#dave the rock nelson

[podado-t-memes]

I just watched the new Jim Henson documentary…

Overall it was very good, well paced, great visuals and editing. I learned a lot about Jim Henson and the company that I didn’t before and more behind the scenes that I hadn’t seen/heard which is always a treat!

I cried three times. 🫣👌 I had to fight the primal urge to pause the documentary and point out to my family where and what movie/show/episode every clip was from. This was my “did you know Viggo Mortensen actually broke his toe” scene.

I will say, I do think they very QUICKLY went over the disney merger and didn’t even mention the fallout with Disney after Jim’s death.

———————

The main problem I had was that SOME puppeteers got spot lights, interviews or arrows pointing out the individuals. And while I appreciate that these individuals got some recognition (which they 100% should), I think the documentary should have been consistent and do this with every new important/fundamental puppeteer to the film.

I alreay have!!! I was able to EASILY point out Karen Prell, Louise Gold, Richard Hunt, Jerry Nelson, Kevin Clash, Steve whitmire, etc. But an average viewer wouldn’t know who is who and what they contributed to the company!

I just think it’s intriguing who they chose to highlight and who they left out.

And I’ve noticed this happen in other muppet documentaries, like “Street Gang,” where they barely glossed over Richard Hunt and Jerry Nelson’s contributions to the show. (I’ve mentioned this problem here before. (Queer erasure during pride month? 🙄))

It would be such an easy problem to fix! Just a quick arrow to point out any new puppeteer or cast member to the Jim Henson Company. Maybe list their job/their characters so a main stream audience could identify them.

I can think of several founding members who are still alive today that were not interviewed. Maybe these people were asked to come in, IDK, but I would have loved to hear from more people you don’t hear from often.

I could definitely tell the documentary was really trying to avoid the “Steve Whitmire” sized elephant in the room, even though he was in SO MANY shots. I can guarantee that if he was still with the company he would have been featured heavily in the documentary.

———————

One last thing…

They interviewed Michael Frith, where was my girl Kathryn Mullen?? (His wife.) She hasn’t done anything in over a decade, are you okay?? Blink if you need help. 👁️👄👁️😐😑😐😑

[spilladabalia]

The Audience - The Ramona Pageant

[talestoshowcase]

Some of my favorite Muppet stuff from the last year!

If interested, maybe check out my website?

[2ndaryprotocol]

Jim Henson’s musical fantasy series ‘Fraggle Rock’ premiered on HBO this week 40 years ago. 🏡🚜🪨

“𝚃𝚑𝚎 𝚖𝚊𝚐𝚒𝚌 𝚒𝚜 𝚊𝚕𝚠𝚊𝚢𝚜 𝚝𝚑𝚎𝚛𝚎, 𝚊𝚜 𝚕𝚘𝚗𝚐 𝚊𝚜 𝚠𝚎 𝚔𝚎𝚎𝚙 𝚕𝚘𝚘𝚔𝚒𝚗𝚐 𝚏𝚘𝚛 𝚒𝚝...”

[ourshadowstallerthanoursoul]

An audience with... John Paul Jones

(from Uncut, April 2010 - link)

You’re stuck on a deserted island, you have one instrument you can bring. It is: a) piano, b) bass or c) mandolin? (Gary Attersley, Ontario, Canada)

Oh… that’s horrible! I’ll probably get Hugh Manson – the guy who builds all my bass guitars – to build me some monstrous instrument that encapsulated all three! Hugh and his brother Andy Manson once actually designed me a triple-necked guitar with 12-string guitar, six-string guitar and mandolin on it! Andy also designed a triple-necked mandolin. But I guess if it really came down to it on a desert island, it would have to be the piano, because you can do so much on it. You’re a whole band. The bass is not much fun on your own.

John, it’s so good to see you so engaged with today. Any advice for old farts who can’t move on? (Andrew Loog Oldham)

Who are you calling an old fart? I dunno, Andy, you tell me! Ha ha. He’s done a good job of staying up to date. Andrew, of course, gave me the name John Paul Jones. I was John Baldwin, until Andrew saw a poster for the French film version of John Paul Jones. I thought it ’d look great in CinemaScope, as I wanted to do music for films. I imagined it saying “Music By John Paul Jones”, over the whole screen. I never realised then that he was the Horatio Nelson of America!

I know that you’ve been getting heavily into bluegrass lately – who are some of your favourite bluegrass artists of all time? (Ryan Godek, Wilmington, Delaware)

Apart from Bill Monroe, you mean? Oh, there’s loads. I’m friends with the Del McCoury band, I love that style of classic bluegrass. I love Sam Bush’s Newgrass stuff. And of course there’s Nickel Creek, Chris Feely, Mike Marshall. I love it all, really. One thing I like about bluegrass is that you don’t require amplifiers, drums and trucks. You can pull an instrument out of a box and get on with some instant music making. I carry a mandolin around wherever I go. I also like the fact bluegrass musicians play more than one instrument. There’s a tradition of them swapping instruments. In bluegrass bands I swap between double bass, fiddle and banjo.

One Butthole Surfers anecdote, please? (Dave Grohl)

Ha! I was brought in to produce the Butthole Surfers’ 1993 album, Independent Worm Saloon. I guess it was to give it a heavy rock vibe, but it didn’t work like that. They were actually incredibly hard-working in the studio, but I do recall running up a phenomenal bar-bill at the San Rafael studio. And then there was Gibby [Haynes, Butthole Surfers’ frontman] and his… eccentric studio behaviour. Gibby did one vocal take shouting into his guitar. He held it out in front of his face and screamed at it. Ha! He was trying to find out if it picked up through the pick-ups, which it kind of did. And that was pretty good.

How’s the violin coming along? (Sean, Berkshire)

I started about three years ago. With the guitar, or the piano, you can sound OK quite quickly. With the violin, it takes much longer. Once you get past the first six months of scraping, of muttering to yourself, “What is this fucking horrible noise on my shoulder?” you get the odd musical bit, and you think, ‘Oh, this is starting to get good.’ And you continue with it for a while. I’m getting into country fiddle playing, Celtic folk songs, a bit of swing. Basic stuff, but very satisfying.

Why not record a second ‘Automatic For The People’ with REM? (Franz Greul, Austria)

They haven’t asked me! But doing the string arrangements for that album was a great experience, actually. They sent me the demos of their songs, and we went into a studio in Atlanta, with members of the Atlanta Symphony Orchestra. They were great songs, something you can really get your teeth into as an arranger. And I’ve been good friends with them ever since.

How did you first meet Josh Homme? And is he still a notorious party monster? (Rob Hirst, Kippax, Leeds)

Well, I think we’ve all calmed down rather a lot. Dave introduced me to Josh at his 40th birthday party. It was a ridiculous themed place where they have jousting with knights. As Dave said, it was like somewhere you’d have your 14th birthday party. Or maybe even your 4th. Anyway, Dave sat Josh and I together for a blind date. Which was reasonably embarrassing for both of us, surrounded by people going “prithee this” and challenging each other to duels. But we survived the trauma and went into the studio the next day, and just started jamming. And I knew immediately it was going to be something special.

If Them Crooked Vultures had Spice Girls-like nicknames what would they be? (Paul Jones, Liverpool)

Dave would be Smiley Vulture. He can’t stop grinning. Josh would be Slinky Vulture. He’s a slinky kinda guy. And I’d be Speedy, I guess. Or Jumpy. So there you go. Smiley, Slinky and Speedy. Or does that sound more like the dwarfs?

I remember you being a pretty funky bass genius back in the day! What memories do you have of those sessions? (Donovan)

The sessions with Don and Mickie Most were great, because we were given a free hand. I usually got leeway, because I was the sort of Motown/Stax specialist, so producers in the mid ’60s would get me in for cover versions of American records, and none of them could write bass parts convincingly enough, so I was London’s answer to James Jamerson, I guess! And I was certainly encouraged to get kinda… funky when I worked with Donovan.

How did it feel to see Jimmy Page and Robert Plant venture off in their own project in the ‘90s without mentioning a word of it to you? (Danny Luscombe, Hull)

Oh yeah, I was pissed off about it. The surprise was in not being told. It’s ancient history now, but it was a bit annoying to find out about it while reading the papers. It came just after Robert and I had been discussing the idea of doing an Unplugged project. Then I’m on tour in Germany with Diamanda Galás, I turn on the TV and see Robert and Jimmy doing it, with someone else playing all my parts! I was pissed off at the time. You would be, woudn’t you? But… it’s all in the past, isn’t it?

Did you listen to much work by Josh Homme or Dave Grohl before you were contacted in relation to joining Them Crooked Vultures, and if so, how did you honestly rate it? (Ralph Ryan, Lisronagh, County Tipperary)

I did like the Foo Fighters and Queens Of The Stone Age, before I’d met either of them. There’s a tendency for people – especially musicians from my generation – to say that there has been this terrible decline in musicianship, that today’s bands haven’t got the chops, blah blah blah. But that’s not true at all. There’s always some people for whom technique on an instrument isn’t necessary. They can get their ideas across without being able to have the chops. But Josh really does have the chops, he just doesn’t feel the need to flash them about all the time. In fact, there were a few riffs he gave me that I had to simplify, because they were bloody difficult to play. I really had to work at it, where he could just flick it off. He is an astonishing musician.

Were you serious when you told Peter Grant that you wanted to jack it in to become choirmaster at Winchester Cathedral? (Brian Fisher, Manchester)

Ha! That was a tongue-in-cheek joke, although I was serious about leaving Led Zeppelin in 1973 unless things changed. But Peter did sort things out pretty quickly. What kind of choirmaster would I have made? A bloody good one! Listen, any way that they’ll pay you for making music is just the best situation in the world. I’d do it for nothing. I don’t care what music it is. I just love it all. The rubbing of notes together. I love it all. I would be very passionate about whatever I decided to do.

What was the worst session you ever did as a jobbing session player? (Adam Burns, Castleford, West Yorkshire)

I generally have fun memories of that time. I’d criss-cross London playing two or three sessions a day, going between Trident and Olympic and Abbey Road and Philips in Marble Arch, you know. You’d be backing Shirley Bassey, Cat Stevens, Lulu, whoever was paying you. The worst experience was a Muzak session. With Muzak sessions, the music was deliberately boring. I distinctly remember one session where I embellished the bass part a little bit, just so that it wasn’t so boring for me to play. They said, “No, you can’t do that. Any interest in the music will distract people’s attention from when they’re meant to be eating.” Or standing in a fucking lift. For fuck’s sake! So I was like, “OK, thanks, bye!”

[muppetydyke]

Muppet Mainstage, November 11th, 2024

“All Around the World” was written by John Kongos in 1985 as a bonus record for Fraggle Rock. The song was sung by Uncle Traveling Matt (Dave Goelz) with background vocals from Gobo (Jerry Nelson), Wembley (Steve Whitmire), and Red (Karen Prell).

[thislovintime]

Peter Tork and The Peter Tork Project, early 1980s; photos by Michael Ventura/Alamy.

“Eventually, Tork moved to New York City, working odd jobs and performing ‘sporadically.’ In the early ‘80s, after he quit drinking, he started a couple of bands, Peter Tork and the New Monks, and the heavy-metal-leaning Peter Tork Project. But Tork says that heavy drinking had ‘left me with mediocre skills. Until I started working on my skills again, it didn’t matter.’” - Los Angeles Times, October 20, 1992

“In June of 1982, Peter Tork was in my face again. It was at a gritty, downscale, but packed-to-the-gills club in Boston called Bunratty’s. (Long gone.) Tork, then 40, was on a tour he described as the ‘I Have to Laugh to Keep from Crying Tour.’ It was billed as Peter Tork and the New Monks – Tork plus four crack musicians providing a hard-rock ride down memory lane. We talked a bit between sets. Me: ‘What it’s like going through life and to always be viewed as a former Monkee?’ Tork: ‘Compared to what?’ I paused for a moment and thought to myself, ‘Exactly! When this is the life you’ve known, what can you compare it to?’ (This was one of the best answers I’d ever had to one of my queries.) I re-used this anecdote when I talked to Ringo years later – switching up Monkees for Beatles in his case – and he chuckled. ‘Yeah,’ he said. ‘What can you compare it to? This is where I am and this is what I am.’ So, why were we Bostonians packed shoulder-to-shoulder in the post-punk heyday to hear ‘60s pop done live and loud? ‘A lot of people come out and they want to remember the old songs,’ Tork said. ‘They want to drift back to when they were fetuses or however old they were then.’ [...] ‘When I arrive at the gates of St. Peter,’ Tork quipped, ‘he’s going to say First one to go . . . okay, we’ll let you in.’ One Peter to another. ‘When I quit the Monkees,’ Tork continued, ‘the first thing I wanted to do was divorce myself from the whole thing entirely.’ Tork formed a ‘straight- ahead pop rock’ band, Peter Tork and/or Release, but it failed to go anywhere. In late 1971 and early 1972 Tork spent three months in jail for possession of hashish. Tork, who was a folk musician prior to Monkee-dom, resurfaced in 1977 to play an acoustic gig at CBGB’s, at the time New York’s prime punk club. In a sense, punk was responsible for bringing Tork back to work. The Sex Pistols did a vicious sloppy cover of ‘Steppin’ Stone,’ and other punk new wave bands have embraced the Monkees on two levels: 1) damn good pop tunes and, 2) potential kitsch value. Tork, who was married and living in Venice, Calif., was on a tour playing small U.S. clubs. (Dolenz and Jones, incidentally, had also formed Monkees facsimiles at that time and were rumored still to be big stars in Japan.) Tork has been around the area all week – he was playing an even dive-ier club in nearby Somerville the next night – unveiling a repertoire that consisted of some Monkees tunes, some non-Monkees originals, and some early rock ‘n’ roll covers. He wasn’t exactly playing the Monkees’ songs by the (Boyce & Hart) book. I’d venture to say this was almost hard rock/heavy metal Monkees music. ‘The [Monkees] records are a little thin by contemporary standards,’ Tork said. ‘People who are just into rock ‘n’ roll and had a lot of contempt for the Monkees phenomenon as a whole aren’t going to come in the first place. People who are on the borderline – they liked the Monkees and they like rock ‘n’ roll today – are going to come. If I play it like it was off the records, they’re going to say ‘Well, it was nice to see him but so what?’ If I play ’em right and they want to dance, I’ve got good musicians whacking away and they’re going to come back.” Tork’s musicians – Phil Simon and Nelson Bogart, guitars; Vince Barranco, drums; and Paul Ill, bass – have played variously with Little Feat, Dave Brubeck, Joe Beck and Carolyne Mas. [...] Although not signed to a label, Tork said producer Jimmy Miller (Rolling Stones, Traffic) was ready to record an album with them. (Jimmy Miller, who lived in our region, was had made maybe the greatest Stones album ever in Exile on Main St., but was drug-damaged goods by that point, sad to say.) ‘My goals right now are to make a living entertaining,’ Tork said. ‘Put away something for my old age, cookouts on the weekend, no big thing. You never know what’s going to happen. One of these days I might make a mark on my own.’”- Rock and Roll Globe, February 2022

[krispyweiss]

OM.G.’s: Booker T. is 8-T

HBD to the OG M.G.: Booker T. Jones turns 80 today.

Born Nov. 12, 1944, in Memphis, Jones - sans surname - is the namesake leader of the M.G.’s, best known for their signature instrumental “Green Onions” and as the house band for Stax Records.

With the M.G.’s - guitarist Steve Cropper, bassist Donald “Duck” Dunn and drummer Al Jackson Jr. - Booker T. recorded with Otis Redding, Albert King, Bill Withers, Sam and Dave and others in the 1960s.

The musicians received renewed exposure as the house band in “The Blues Brothers” and the band is enshrined in the Rock and Roll, Musicians, Memphis Music and Blues halls of fame.

In the 21st century, Jones has recorded with Neil Young, Elton John and Leon Russell and others. He still plays occasionally with a different set of M.G.’s and his featured appearances in 2023’s “Long Story Short: Willie Nelson 90” were among the film’s highlights.

11/12/24

[littlelesbianintern]

in regards to the act iii a lot of the suggestions I’ve seen are pretty much only 2000s rock scene based which I’m still all for but at the end of the day this is Beyoncé we’re talking about so the album is going to be musicology of rock n roll so here are my predictions/hopes of samples/collabs for act iii aka the rock album:

Sister Rosetta Tharpe (the mother of rock n roll) (there’s a snippet of ‘Down By The Riverside’ featured on Smoke Hour w/ Willie Nelson already)

Elvis Presley

Tina Turner (devastated we won’t get a collab) probably ‘Proud Mary’

Aerosmith (hopefully a cover of ‘Dream On’)

The Rolling Stones

Little Richard

Prince

Led Zeppelin

Jimi Hendrix

Stevie Nicks

Rage Against The Machine

Lenny Kravitz

Michael Jackson (fingers crossed for ‘Dirty Diana’)

Paramore as an example of more recent rock bands.

Queen

Others I could see maybe as collaborators on the composition could be the rest of Fleetwood Mac, a Slash guitar solo, potentially Foo Fighters (Dave Grohl has played drums for other artists tracks a couple of times), maybe Elton John, etc.

Edit: ok this was in my drafts before she name dropped like a bunch of the people on my list at the iHeart awards last night this album is about to be so good

[grits-galraisedinthesouth]

Look who's Laughing

Meghan's BFF was spotted laughing backstage at the Chris Rock Live Show: Meghan's BFF, Janina Gavankar, famously told Gail King Meghan had receipts for those RACIST BRF conversations.🤥

Janina Gavankar was also filmed attempting a high five at the wedding, she was spotted in a vehicle with Harry & Meghan outside NOprah's house, and she credited herself with the (Soho House) Sussex trio 2019 Holiday photograph.

Janina heard the jokes a few times prior to the Live Taping so she knew what to expect. I wonder if Harry (or backers) telephoned Chris Rock (like South Park) to ask him not to use Meghan in his show?🤔 I think her influence could explain his use of Megflix talking points: "British Empire, Colonialism, and seems like a nice lady..."

Janina Gavankar, one of Meghan Markle’s longtime best friends, was at the live taping for Chris Rock’s blockbuster Netflix show Saturday night – and watched as the comedian skewered the Duchess of Sussex, Page Six can reveal.

The “Vampire Diaries” actress, who has been a staunch defender of Prince Harry’s wife and a close pal of hers for over 20 years, was at Baltimore’s Hippodrome Theater to witness Rock make history for the streaming service’s first live global streaming event. Sources told Page Six that Gavankar, 42, joined her good friend Dave Chapelle backstage to watch the show in the VIP Green Room.

“Janina looked to be enjoying the show very much, she was standing up by the TV screens and laughing,” one eyewitness told us. Rock had finely honed his routine over the past few months at a number of gigs around the country, including at Radio City Music Hall in New York City back in October, where he made the same comments about Markle and the royals.

We’re told that Gavankar had been to previous shows, so she knew what to expect.

Gavankar joined a host of big names at Saturday’s show, including director Spike Lee and wife Tonya Lewis Lee, Baltimore Mayor Brandon Scott, Maryland Governor Wes Moore, author Nelson George, comics Darnell Rollins, Sam Jay and actor Stephen Hill, alongside Arsenio Hall, David Spade and former “Saturday Night Live” stars Leslie Jones and Dana Carvey.

Gavankar was a guest at the Sussexes wedding in May 2018.

She also went on British TV after the royal family responded to the Oprah interview by saying “recollections may vary” at the couple’s claims of their hellish time behind palace walls.Speaking on “This Morning,” Gavankar hit back at the family’s claims they weren’t aware of the full extent of Meghan’s struggles while she was a working royal family member.

“Though their ‘recollections may vary,’ ours don’t because we lived through it with them,” Gavankar said, quoting directly from the Palace’s statement. “And there are many emails and texts to support that.”

[kdo-three]

Kip Tyler - She's My Witch (1958) Kip Tyler from: "She's My Witch" / "Rumble Rock"

Rockabilly | 1st Wave Rock and Roll

JukeHostUK (left click = play) (320kbps)

Personnel: Kip Tyler: Vocals Mike Deasy: Guitar Bruce Johnston: Piano Jim Horn: Saxophone Dave Shostal: Bass Sandy Nelson: Drums

Recorded: @ The Gold Star Studios in Hollywood, California USA during November of 1958

Released: January of 1959

Ebb Records

[shefanispeculator]

Tom Bukovac (born December 20, 1968) is an American session musician and producer. He was born in Cleveland, Ohio, and raised in nearby Willowick, Ohio. He has been a Nashville-based musician since 1992.[1] He previously owned 2nd Gear, a used music consignment shop in South Nashville.[2]

Tom Bukovac

Tom Bukovac at Wacken Open Air with Ann Wilson 2022Background informationAlso known as

Uncle Larry

Session Man

Starship Trooper

Your Sagittarius Buddy from Cleveland

Little Tommy (6'3")

Larry

Mountain Larry

BornDecember 20, 1968 (age 55) Cleveland, Ohio, U.S.Occupation(s)

Musician

producer

Instrument(s)

Guitar

Years active1980s–present

Tom Bukovac (born December 20, 1968) is an American session musician and producer. He was born in Cleveland, Ohio, and raised in nearby Willowick, Ohio. He has been a Nashville-based musician since 1992.[1] He previously owned 2nd Gear, a used music consignment shop in South Nashville.[2]

Career[edit]

Bukovac began playing guitar at age eight, and performed his first shows at age thirteen at his widowed mother's bar, The Surfside Lounge, in Eastlake, Ohio. He moved to Nashville in 1992 to pursue a career as a guitarist.[1]

Bukovac has played on over 1200 albums,[1] including projects by Dan Auerbach and The Black Keys, Kid Rock, Morgan Wallen, Ann Wilson, The Struts, Steven Tyler, Stevie Nicks, Bob Seger, John Oates, Joan Osborne, Vince Gill, Dave Stewart, Joss Stone, Hank Williams Jr., Sheryl Crow, Don Henley, Carrie Underwood, Richard Marx, Rascal Flatts, Keith Urban, Willie Nelson, Martina McBride, Faith Hill, Kenny Loggins, Reba McEntire, Blake Shelton, LeAnn Rimes, Florida Georgia Line, Lionel Richie, among many others.[3]

Bukovac has toured with Ann Wilson (2022 - Fierce Bliss Tour), Joe Walsh (2017) – Tom Petty and the Heartbreakers 40th Anniversary Tour[4]); Vince Gill (2016); John Fogerty; Faith Hill; Trigger Hippy; Wynonna Judd; Tanya Tucker, and others.[5] Bukovac is currently a member of The Jim Irsay band.

Bukovac has also won the Academy Of Country Music guitar player of the year award four times – 2008, 2010, 2016, and 2021.

Played on Blake's songs

[jkflesh]

JK Flesh remixes This Celestial Engine

This Celestial Engine: Gong bassist meets Swans drummer and Laswell keyboardist for experimental ambient avant-rock improv.

Dave Sturt — bass (Gong, Steve Hillage, Bill Nelson) Ted Parsons — drums (Swans, Prong) Roy Powell — keys (Anthony Braxton, Bill Laswell)

[mywifeleftme]

157: The Silver Mt. Zion Memorial Orchestra & Tra-La-La Band // "Born Into Trouble as the Sparks Fly Upward."

"Born Into Trouble as the Sparks Fly Upward." The Silver Mt. Zion Memorial Orchestra & Tra-La-La Band 2001, Constellation (Bandcamp)

22 years ago Montreal’s other iconic prodigiously-membered post-rock band released their second LP. It’s not easy keeping all of these pro-Zion-but-not-Zionists straight, so I’ve helpfully listed and ranked each of the musicians who have passed through this constantly shifting collective from first to least-first. Let’s go!

Members of A/The/e Silver Mt. Zion Memorial Orchestra & Tra-La-La Band, Ranked

1. Mike Garson - piano 2. Annie Clark - guitar, keyboards, backing vocals 3. Brian Teasley- percussion 4. Daniel Hart - violin 5. Szabolcs Szczur – accordion 6. Davey 'Crabsticks' Trotter – Mellotron 7. Timothy Matthews – mbira 8. Buffi Jacobs – cello 9. Bach Norwood – piano, keyboards, backing vocals 10. Harriet Ballance - triangle, backing vocals 11. Japhy Ryder – floristry 12. Stuart "Peebs" Peebles – piccolo 13. Chandler Petrino – natural horn, oboe 14. Jared Pechonis – theremin 15. Toby Halbrooks - theremin 16. Corn Mo - backing vocals 17. Patrick Hewitt – theremin 18. Darin Hieb – trumpet, backing vocals 19. Rachel Woolf – flute 20. Mark Beardsworth – claviola 21. Allen Halas – percussion 22. Edwin Mendoza – viola 23. Todd Beaupré – vibraslap 24. Thaddeus Ford – trumpet 25. Paul Deemer – trombone, trumpet 26. Mike St.Clair – trombone, synth effects 27. Josh Guyer – trombone, spoons 28. Chris Curiel – trumpet 29. Heather Test – French horn 30. Victoria Arellano – classical harp 31. Sean Redman – violin, mandolin 32. Kelly Test – percussion 33. Mike Mordecai – percussion 34. Jason Garner – drums 35. Audrey Easley – flute, piccolo, EWI 36. Rick G. Nelson – viola 37. Nick Groesch – piano, keyboards 38. Keith Hendricks – percussion 39. Evan Hisey – keyboards 40. Dylan Silvers – guitar 41. Daniel Hart – violin 42. John Lamonica – percussion 43. Marcus Lopez – percussion 44. Matt Bricker – trumpet, synth effects 45. Taylor Young – percussion 46. Joe Butcher – steel drum 47. Evan Jacobs – piano, keyboards 48. Todd Berridge – viola 49. Nick Earl – guitar 50. Evan Weiss – trumpet 51. Jay Jennings – trumpet 52. Tamara Brown – violin 53. Merritt Lota – steel drums 54. Daniel Huffman – guitar 55. Timothy Blowers – harp 56. Anthony Richards – steel drums 57. Louis Schwadron – French horn 58. Andrew Tinker – French horn 59. Nick Wlodarczyk  – trombone 60. Paul Gaughran – flute 61. Isabelo Cruz – French horn 62. Bryan Wakeland – drums 63. Hayley McCarthy – viola 64. Dave Dusters – percussion, backing vocals 65. Billy Mills-Curran – flute 66. Logan Keese – trumpet 67. Ricky Rasura – classical harp 68. Tonya Hewitt – banjo 69. Daniel Poorman – slide whistle 70. Andy Parkerson – clarinet 71. Joseph Singleton – viola 72. Jenelle Valencia – violin 73. James Reimer – trombone 74. Regina Chellew – guitar, trumpet, backing vocals 75. Ryan Fitzgerald – guitar, backing vocals 76. Cory Helms – guitar, backing vocals 77. Jessica Jordan – backing vocals 78. Jenny Kirtland – backing vocals 79. Kristin Hardin – backing vocals 80. Elizabeth Evans – backing vocals 81. Neil Smith – backing vocals 82. Julie Doyle – backing vocals 83. Christine Bolon – backing vocals 84. Natalie Young – backing vocals 85. Constance Dolph – backing vocals 86. Elizabeth Brown – backing vocals 87. Apotsala Wilson – backing vocals 88. Jennie Kelley – backing vocals 89. Roy Thomas Ivy – backing vocals 90. Jamey Welch – backing vocals 91. Ethan Voelkers – backing vocals 92. Mark Pirro - bass 93. Frank Benjaminsen – backing vocals 94. Stephanie Dolph – backing vocals 95. Jennifer Jobe – backing vocals 96. Mike Elio – backing vocals 97. Kelly Repka – backing vocals 98. Jason Rees – backing vocals 99. Jeneffa Soldatic – backing vocals 100. Michael Turner – backing vocals 101. Don Congeler – backing vocals 102. Michael Musick – backing vocals 103. Melissa Crutchfield – backing vocals 104. Sandra Powers Giasson – backing vocals 105. Paul Hillery – backing vocals 106. Stephen Dix – backing vocals 107. Jessica Berridge – backing vocals 108. Melisma MacDonald – backing vocals 109. Ross Cink - backing vocals 110. Lucy Williams - choreography 111. Josh David Jordan – backing vocals 112. Brad Butler – backing vocals 113. Jason Rees – backing vocals 114. Andrew Aldenenotti – backing vocals 115. Getting hit by a bus wearing a flowing white robe 116. Tim DeLaughter - vocals, guitar, piano

Hold on. I’ve just received word that these musicians are actually members of some other band? Apologies for the confusion!

157/365

[muppetydyke]

Muppet Mainstage, January 10th, 2024

“Crocodile Rock” was written by Elton John and Bernie Taupin, and performed by Elton John in 1972. It made its Muppet debut as the opening number for season 2, episode 14 of the Muppet Show (1977). Elton John sings the song with The Electric Mayhem (Jim Henson as Doctor Teeth, Jerry Nelson as Floyd, Richard Hunt as Janice, Frank Oz as Animal, and Dave Goelz as Zoot) in a swamp filled with crocodiles.