Home

**Placer County Cares – Urgent Help Needed for Fire Victims!**

**Attention Loomis Chamber Community:**

The devastating fires in Southern California have left many in dire need. Here`s how you can help:

**Items Desperately Needed:**
– Sheets
– Blankets
– Towels
– Socks
– Diapers
– Batteries

**Also needed:**
– Large black storage bins with yellow lids to organize and transport donations.

**Drop-off Location:**
– **Reds` Bistro**

**Donation Dates:**
– **Start:** Now
– **End:** Tuesday, January 28, 2025

All collected items will be transported south on **January 31, 2025**.

For any questions, please contact Jake at **jake@redsinloomis.com**.

Let`s show our support and solidarity. Every donation makes a difference!
#kzaporg
#PlacerCountyCares #HelpFireVictims #CommunitySupport …

How a Car Dealer Helped @johnlennon Find the Perfect Lyric for “A Day in the Life”

When John Lennon began writing the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band closer, “A Day in the Life,” he had a copy of Daily Mail propped up on the music stand of his piano. “I noticed two stories,” Lennon recalled in Anthology. “One was about the Guinness heir who killed himself in a car. That was the main headline story. He died in London in a car crash.”

“On the next page was a story about 4,000 potholes in the streets of Blackburn, Lancashire,” Lennon continued. “There was still one word missing in that verse when we came to record. I knew the line had to go, Now they know how many holes it takes to — something — the Albert Hall. It was a nonsense verse, really, but for some reason, I couldn’t think of the verb. What did the holes do to the Albert Hall? It was Terry who said ‘fill’ the Albert Hall, and that was it.

The Terry in question was Terry Doran, who had been friends of the Beatles since the early 1960s when he sold them their first car and gig van. The luxury car dealer later came to be the manager of Apple Publishing and personal assistant to Lennon and George Harrison.

Whether Terry Doran gave John Lennon the lyric about holes filling the Albert Hall or merely reminded the Beatle of the word he was looking for, as the musician suggested, Doran’s recommendation was the one that stuck. I read the news today, oh, boy, Lennon sings in the last verse, four thousand holes in Blackburn, Lancashire. And though the holes were rather small, they had to count them all. Now they know how many holes it takes to fill the Albert Hall.

Next, the song transitions into a trippy, psychedelic sequence from the mind of Paul McCartney. “Paul’s contribution was the beautiful little lick in the song, I’d love to turn you on, that he’d had floating around in his head and couldn’t use,” Lennon recalled in Anthology.

Despite the tensions that would grow among the band in the latter half of the 1960s, Lennon said, “Paul and I were definitely working together.

Catch the stream at k-zap.org, on the k-zap apps or at 93.3 FM in the metro Sacramento area.
#kzaporg …

On this day January 17, 1969 @deeppurple_official played the first of two consecutive nights at Sacramento’s Sound Factory.

The Sound Factory was a short lived music venue located at 1217 Alhambra Boulevard in Sacramento.

Some enterprising folks decided to start a Sacramento version of the ballroom-type clubs similar to Bill Graham’s Fillmore and Chet Helms’ Avalon in San Francisco.

The club existed during parts of 1968 and 1969, was based in a converted hardware store.

Unfortunately, bad business decisions brought the Sound Factory to a close within a year’s time.

Catch the stream at k-zap.org, on the k-zap apps or at 93.3 FM in the metro Sacramento area.
#kzaporg …

This week’s Rush Hour Blues jumps into host Bill Prescott’s favorite band of all time, @aerosmith and the bluesiest part of their catalog.

Get ready for some bluesy rhythms, powerful guitar riffs, and soulful vocals from those Bad Boys from Boston when you join Sacramento’s K-ZAP this Friday, 5p.

RHB is sponsored by @blackrockauto, 1313 C Street, Sacramento. “They can do stuff.”

Catch the stream at k-zap.org, on the k-zap apps or at 93.3 FM in the metro Sacramento area.
#kzaporg …

Scrapped @davidbowie Tapes From 1974 Sigma Sessions Have Been Discovered

A couple of scrapped David Bowie tapes from the 1974 Sigma Sessions in Philadelphia, Pennsylvania have been found, but they were almost erased.

Max Ochester, a rare record collector and preserver of Philly music history, found the recordings in 2022 when he purchased a large lot of unpublished reel-to-reel tapes from a foreclosure sale. However, the tapes weren’t labeled, except for the word “scrap” penciled on one of the boxes.

Last June, Ochester was heading to Elm Street Studios to do some recording and decided to bring the tapes along, assuming they were blank.

First it was just a band playing some disco, then there was an R&B-style jam with a guitar riff reminiscent of the one in David Bowie’s song “Fame.” Then, Luther Vandross came in on vocals for a cover of “Foot Stompin’” by The Flares. Next, the band started playing “Can You Hear Me” from Bowie’s “Young Americans” album.

“That’s when I was just like, holy f—k, what do I have?” said Ochester of the moment he heard that David Bowie song. “Because I knew it was a Bowie song. And I knew that Luther sang on Young Americans.”

Once the band played an instrumental take of “Young Americans,” with Bowie’s saxophonist David Sanborn distinctively wailing away on his alto, Ochester was sure he had something special.

On another tape, Ochester had David Bowie singing the Bruce Springsteen song “It’s Hard to Be A Saint in the City.” There is a recording of Bowie singing Springsteen that was later released on the “Sound and Vision” box set, but no one had ever heard that song sung over the riff from “Fame.” That’s what Ochester had in his possession: completely unheard Bowie demos.

There’s so much more on the three scrapped tapes, like studio chatter between Bowie and producer Tony Visconti, as well as a rough take of “Fascination.” The tapes are a gold mine of Bowie history, and they would have gone completely unheard had it not been for Max Ochester giving them a listen on a whim.

Catch the stream at k-zap.org, on the k-zap apps or at 93.3 FM in the metro Sacramento area.
#kzaporg …

’Frampton Comes Alive’: @mrpeterframpton’s Live Epiphany

‘Frampton Comes Alive’ became the multi-platinum sensation of 1976 and produced three major hits in ‘Show Me The Way,’ ‘Baby I Love Your Way,’ and ‘Do You Feel Like We Do.’

Little did he know what was coming next. It all began to come together on June 13, 1975 at a San Francisco concert, and culminated in an epic run at No.1 after he released the historic live album Frampton Comes Alive! on January 16, 1976.

That hot summer, Frampton was on the road, touring the A&M album he’d released in March that year, simply called Frampton. Produced by the guitarist with Chris Kimsey, it included the studio versions of “Baby, I Love Your Way” and “Show Me The Way.” The latter song featured a distinctive and then-innovative talkbox effect on Peter’s voice that would become one of his trademarks.

On that June night, Frampton and his band played at the Winterland Ballroom in San Francisco. “We owned the airwaves in San Francisco,” he said in 2003. “After the Frampton record I could do no wrong there, and this was my first time headlining.

“Well, as soon as we walked on the stage, there’s like 7,500 people out there and I was like ‘Oh my God.’ And I think it gave us such a kick up the arse, we did this show that’s one where you walk off and go ‘Oh, wish we’d recorded that’ – well, we did. So it was just very special.”

Along with further shows at the Marin Civic Center in San Rafael, California, the Island Music Center in Commack, New York, and the State University of New York campus in Plattsburgh, New York, these were the recordings that made up one of the most successful live albums of all time, “Frampton Comes Alive.”

“Comes Alive” became America’s bestselling album of 1976, and it never stopped selling. In the summer of 2011, the RIAA certified it eight-times platinum, and worldwide sales stand have been reported at twice that total.

From that historic 1975 night in San Francisco onwards, Peter Frampton’s career had new distinction, and a multi-platinum glow was just over the horizon.

Catch the stream at k-zap.org, on the k-zap apps or at 93.3 FM in the metro Sacramento area.
#kzaporg …

“Too country”: The song @steelydan_official refused to release

Not many bands can lay claim to having released one of their strongest albums on their first attempt, but given how adept both Donald Fagen and Walter Becker were at writing songs, it’s hardly surprising that Steely Dan’s debut, “Can’t Buy A Thrill,” was loaded with hit after hit and some of the most intelligent jazz and blues-infused pop-rock that had ever entered the mainstream.

However, despite the ten songs that feature on the album all being flawless, there was one song that Fagen refused to have as part of the release, believing that its dramatic difference from the rest of the tracklist would have completely disrupted the flow of the album and derailed it. ‘Dallas’ was released as Steely Dan’s first single, but it was denied a place on the album after Fagen insisted that it be dropped from the release.

While it doesn’t feel too far removed from the band’s signature style, ‘Dallas’ has pedal steel guitars lying atop Fagen’s light electric piano touches that make it feel more like a Desperado-era Eagles track than it would be a Steely Dan track, and Fagen’s dismissal of the song was down to this country and Americana slant that it took on.

Recorded in 1972 with the band’s extended initial lineup, the song sees drummer Jim Hodder assume lead vocal duties, something he would also offer on the album track ‘Midnite Cruiser’ while Jeff ‘Skunk’ Baxter played the pedal steel and David Palmer and Tim Moore offered backing vocals in addition to Fagen and Becker’s contributions.

However, Baxter was the one who revealed Fagen’s dislike for the track, claiming that he felt the style was too disparate.

“I, for one, didn’t think that would happen,” Baxter contested. While the song itself was scrapped and only ever released on the Japan-exclusive Steely Dan compilation in 1978, as well as the UK-only EP “Four Tracks From Steely Dan” in 1977, there’s a case to be made that it would have offered a slight change of pace to “Can’t Buy A Thrill.”

Catch the stream at k-zap.org, on the k-zap apps or at 93.3 FM in the metro Sacramento area.
#kzaporg …

Joni Mitchell, Red Hot Chili Peppers, Rod Stewart, Sting, Green Day, and Stephen Stills to Play FireAid Benefit Concert

Other superstars including Dave Matthews with John Mayer, Billie Eilish, Lady Gaga, Jelly Roll, Stevie Nicks are scheduled to play to raise money for the victims of the Los Angeles fires.

Tickets for the one-night-only event will go on sale on Ticketmaster on January 22 at Noon PST.

The event — hosted at neighboring arenas Kia Forum and Intuit Dome in Inglewood at 6 p.m. — will be broadcast internationally at select AMC Theatres, iHeartRadio, Spotify, Apple Music, Netflix, Paramount+, Prime Video, Max, SiriusXM, SoundCloud, Veeps and YouTube. American Express, Intuit, and UBS are among the sponsors of the show.

Music industry mogul Irving Azoff is producing the concert with Live Nation and AEG Presents. The Eagles, Azoff’s longtime management clients, announced on Wednesday that they’d donated $2.5 million for the concert.

Catch the stream at k-zap.org, on the k-zap apps or at 93.3 FM in the metro Sacramento area.
#kzaporg …

On this day January 16, 1968 Blue Cheer released their debut album “Vincebus Eruptum.”

The album features a heavy-thunderous blues sound and is considered one of the first heavy metal albums.

The record spawned the hit cover of Eddie Cochran’s “Summertime Blues.”

The “Summertime Blues” single was backed with singer/bassist Dickie Peterson’s original song “Out Of Focus.” Peterson also contributed to the album the eight-minute “Doctor Please” and “Second Time Around,” which features Paul Whaley’s frantic drum solo.

Filling out the record, the band cranked out blues covers of B.B. Kings “Rock Me Baby” and Mose Allison’s “Parchman Farm” retitled “Parchment Farm.”

Catch the stream at k-zap.org, on the k-zap apps or at 93.3 FM in the metro Sacramento area.
#kzaporg …

David Lynch, Visionary Director of ‘Twin Peaks’ and ‘Blue Velvet,’ Dies at 78

The “Twin Peaks” TV show and films such as “Blue Velvet,” “Lost Highway” and “Mulholland Drive” melded elements of horror, film noir, the whodunit and classical European surrealism.

After years spent as a painter and a maker of short animated and live action films, Lynch burst onto the scene with his 1977 feature debut “Eraserhead,” a horrific, black-humored work that became a disturbing fixture on the midnight movie circuit.

He was hired by Mel Brooks’ production company to write and direct “The Elephant Man,” a deeply affecting drama about a horrifically deformed sideshow freak in Victorian England who became a national celebrity.

In 1990, he revolutionized American episodic TV with “Twin Peaks,” a series he created with writer Mark Frost. With action springing from the investigation of a high school girl’s mysterious murder in a Washington lumber mill town, the weekly ABC show plumbed disquieting, theretofore taboo subject matter and made the inexplicable a fixture of modern narrative television.

@davidbowie played a vital, yet significantly small role in Twin Peaks: the captivating Phillip Jeffries, one of the best FBI agents working under Bureau Chief Gordon Cole (David Lynch). Respected and adored by everyone in the office, Jeffries is assigned as the head of a task force called Blue Rose, but he goes missing in Buenos Aires while investigating someone named “Judy.” Curiously, that is the name of the main antagonist in Twin Peaks’ revival.

Twin Peaks: The Return was filmed while David Bowie was battling cancer which was why he declined David Lynch’s request to reprise his role.

However, Phillip Jeffries appears in the Twin Peaks revival in a puzzling form: a white glowing orb emerging from a giant tea kettle.

Lynch contributed a weekly comic strip, “The Angriest Dog in the World,” to the alternative weekly the Los Angeles Reader for eight years. His wry, deadpan weather reports were aired daily on an L.A. rock station.

Catch the stream at k-zap.org, on the k-zap apps or at 93.3 FM in the metro Sacramento area.
#kzaporg …

Super Deluxe edition of classic @yesofficial album “Close To The Edge” on the way

New version of “Close To The Edge” features Steven Wilson mixes and entire London Rainbow show from December 1972.

Yes are to reissue their classic 1972 album “Close To The Edge” as a Super Deluxe Editon box set featuring five CDs, a vinyl record and Blu-ray disc through Rhino Records on March 7.

The new set features a remaster of the original album on vinyl and CD, Steven Wilson vocal and instrumental remixes as well as Dolby Atmos, 5.1 and Hi-Res stereo mixes, also by Wilson.

The set also features rare and unissued outtakes, early versions and single edits of “America” and “Total Mass Retain,”
as well as material from the band’s 1972 “Close To The Edge” tour including the whole of a show at London’s Rainbow Theatre from December 16, 1972.

Originally released in 1972, Yes’s fifth studio album “Close To The Edge” was the first to see the band fill a whole side of vinyl with one composition – the epic title track – and has long been lauded as one of progressive rock’s finest albums. Prog Magazine readers voted it the best prog album of all time back in 2014.

Catch the stream at k-zap.org, on the k-zap apps or at 93.3 FM in the metro Sacramento area.
#kzaporg …

Who is on the cover of ‘Tattoo You’ by The @therollingstones?

Soaking up the punk and disco setting alight two very different camps in pop at the end of the 1970s, the rawer and looser rock strut of “Some Girls,” helped by its classic lead single ‘Miss You,’ ushered a new chapter of commercial rejuvenation and a reignition of the old Stones magic.

This buoyed late spurt continued through to 1981’s Tattoo You. Lead by the band’s last bonafide gem ‘Start Me Up,’ their 16th LP found the band foraging their litany of outtakes and languishing studio cuts, ‘Waiting on a Friend’ first sketched nearly a decade earlier during the “Goats Head Soup” sessions in Jamaica.

Needing a cutting-edge cover for the new wave audience, graphic artist Peter Corriston and illustrator Christian Piper were recruited to realise an eye-popping cover.

“I started looking at Indian sand paintings and that led me to sideshow, these sideshow circus things where I saw the painted woman, and I thought, ‘That’s kind of interesting,’” Corriston recalled. “I did some study of the Samurai warriors and because once again this direction, The Stones are the strongest of all the rock and roll people in the world. The Samurai are pretty strong, and apparently, there is a tradition where the strongest of the strong would have tattoos on their face.”

The question often asked is, “Who’s the woman on the front cover?” Gifted with androgynous beauty, the model pouting on “Tattoo You” is, in fact, Jagger.

According to Corriston, Jagger arrived at the shoot punctually and gave hours of his time to get the right snap, insisting on viewing all contact sheets to select the correct angle.

With a bottle of Jack Daniel’s in one hand and a joint in the other, Richards turned up the next day three hours late, granted several perfunctory modelling shots, and exited as soon as he arrived. When asked if he wanted to highlight his favourite snap, he nonplussed and quipped, “Nah, that’s what Mick’s for, cheers.”

Catch the stream at k-zap.org, on the k-zap apps or at 93.3 FM in the metro Sacramento area.
#kzaporg …

How @thedavidcrosby “Lucked Out” and Survived Prison

Even though David Crosby tragically passed away in 2023, he lived life to the fullest possible extent. A life that was so full that some people have a hard time comprehending it.

Between his music career and nefarious tendencies, Crosby’s life mimicked that of a troubled film character. However, he did not design it that way. Rather, it happened that way and Crosby spent his life adapting to the changing tides, most notably when he went to prison in 1985.

No matter how many songs are sung or movies are made, prison is still prison. A place meant to punish and allegedly reform those who find themselves behind bars. Well, the reformation prison offers did work on Crosby, as the survival tips and lack of narcotics helped him change his debilitating ways.

In an interview with Rolling Stone, David Crosby opened up about his experience with prison and how it changed his whole internal being.

Particularly, he did so in a Q&A with the publication when one user asked what prison advice to give to their brother. Regarding the question, Crosby stated, “Nobody is made for life on the inside. Trust me, I’ve been there” and “Tell him, mind his own business, a lot of people in there looking to pick a fight because they really have nothing else to do.”

Furthermore, Crosby divulged how he “Lucked Out” by going to prison, per Mojo. “Well, of course, it changed my life; that’s how I kicked drugs,” added Crosby. “The worst possible way to kick drugs is in prison. They don’t give you any aspirin. They look at you and go, ‘Hey, rockstar! How you feeling now?’ Wasn’t any fun at all,” he concluded.

Per his comments, it seems that David Crosby was a man who could only learn when he hit rock bottom. Though, that is better than not being able to learn at all.

Other than his music, David Crosby lived a life that hopefully teaches people about the importance of self-awareness. Surely, out of the many things he preached, that is one of the things that is remembered about his legacy.

Catch the stream at k-zap.org, on the k-zap apps or at 93.3 FM in the metro Sacramento area.
#kzaporg …

@rogerwaters Regrets This Iconic @pinkfloyd Cut

Amidst the psychedelic, nine-part compositions and mechanical whirring of factory machinery that comprises most of Pink Floyd’s 1975 album “Wish You Were Here” is the band’s funky B-side opener, “Have a Cigar.”

The song perfectly fits the album, famously written as a tribute to the band’s former member and co-founder, Syd Barrett.

Come in here, dear boy, have a cigar, you’re gonna go far, the song begins. You’re gonna fly high, you’re never gonna die, you’re gonna make it if you try. They’re gonna love you. If the listener was wondering if the narrator of the song was a caricature of a music industry “suit” who knows more about business than how to relate to a band, the next lines confirm any suspicion. Well, I’ve always had a deep respect, and I mean that most sincere. The band is just fantastic. That is really what I think. Oh, by the way, which one’s Pink?

According to Pigs Might Fly: The Inside Story of Pink Floyd, Pink Floyd frontman David Gilmour didn’t want to sing the lead vocals to “Have a Cigar” because of its seemingly sardonic attitude toward the industry.

Bassist and songwriter Roger Waters didn’t quite have the vocal range to get an album-quality version of soaring lines like riding the gravy train. So, the band employed the help of folk-rocker Roy Harper, who was working nearby while Pink Floyd recorded “Wish You Were Here.”

Speaking of their decision to include Harper, Waters told documentarian John Edginton, “I regret it, and that’s not ‘cause I’ve got anything against Roy. I haven’t, you know. To me, it doesn’t feel very natural, him doing it. I think if I’d persevered with it, I would have done it better. I think if I’d sung it, it would be more vulnerable and less cynical than the way he did it. But that’s not the way Roy sings. It’s like he was singing a sort of parody, which I don’t like.”

Whether or not Waters intended for the song to be dripping with cynicism, it certainly works.

Catch the stream at k-zap.org, on the k-zap apps or at 93.3 FM in the metro Sacramento area.
#kzaporg …

@ringostarrmusic Concert Special Set for CBS; Some Proceeds to Benefit Wildfire Relief

A two-hour concert special celebrating the legacy of Ringo Starr through the lens of country music will air this spring, and proceeds from the all-star performance of “With a Little Help From My Friends” will benefit the American Red Cross and those impacted by the California wildfires.

Ringo & Friends at the Ryman, which will air on CBS and stream on Paramount+ in the United States, will tape this week at the famed Ryman Auditorium in Nashville.

The special comes a week after Starr released his country album “Look Up,” which was produced and co-written by T Bone Burnett. Starr will perform songs from that album along with his solo hits and Beatles’ classics.

For the TV event, Starr will be joined by Jack White, Sheryl Crow, Brenda Lee, Rodney Crowell, Emmylou Harris, Mickey Guyton, Sarah Jarosz, Jamey Johnson, Billy Strings, The War and Treaty, Larkin Poe and Molly Tuttle. Additional guest artists will be announced at a later date.

“It is always a thrill to play the Ryman, and this time we are going country!” Starr said in a statement. “T Bone has put together a great show. I’m excited to hear my songs done in a country vein and to play with this incredible group of musicians. It will be two nights of peace, love and country music.”

Ringo & Friends at the Ryman will also feature Starr reflecting on country music’s influence on his life, the Beatles and his solo career, while the guest artists will share personal stories of Starr’s impact on their music.

Catch the stream at k-zap.org, on the k-zap apps or at 93.3 FM in the metro Sacramento area.
#kzaporg …

Remember When: @therollingstones Made a Jingle for a Rice Krispies Cereal Commercial

Shortly after the Rolling Stones formed in 1962 and released their debut single, a cover of Chuck Berry’s “Come On” a year later, the band was commissioned to come up with a jingle for a popular cereal brand that had been on store shelves for nearly 40 years. 

Created by  Kellogg’s, Rice Krispies were first marketed as the “Talking Cereal” for the crackling sound the puffed rice cereal made once milk was added and launched in the U.S. and UK in 1928.

Written by Brian Jones along with advertising executive J. Walter Thompson, and recorded on February 6, 1964, at Star Sound Studios (Pye Studios) in London, months before the band released their debut album, The Rolling Stones.

Produced by Jonathan Rolland, along with sound engineer Glyn Johns, the 26-second jingle features the words “Snap,” “Crackle,” and “Pop” and first aired on television in the UK in June of ’64.

Wake up in the morning there’s a snap around the place
Wake up in the morning there’s a crackle in your face
Wake up in the morning there’s a pop that really says
Rice Krispies for you and you and you
Pour on the milk and listen to the snap that says It’s nice
Pour on the milk and listen to the crackle of that rice
Get up in the morning to the pop that says, It’s rice
Hear them talking crisp—Rice Krispies

At the time of recording, the Stones were already big in the UK but had not quite hit the same early fandom in the United States. By 1964, the band’s “Time Is On My Side” became a Top 10 single in the U.S. (at No. 6), before “(I Can’t Get No) Satisfaction” in 1965.

Check out the Rolling Stones’ Rice Krispies commercial below
https://bit.ly/3E80yjW

Catch the stream at k-zap.org, on the k-zap apps or at 93.3 FM in the metro Sacramento area.
#kzaporg …

“The guitar that killed folk”: Mike Bloomfield’s butchered Fender Telecaster – which was used during @bobdylan’s infamous 1965 Newport Folk Festival performance – is up for sale

However, some rather choice and stomach-turning mods have been made to the heavily butchered electric guitar.

Listed on the Retro Fret website for $275,000, the instrument was present for a change-making moment in rock ‘n’ roll history, as, with Bloomfield by his side, Bob Dylan ditched his acoustic guitar to go full electric for the first time during the Newport Folk Festival.

As the gear seller says, “Dylan’s take-no-prisoners plugged-in performance with Michael Bloomfield loudly ripping away at his side on this Telecaster was a seminal moment in pop culture.”

Vintage Guitar Magazine’s October 2015 cover story called it “the guitar that killed folk”, but that set isn’t the only story it has to tell.

As for the instrument’s build date, its neck is stamped August ’63 while the body is hand-dated to October. Bloomfield called it his first “good” electric, and he first recorded with it on a 1965 demo session with Columbia producer John Hammond Sr.

Soon after, Bloomfield was brought into Dylan’s camp and used the guitar during the recording of “Highway 61 Revisited.” This particular Tele can reportedly be heard on “Like A Rolling Stone” and “Tombstone Blues.”

Bloomfield also favored this Telecaster when he helped record the self-titled debut album by The Paul Butterfield Band.

As the story goes, the electric guitar was still in one piece when Bloomfield decided to swap it in late 1965 for a ’54 Gibson Les Paul. John Nuese, its left-handed new owner, then made the crude cutaway to make it easier to play. He was the guitarist for Gram Parsons during the singer’s early career.

Catch the stream at k-zap.org, on the k-zap apps or at 93.3 FM in the metro Sacramento area.
#kzaporg …

@jimmorrison’s Brother Reflects on His Final Days in Rare Interview More Than 50 Years After Rocker’s Death

Andy Morrison is among those interviewed about his older brother, The Doors rocker Jim Morrison, in the new docuseries ‘Before the End: Searching for Jim Morrison’

The brother of late Doors rocker Jim Morrison is reflecting on the star’s final days in Paris — and what inspired him to take off for the City of Light in the first place.

Members of Morrison’s inner circle were interviewed in the new docuseries Before the End: Searching for Jim Morrison (out now), including Andy Morrison, who offered rare insight into his older brother’s possible mindset ahead of his death in July 1971 at age 27.

Questions have swirled for decades over Morrison’s death, as it was ruled a heart attack and no autopsy was ever performed. His longtime girlfriend Pamela Courson (who died of a heroin overdose three years later) told French authorities that she found the rocker dead in the bathtub of their Paris apartment after a night out at the movies.

“I think he actually wanted to get back into some serious writing. And maybe he’d outgrown the Doors thing, had been enough,” Andy Morrison says in the docuseries. “Whether he was 100% done, I think not. I think he just needed a break.”

Andy and his sister Anne — who are co-executors of Morrison’s estate — have preserved their late brother’s legacy over the years. In 2021, they helped publish The Collected Works of Jim Morrison, which compiled writings from dozens of notebooks, handwritten song drafts, childhood photos and more.

Anne remembered her brother as a prankster “from the get-go,” and recalled him being a voracious reader, even as a child. The longtime teacher said she learned of Morrison’s death from a radio news report, and had previously worried about his substance abuse issues.

Catch the stream at k-zap.org, on the k-zap apps or at 93.3 FM in the metro Sacramento area.
#kzaporg …

The Forgotten Psychedelic Rock Bands That Were Just as Good as Pink Floyd

Spirit

There have been numerous eras of psychedelia, and prog-rock outfit Spirit produced some of the very best music at the tail end of the original era’s lifespan. 

Spirit was more than just as good as Pink Floyd; they were in a category of their very own. The band was incredibly creative and had no qualms with experimenting with jazz, pop, and even proto-metal at times. “Twelve Dreams Of Dr Sardonicus” from 1970 is essential listening.

The 13th Floor Elevators. 

Formed by Roky Erickson, this little outfit had all of the strange elements you’d expect from a next-level psychedelic rock band from the 60s: an electric jug player, acid rock elements, and reverence as proto-punk icons among modern-day punks. “The Psychedelic Sounds Of The 13th Floor Elevators” from 1966 is essential listening.

Country Joe And The Fish

Country Joe And The Fish were memorable from the get-go with their debut album in 1967. They are, in their purest form, psychedelic rock. They’re also so much more. 

The band featured elements of acid rock and folk rock and weren’t afraid to get weird with free-form poetry and political jabs. “Electric Music For The Mind And Body” is, in our opinion, essential listening from the Summer of Love in 1967.

The Dukes Of Stratosphear

Still, we think they’re worth mentioning, considering our list has been packed with 1960s and 1970s psych-rock outfits exclusively. Their 1985 album “25 O’Clock” is essential listening and also a fun, almost sweet homage to the early iterations of psych-rock and the bands that came before them.

Catch the stream at k-zap.org, on the k-zap apps or at 93.3 FM in the metro Sacramento area.
#kzaporg …