych of three goddesses.) “He’d come prepared with things he wanted to say,” Wharton told me. They did a few takes, as Dylan worked out the rhythm of his words. “There’s many sides to him,” he said, of Carter. “He’s a nuclear engineer, woodworking carpenter. He’s also a poet. He’s a dirt farmer. If you told me he was a race-car driver, I wouldn’t even be surprised.” It seemed to Wharton “like he’d written a song about Jimmy Carter.” Dylan also told the story of the first time he and Carter met. “The first thing he did was quote my songs back to me. It was the first time that I realized my songs had reached into, basically, into the establishment world.” He called Carter “a kindred spirit to me of a rare kind.”

“He’s not generally loquacious,” Conlon said, of Dylan. “But around Carter he’s totally different. He relaxes and tells stories. Not the Dylan you’re used to.” When Carter sat for his interviews for the movie, in 2018, “he was kind of rigid at first, but, when he realized that all we wanted him to do was talk about music, it was almost like a light bulb went off and you could see the joy emanating out of him as he recounted all these stories,” Farrell said. The former President described Dylan as “one of my best friends.”

Part of the argument of the documentary is that Carter, who is now ninety-eight and in hospice care, changed the relationship between rock and roll and political power. “Previously,” Conlon explained, “the thinking was that there was too much risk mixing politicians and rock and roll—‘You can’t be around this guy. He does drugs.’ But Carter was very accepting of people and their frailties.”

Beard helped put on concerts in support of Carter’s Presidential campaign—including one headlined by Lynyrd Skynyrd that nearly went off the rails when the singer Ronnie Van Zant was too tanked to perform—and later served as deputy assistant to the President. Beard’s basement office occasionally hosted musicians waiting their turn to see Carter. Among those who stopped by were members of the group Crosby, Stills, and Nash. Stephen Stills, who had performed in the concerts that Beard helped to organize, told me about the band’s visit. “We took the pictures and stuff,” he said. David Crosby’s 2006 memoir refers to an unnamed member of the band “smoking a joint somewhere in the White House, just to say he did.” Stills told me that Crosby himself, along with one of the band’s managers, “lit up a doobie in the Oval,” although people who worked in the White House at the time cast doubt on the likelihood of this. “I was so embarrassed I didn’t speak to him for a couple of days,” Stills said, insistent that it happened.

Stills found the connection to Carter ennobling: “He made you take yourself seriously, you know? In a very offhand kind of way, he’d kind of remind you that you had a part to play here. I don’t know, I bit.”

Conlon recalled another occasion in the White House, in 1977, when he was hanging out with Carter’s call screener one night “and Elvis called.” Apparently, Elvis called sometimes. “I talked to Elvis for a minute,” Conlon said. Years later, Conlon asked Carter about the call. “First of all,” he recalled Carter responding, “Elvis and I are cousins. The Carters and the Presleys go way back.” Then the former President explained: “Elvis was calling because a friend of his was in jail in Memphis for passing bad checks and he wanted me to give him a Presidential pardon.” Carter told him he couldn’t help.

Musicians were occasionally asked to do more than just play. “He tasked me to do things, and I’d carry them out,” Stills said, noting that, on a musical-diplomacy visit to Havana, in 1979, Carter’s people had told him, “Pay attention while you’re in Cuba.” He added, “It wasn’t transactional. I liked him. My favorite thing about Jimmy was his laugh. He had this sort of half guffaw and half bray that came out when he was really tickled.” I asked Stills when Carter had been the happiest during his Presidency. He was often happy, Stills said, “but I heard he had more fun at Camp David than any other time in his life—riding around between those little houses while he told them to say the helicopter is broken.” Stills was on the South Lawn the day that the Camp David Accords were signed.

“Musicians are drawn to his spirituality and authenticity,” Conlon said, offering a theory for why Carter became friends with so many of them. “He’s deeply soulful and open-minded. He doesn’t judge people. Wouldn’t that be nice, in the current political environment?” (Conlon once asked Carter what he thought about Donald Trump. He chuckled at the one-word answer that he said Carter gave, with a wry smile: “Interesting.”)

Jim Free, who served as special assistant to the President for congressional liaison, told me a story that seemed to illustrate this characterization. When China’s Ambassador visited the United States in 1979, Carter asked whether there was anything he could do for the envoy. The Ambassador was a fan of country music, and wanted to go to Nashville. Free was tasked with putting the visit together. The Ambassador saw the Fisk Jubilee Singers and visited the Grand Ole Opry. The weekend ended on Sunday morning, at the home of Tom T. Hall, the musician and short-story writer, who’d invited “everybody who was anybody in the Nashville music industry,” Free recalled. Minnie Pearl, Jimmy C. Newman, Johnny and June Carter Cash all came. “When it came time to say the blessing, there was this awkward moment,” Free said. “And all of a sudden John and June started singing, ‘Will the Circle Be Unbroken.’ I still get chills.”

Leavell appreciated Carter’s generous spirit, too, recalling a Newport-style jazz festival that took place on the South Lawn, which featured Dizzy Gillespie, Herbie Hancock, and Cecil Taylor, among others. “I remember Carter running over at the end of Taylor’s piece and giving him this huge hug,” Leavell told me. “I thought, If Carter gets that atonal stuff, that’s pretty cool.” Carter also joined Gillespie onstage to sing his bebop tune “Salt Peanuts,” which Carter did enthusiastically, later calling it “a very peculiar song.”

Before “Jimmy Carter: Rock & Roll President” premièred, Wharton asked Jason Carter, the President’s grandson, about the title. Jason told her, “He says that the two things he’s most proud of in the world are, No. 1, having a U.S. Naval submarine named after himself, and, No. 2, being called the rock-and-roll President.”

Conlon told me that, in recent years, Carter noted his admiration for current musicians, including Jason Isbell, the singer-songwriter formerly of the Drive-By Truckers. But, at home in Plains, Georgia, in recent weeks, in the same house where he has lived since 1961, he has been listening to favorites like Willie Nelson, who helped get him through the Iran hostage crisis. “I would play Willie Nelson music primarily,” Carter said, of the time that he spent alone, in his study, in 1980, “so I could think about my problems and say a few prayers.”

Stephen Stills said, “Jimmy thought that the artists had a kind of a view over the horizon by intuition that some other people didn’t—a canary-in-a-coal-mine sort of aspect to us that he paid attention to. And he called upon us to comment, and he supported our commentary—the troubadour aspect to us. He just liked our deal.” ♦

[teamvampireweekend]

Vampire Weekend's special album release show for Only God Was Above Us at the Moody Amphitheatre [aka VW total solar eclipse show, 08 April 2024]

Setlist:

Ice Cream Piano Classical Unbelievers Cape Cod Kwassa Kwassa Holiday White Sky Connect Sunflower Capricorn This Life Gen-X Cops Diane Young Cousins Jonathan Low Flower Moon Show break to watch the eclipse Hope Tonight (with Thomas Mars of Phoenix) Thomas Mars and Dave 1 singing joyeux anniversaire to Ezra Needy Girl (with Dave 1 of Chromeo) Harmony Hall (with Brian Robert Jones) Oxford Comma A-Punk Married in a Gold Rush (Cocaine Cowboys Version)*  Walcott *it included All the Gold in California by Larry Gatlin + Sun City by Flying Burrito Brothers + Cumberland Blues by The Grateful Dead

[eptodaytommorowforever]

Events In The History And Of The Life Of Elvis Presley Today On The 15th Of October In 1976.

Elvis Presley Played Another Sold Out Show At The Chigago Stadium;

giving more people a chance to witness him in person live on stage and the great and awesome Elvis Presley Show And The TCB Band In Performance and Concert. Rare Live Fans Audience Members Candid Photos From This Show Performance Concert. Elvis Presley wore the indian chief feather jumpsuit and the matching belt.

Set Song List From This Show Concert;

See See Rider Blues('Ma' Rainey & Her Georgia Jazz Band cover)

I've Got a Woman(Ray Charles cover)

Amen

Love Me(Willy and Ruth cover)

If You Love Me (Let Me Know)(Olivia Newton‐John cover)

You Gave Me a Mountain(Marty Robbins cover)

Help Me(Larry Gatlin cover)

Jailhouse Rock

All Shook UpPlay Video

(Let Me Be Your) Teddy Bear

Don't Be CruelPlay

And I Love You So(Don McLean cover)

Steamroller(James Taylor cover)

Early Morning Rain(Gordon Lightfoot cover)

What'd I Say(Ray Charles cover)

Johnny B. Goode(Chuck Berry cover)

Love Letters(Dick Haymes cover)

School Day (Ring Ring Goes the Bell)(Chuck Berry cover)

Hurt(Roy Hamilton cover)

Hound Dog(Big Mama Thornton cover)

It's Now or NeverPlay

Blue Christmas(Doye O’Dell cover)

Can't Help Falling in Love

[hooked-on-elvis]

“Help Me”

THE MASTER WAS CONQUERED IN ONE SINGLE TRY. Elvis dropped to his knees while recording this song in studio.

Studio Sessions for RCA, December 12, 1973: Stax Studios, Memphis “Help Me” was the last song recorded on December 12, and they got it in one take; in his book 'Elvis: The Final Years', Jerry Hopkins reports that Elvis dropped to his knees to sing it. "Elvis Presley: A Life in Music" by Ernst Jorgensen. Foreword by Peter Guralnick (1998)

Right during the first 1974 Las Vegas engagement at the Hilton Hotel in Las Vegas, Nevada (Jan. 26 - Feb. 9, 1974), "Help Me" was a part of Elvis' live concert setlist.

Elvis Presley performing "Help Me", above on January 26 at the Las Vegas Hilton, Las Vegas, Nevada, and below on June 25, 1974 at the St. Johns Arena, Columbus, Ohio.

He's wearing the 1974 American Eagle suit.

FIRST OFFICIAL RELEASES

The song was released as a single, flip side to "If You Talk In Your Sleep", on May 1974. It became a great favorite of Elvis for his live performances. Interesting enough, a live recording was released in an album before the studio master could be properly released in an album itself.

(1) Single cover (1974); (2) Album cover, "Recorded Live on Stage in Memphis" (1974); (3) Album cover, "Promised Land" (1975).

On March 20, 1974 Elvis performed at the Mid-South Coliseum in Memphis, Tennessee, and the live album "Recorded Live on Stage in Memphis" was released with the soundboard recordings from this concert in which Presley performs "Help Me" live. This live album was released on July 7, 1974. Only in January 1975 the studio recording of the song, recorded at Stax Records in 1973, would be featured in an album, "Promised Land".

Album "Recorded Live on Stage in Memphis" (1974)

"HELP ME" lyrics Lord, help me walk another mile, just one more mile I'm tired of walkin' all alone Lord, help me smile another smile, just one more smile You know I just can't make it on my own I never thought I needed help before I thought that I could get by by myself But now I know I just can't take it any more With a humble heart, on bended knee, I'm beggin' You, please, help me Come down from Your golden throne to me, to lowly me I need to feel the touch of Your tender hand Remove the chains of darkness, let me see, Lord, let me see Just where I fit into Your master plan I never thought I needed help before I thought that I could get by by myself But now I know I just can't take it any more With a humble heart, on bended knee, I'm beggin' You, please, help me With a humble heart, on bended knee, I'm beggin' You, please, help me

Lyricist: Larry Gatlin

March 20, 1974. Elvis performing at the Mid-South Coliseum in Memphis, Tennessee.

Elvis wore the 1973 Arabian jumpsuit for the concert (8:30 pm). Due to that famous concert on March 20 in his hometown, the fans nicknamed the suit as the "Memphis Suit".

[tapedsleeves]

Living on the spotlight can kill a man outright 'Cause everything that glitters is not gold

Larry Gatlin & the Gatlin Brothers - All the Gold in California

[furymoon]

  ⏤     𝐧𝐨𝐰𝚜𝚝𝚛𝚎𝚊𝚖𝚒𝚗𝚐       .       .       .     ain't   no   grave. ( #𝐛𝐞𝐚𝐫𝐭𝐚𝐬𝐤. )

 shine   by   dolly   parton   /   ain't   no   love   in   oklahoma   by   luke   combs   /   the   last   pale   light   in   the   west   by   ben   nichols   /   in   hell   i'll   be   in   good   company   by   the   death   south   /   what   kind   of   man   by   florence   and   the   machine   /   you   rascal   you   by   hanni   el   khatib   /   lead   me   home   by   jaime   n   commons   /   all   the   gold   in   california   by   larry   gatlin   /   i'm   a   ramblin   man   by   waylon   jennings   /   help   me   make   it   through   night   by   kris   kristofferson   /   oklahoma   smokeshow   by   zach   bryan   /   no   horse   to   ride   by   luke   grimes   /   hell's   comin'   with   me   by   poor   man's   poison   /   personal   jesus   by   johnny   cash   /   hell's   bells   by   cary   ann   hearst   /   o   death   by   rihannon   giddens   /   take   me   home   ,   country   roads   by   john   denver   /   the   first   time   i   ever   i   saw   your   face   by   roberta   flack   /   ain't   no   grave   by   crooked   still

[casually-cool-cassettes]

Cassette of the day: 022: 21 July, 2023

Oldsmobile Complimentary Tape Cartridge

Track list: Program 1: A1: Oldsmobile Jingle, A2: Neil Diamond - First You Have To Say You Love Me, A3: Toto - Africa, A4: Barbra Streisand - Comin' In And Out Of Your Life, A5: Bertie Higgins - Key Largo | Program 2: A6: Willie Nelson - Always On My Mind, A7: Lacy J. Dalton - Takin' It Easy, A8: Larry Gatlin & The Gatlin Bros - Almost Called Her Baby By Mistake, A9: Jamie Fricken - You Don't Know Love | Program 3: B1: Champaign - Try Again, B2: Chuck Mangione - To The Eighties (Excerpt), B3: Ramsey Lewis - Up Where We Belong, B4: Weather Report - Birdland | Program 4: B5: R. Strauss - Also Sprach Zarathustra Op. 30 (Excerpt), B6: Chopin - Waltz In C Sharp Minor, Op. 64 No. 2, B7: Chopin - Minute Waltz In D Flat Major, Op. 64 No. 1, B8: Rimsky-Korsakov - Hymn To The Sun From "Le Coq d'or"

This very diverse tape used to be included as a complimentary gift upon purchasing an Oldsmobile car!

[stastrodome]

Fun Facts. 100% verified.

Novelist John Updike wrote in the margin of his last manuscript, "Idea: Rose has Jack's child but gives it up for adoption and that child grows up to seek revenge . . . "

The phrase "Eat. Pray. Love." was coined by Orville Redenbacher.

The official state song of Illinois is Petula Clark's "Downtown".

The very first act at the very first Coachella Festival was Larry Gatlin and the Gatlin Brothers.

Breakfast, lunch or dinner, Harry Truman only ate chili.

[judyreppart]

BIG & RICH, GAVIN DeGRAW, HOME FREE, SCOTT STAPP (of CREED), TRACY LAWRENCE, THE OAK RIDGE BOYS, CRYSTAL GAYLE, LARRY GATLIN + DEBBY BOONE AND TY HERNDON + JANIE FRICKE TO PERFORM ON 'LEE GREENWOOD: GOD BLESS THE U.S.A.' AIRING EXCLUSIVELY ON NEWSMAX DURING MEMORIAL DAY WEEKEND 'Lee Greenwood:…

[cupcakesugarpie]

🎼🤟♥️♥️♥️🤟🎼

[mutters-of-dissevering-power]

Sunday Evening Comin' Down

The prompt for Day 18’s Poem a Day Challenge hosted by The Poetry Pub, is “harmattan” which the dusty NE wind that blows through West Africa in the winter. The dryness and dustiness can provide a metaphor to a heart condition that I experience when I am especially tired after a day of ministry. Also, ever since I saw Larry Gatlin talk about Kris Kristofferson’s song “Sunday Morning Comin’ Down”…

[visualimagemarketing]

Will Carter Band Just Wait And See - 4k.mov from Steve Baker on Vimeo.

Katy, Texas born and bred, Will Carter and his band launch their electric live show to national stages as they continue to herd accolades across the Lone Star State for Will’s songwriting and for the band’s live performance. This country artist has landed over a dozen singles on the Texas music charts with three crossing over to Nashville’s Music Row Chart. Carter’s appetite for storytelling and engaging sets have earned a 2022 “Band Of The Year” nomination and four nominations for “Male Artist of the Year,” including one for 2023, at the annual Texas Country Music Awards.

Carter accredits his hard-won success to his tight-knit family. Between homeschooling, breaking horses, milking goats and tending crops, young Will had to carve out time between his chores to hone in on his songwriting and guitar skills. From his family scrapbooks, Will took his first stage at age three and picked up the guitar at age 10.

When Carter was a teenager, his father became severely ill. Like so many of us, he created a playlist of his father’s favorite songs to share with his dad in hopes of providing some comfort and an escape for his dad. Seeing the initial impact from the music, Will recorded these songs and sold CDs to help raise money for his family. This creative and active way of assisting his family landed him on the Debra Duncan television show when he was just 13. Those songs were played for his father every day until he passed. The peace, comfort, and inspiration of that period would serve as the catalyst for Carter’s songwriting and performance career.

Carter bravely pursued his passions kickstarting his professional career in 2016 after a stint with Texas dance hall headliners The Emotions. His debut album, Good Bad Idea, in 2019, laid the foundation for his sound paving a lane on the sonic highway blazed by headliners Mark Chesnutt, Jack Ingram & Easton Corbin. Since then, Carter has been actively touring with his band, performing 150-200 shows each year. Will’s confident, high-energy performances are a country music tour de force appealing to music fans of all ages and putting industry eyes on this remarkable emerging talent.

The Will Carter Band has opened for Cody Johnson, Randy Rogers, Bart Crow, Jack Ingram, Larry Gatlin, Saints Eleven, Josh Ward, Cody Canada, and played SXSW. Carter and his music have been featured on podcasts such as The Troubadour, The Sports Guys, and Scenes Live. Their releases can also be heard on radio stations nationally with particularly heavy airplay in Texas and surrounding states.

There are few artists today who can match Carter’s blend of native talent, determination, and drive. Audiences find his lyrics compelling and his live shows invigorating.

Links To: Artist Website: willcarterofficial.com Artist Facebook: facebook.com/willcarterofficial Artist Twitter: twitter.com/willcarterband Artist Instagram: Instagram.com/willcarterofficial Artist Spotify: open.spotify.com/artist/2fgYyCGINEi2hyDcl2AU7h Artist Itunes: music.apple.com/us/artist/will-carter/252249945 EPK URL/Link (YouTube / Digital Rodeo/Sonicbids) willcarterofficial.com/epk

Label: Way Back Records TRT: 3:33

ISRC: US2762303983

Song IPI# ASCAP# 917281688 Songwriters: Jesse Watson Songwriters’ IPI#: ASCAP# 849498273

Publisher: Jesse Watson Music Publisher’s IPI# ASCAP# 870555519