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“We screwed up”: the two songs that @neilyoungarchives would delete from history

There has always been a traditional disposition about Neil Young, even long before modern technology threatened to be the death of art. While some approach music with drive and fervour, Young prefers a mellower attitude, knowing that if it’s right, it will come to him naturally. In his mind, the moment something becomes tryhard, failure begins to creep in.

In fact, his inner perfectionism often takes a front seat when looking back at his own discography, which is why he once looked back at two of his previous efforts—’Woodstock’ and ‘Southern Man’—with a deeply critical eye.

Discussing ‘Woodstock,’ Young thought that he and his CSNY bandmates failed to adhere to his ‘do not be tryhard’ mantra, which impacted the quality of the piece.

While discussing the song with Howard Stern, the musician said they “were just hung up on making everything perfect,” which resulted in them making another recording. “[Stephen Stills’] overdub vocal is great, but the original vocal was funky like the guitar was funky,” he added, saying that he didn’t realise his mistake until later when he listened to the original version again: “I thought, ‘Oh, we screwed up. We were trying to be too good.’”

Interestingly, his reasons for disliking certain parts of ‘Southern Man’ are slightly different but still demonstrate his keen eye for pinpointing fallbacks. According to Young, ‘Southern Man’ was too on the nose, which made it appear potentially “accusatory and condescending, not fully thought out, too easy to misconstrue.”

‘Southern Man’ didn’t just land slightly off with Young; it gained criticism from many, including musicians Lynyrd Skynyrd, who responded with their hometown-loving ‘Sweet Home Alabama’. However, Young clearly sided with his Southern rock aficionados and dismissed it as one of his more inferior efforts on account of its inability to give credence to others’ cultural values.

Catch the stream at k-zap.org, on the k-zap apps or at 93.3 FM in the metro Sacramento area.
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🎸 **Rock On Back to the Hits with Playback The Hits!** 🎶

Don`t miss **Playback The Hits** at **The Q Bole Mexican Cocina & Cantina** on **Saturday, November 23rd at 8:30pm**! Located at 718 Sutter Street in Folsom, this band promises a musical time machine experience you won`t forget.

Expect a night filled with iconic tunes from the `60s to the `90s, as they morph into legends right before your eyes. And guess what? They`re wearing K-ZAP shirts to support local radio in the "Band Together: United In Music" initiative.
Details on our events page at k-zap.org/events

Grab your tickets, put on your dancing shoes, and let`s relive the magic of music together! 🔥🎤 #PlaybackTheHits #KZAP #UnitedInMusic #Support LiveMusic #FolsomEvents …

@genesis_band announce 50th Anniversary Super Deluxe Edition of “The Lamb Lies Down On Broadway”

Prog legends Genesis have announced a deluxe box set reissue of their 1974 double album “The Lamb Lies Down On Broadway.”

The band’s acclaimed concept album, their last with original frontman Peter Gabriel, will be released as a 50th Anniversary Super Deluxe Edition across five vinyl LPs and a Blu-ray, four CDs + Blu-ray and as a digital release including a Dolby ATMOS mix done by Bob Mackenzie and overseen by Peter Gabriel and Tony Banks at Real World Studios, through Rhino/Warner on March 28.

“The Lamb Lies Down On Broadway” was something new for audiences, which confused and thrilled them equally,” recalls guitarist Steve Hackett. “I feel this album is a Genesis classic.”

The new set includes the original album mix, remastered at Abbey Road Studios by Miles Showell from the 1974 analogue tapes while a Blu-ray audio disc includes the remastered 96kHz/24-bit high-resolution audio and Dolby ATMOS mixes of the studio album.

For the first time the full live show The Lamb Lies Down On Broadway Live At The Shrine Auditoriumfrom January 24, 1975, including the encore tracks, is released in its entirety. It is remastered and includes two encore tracks “Watcher Of The Skies” and “The Musical Box.” This is the first time the full live show, including the encore tracks, has been released in its entirety

There are also three never-before-released demos from the legendary Headley Grange Session, included as part of a digital download card with the full audio from the set

It also includes 60-page coffee table-style book with liner notes from journalist Alexis Petridis, who interviewed all five band members to tell the story of the album from the writing sessions to live performances – which is believed to be the only time this has happened since its original release. The book also features images from Armando Gallo, Richard Haines and other noted photographers, and the set also includes a replica 1975 tour programme, ticket and poster.

Catch the stream at k-zap.org, on the k-zap apps or at 93.3 FM in the metro Sacramento area.
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This week’s Rush Hour Blues features @thedoors a group not immediately thought of as a Blues’ band yet they were clearly influenced by classic blues.

In fact legendary bluesman Muddy Waters was a favorite of Jim Morrison and keyboardist Ray Manzarek. The Doors frequently covered Muddy Waters songs and, when playing other blues classics, they tended to favor Waters’ versions of them.

Join Sacramento’s K-ZAP this Friday, 5p as host Bill Prescott digs into some of The Doors more bluesy tracks.

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.
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@fannyrocks_1970 the all-female rock band with Sacramento roots everyone should hear about

An all-female rock band almost lost to time is experiencing a warming resurgence through the documentary film “Fanny: The Right to Rock” directed by Bobbi Jo Hart. 

The film focuses on the enduring legacy of Fanny’s trailblazing career as they burst onto the Los Angeles music scene emerging from Sacramento with their groundbreaking sound and impeccable musicianship.

Their raw talent heard across five critically acclaimed albums led the group to achieve Top 40 success with songs like “Charity Ball” and “Butter Boy” climbing the Billboard Hot 100 chart during the 1970s. 

The four-piece band caught the attention and respect of rock legends such as David Bowie and Def Leppard frontman Joe Elliott. Fanny often jammed with Bonnie Raitt and Joe Cocker at their legendary party pad, adoringly known as “Fanny Hill” in West Hollywood. In the film, singer and lead guitarist June Millington described it as a “sorority with electrical guitars.”

They’re a band that’s influenced groups like The Runaways and The Go-Go’s, and toured worldwide with Jethro Tull and Humble Pie. Yet, their story and their music didn’t receive the breakthrough success many, including Bowie, feel Fanny so rightly deserved. 

“People are always saying, ‘God, I wish I’d known who you were back then. I’m so pissed off that I didn’t discover you until I was 50 years old,’” said bassist Jean Millington, who is also June’s sister, from her home in Davis. “We get that comment over and over again, people saying they can’t believe they missed us.”

Now, a special screening of “Fanny: The Right to Rock,” co-presented by the Crocker Art Museum and California Humanities, is set for Thursday, Nov. 21, at 6:30 p.m. It’ll be followed by a Q&A with Hart, Jean and drummer Brie Darling.

Catch the stream at k-zap.org, on the k-zap apps or at 93.3 FM in the metro Sacramento area.
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Ex-J. Geils Band Frontman Peter Wolf Releasing New Memoir, ‘Waiting on the Moon,’ Described as “a Treasure Trove of Vignettes”

Peter Wolf hasn’t released any new music since his 2016 solo album, “A Cure for Loneliness,” but the founding J. Geils Band frontman will be publishing a new memoir come 2025. The book, titled Waiting on the Moon: Artists, Poets, Drifters, Grifters, and Goddesses is due out on March 11.

A post about the book on HachetteBookGroup.com describes Waiting on the Moon as “a treasure trove of vignettes.”

The 352-page volume features Wolf’s recollections and anecdotes about his 60-year music career, his life growing up in the Bronx borough of New York City, and much more.

The book includes the 78-year-old singer’s memories of seeing Bob Dylan during the folk legend’s early days in Greenwich Village. It also features Peter’s reminiscences of his college years in Boston, where he was roommates with famous director David Lynch.

Wolf also delves into how he was inspired by such early musical influences as blues legend Muddy Waters. The memoir, of course, includes Peter’s adventures with The J. Geils Band. The band’s success and popularity gave Wolf the opportunity to meet and mingle with such music legends and celebrities as The Rolling Stones, Van Morrison, Sly Stone, author Tennessee Williams, and filmmaker Alfred Hitchcock.
Waiting on the Moon also touches on Wolf’s five-year marriage to Oscar-winning actress Faye Dunaway during the mid-to-late 1970s.

Catch the stream at k-zap.org, on the k-zap apps or at 93.3 FM in the metro Sacramento area.
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@christinemcvieofficial’s life, from Stevie Nicks to complicated loves, celebrated in biography

Nearly two years after her death at age 79, Christine McVie is receiving overdue appreciation as the dueling doyenne in Fleetwood Mac.

“Songbird: An Intimate Biography of Christine McVie” (out Nov. 19, Hachette Books, 340 pages, $32.50), examines the transformation of the Birmingham-bred, keyboard-mastering Englishwoman from art student to understated anchor of Fleetwood Mac.

The book is named for McVie’s signature song, one of her four contributions to Fleetwood Mac’s legendary 1977 “Rumours” album. Never a major hit – it was the B-side to the ethereal Stevie Nicks-fronted “Dreams” – “Songbird” nonetheless became the band’s standard concert closer, a stark piano ballad both heartbreaking and romantic, that spotlighted the usually reticent McVie.

But her contributions to the band (“Don’t Stop” and “You Make Loving Fun” among her numerous penned hits), coupled with her quiet authority, were so necessary to the alchemy of Fleetwood Mac that Nicks and Mick Fleetwood have pronounced that Mac is no more without McVie.

British author Lesley-Ann Jones, a former Fleet Street journalist who has written bios of Freddie Mercury, Marc Bolan and childhood friend David Bowie, draws from her own conversations with McVie over the years, as well as exhaustive research and other interviews that are meticulously cataloged.

While the “Songbird” biography doesn’t drop any scandalous revelations, it provides a solid summary of the woman born Christine Perfect, whose love life and musical motivations often intertwined to conjure magic.

Catch the stream at k-zap.org, on the k-zap apps or at 93.3 FM in the metro Sacramento area.
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‘Peg’: @steelydan_official And Michael McDonald Conjure An ‘Aja’ Hit

The song typified Steely Dan’s move towards an ever-jazzier sound, and added the distinctive voice of a frequent collaborator.

Walter Becker and his creative partner Donald Fagen may have had little time for the single as an art form in itself.

But on November 19, 1977, “Peg” made its debut on the Billboard Hot 100, as the first release from Steely Dan’s sixth album “Aja.” Written as ever by Becker and Fagen and produced, like the LP, by longtime collaborator Gary Katz, “Peg” was made with an A-team of collaborators.

Among those musicians, Paul Griffin played the electric piano, Chuck Rainey the bass, with Steve Khan adding guitar and Jay Graydon nailing the intricate guitar solo. They and others played key roles in a song that typified Steely Dan’s move towards an ever-jazzier sound, but still with enough of the rock accouterments with which they’d become established.

The unmistakable extra ingredient was the voice of another frequent collaborator, Michael McDonald, who sang ever-distinctive harmony vocals as he had on early Dan recordings. By now, he was well-established as the lead singer with the Doobie Brothers, and much admired for their US chart singles such as “Takin’ It To The Streets” and “It Keeps You Runnin’,” with great solo success still in store.

As Top 40 radio, as well as FM stations, began to realize its charms, the single climbed for fully three months, reaching No.12 in its 15th and 16th chart weeks. A few months later, “Aja” yielded another Top 20 US hit in the equally admirable “Deacon Blues.”

Catch the stream at k-zap.org, on the k-zap apps or at 93.3 FM in the metro Sacramento area.
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@jeffbeckofficial’s guitar collection is going up for auction

A collection of 90 guitars belonging to the late great guitarist Jeff Beck are set to go up for auction in January.

The huge selection of axes owned by the former Yardbirds and Jeff Beck Group musician will be going under the hammer with the auction house Christie’s, it was announced on Friday (November 15).

Beck died suddenly at the age of 78 in January 2023, after contracting bacterial meningitis. He replaced Eric Clapton in The Yardbirds in 1965, before forming his own group with Rod Stewart, Ronnie Wood and others, and going on to have a long and successful solo career.

There will be a total of more than 130 items in the Jeff Beck collection, the auction for which will run from January 15 to 22.

The whole selection is valued at $1.3million, and includes an oxblood Gibson Les Paul that Beck played throughout the 1970s and features on the cover of his 1975 album ‘Blow By Blow.’

Other items include a 1954 Sunburst Fender Stratocaster and a white Stratocaster that he played for 16 years.

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

Introducing the K-ZAP Cuffed Beanies!

Tired of your head feeling like it`s been left out in the cold, metaphorically speaking? Fear not, for our K-ZAP Cuffed Beanies are here to cozy up that noggin of yours!

– Style and Warmth: Available in sleek black or rustic brown, these beanies are not just hats; they`re a statement. Ribbed for your pleasure and perfect for those with a head shape that`s been described as "Charlie Brown-esque."

– Exclusive Tubby The Cat Patch: Emblazoned with an embroidered image of Tubby The Cat, our station`s most infamous feline DJ, lounging just above the bold "K-ZAP.ORG". This isn`t just any beanie; it`s a piece of K-ZAP memorabilia you can wear on your head!

– Quality You Can Feel: Crafted to keep your cranium warmer than a hot cup of cocoa on a winter`s day, these beanies are made with the kind of quality that says, "I`m not just any hat, I`m a K-ZAP hat."

– Embrace the K-ZAP Spirit: Whether you`re spinning records or just trying to keep your ears from turning into icicles, this beanie is your new best friend. Perfect for K-ZAP events, or for any day when you need a touch of rebellious radio station flair.

So, slap one on your head, tune into K-ZAP, and let the world know you`re part of something truly unique.

K-ZAP Cuffed Beanies – Because Your Head Deserves Better Than Just Any Hat.
Get yours at k-zap.org/shop
#kzaporg #kzapbeanie #winter …

On this day November 18, 1977 Frank Zappa played Sacramento’s Memorial Auditorium.

Catch the stream at k-zap.org, on the k-zap apps or at 93.3 FM in the metro Sacramento area.
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The @thedavidcrosby party that changed @thebeatles forever

At face value, you might think that Crosby and The Beatles would have little in common. After all, he was from a wealthy, artistic family in Los Angeles, with his father an Academy Award-winning cinematographer who worked on Wall Street before entering the film industry.

On the other hand, the Fab Four were working-class lads from the hard sea-faring city of Liverpool.

One night, at a house party in 1965 in the Hollywood Hills, both @thebyrdsofficial and The Beatles embarked upon an LSD trip to get to know each other better. Although The Byrds left inspired, it greatly affected The Beatles.

Crosby claimed he introduced Beatles guitarist George Harrison to the celestial sound of Indian sitarist Ravi Shankar. However, the year prior, he told a fan on social media: “I don’t think I ‘introduced’ George to Ravi… I did give him Ravi’s record at the time, and if that helped or if I helped George find all that music? Then good on me for once”.

According to Harrison, though, Crosby made him realise just how great Shankar was. “It was an incidental thing, but somewhere down the line I began to hear Ravi Shankar’s name,” the ‘Quiet One’ once said. “The third time I heard it, I thought, ‘This is an odd coincidence.’ And then I talked with David Crosby of The Byrds and he mentioned the name. I went and bought a Ravi record; I put it on and it hit a certain spot in me that I can’t explain.”

Not only did the discovery of Shankar change Harrison personally and creatively almost overnight, but it also lifted the work of The Beatles. In tandem with their ever-expanding perception of LSD use, it pushed them into pioneering, experimental realms.

Yet, this was just the start. 1966’s “Revolver,” the group’s first jump into psychedelia, inspired by Timothy Leary’s writings, drug use and using the studio as an instrument, would see Harrison play the sitar more concertedly, which then set the scene for their 1967 psychedelic masterpiece, “Sgt. Pepper’s.” That record fused psychedelic rock and Indian music forever.

Catch the stream at k-zap.org, on the k-zap apps or at 93.3 FM in the metro Sacramento area.
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@paulmccartney, @ringostarrmusic and Jeff Lynne on how The Beatles made “Free As A Bird”

The way that the three remaining Beatles got a handle on the strange vibe of being in a studio together again without John Lennon in 1994 was to pretend he was actually part of the session and had just nipped out. “We just pretended that he’d gone home on holiday,” Paul McCartney said in a press conference at the time, “as if he said, ‘Just finish it up, I trust you’.”

The band realised that they needed to bring in an outside influence to help them get the song to the finish line when they entered the studio in early 1994. That man was ELO’s Jeff Lynne.

“It was George who said we need a producer, it could be dangerous just to all go in the studio, it could get nasty cos you’ve got egos flying around, surprisingly,” recalled McCartney. “Jeff’s name came up and it was like, ‘Yeah, that’s good’,” said McCartney. “He’d worked with George and George was saying, ‘I think Jeff would be great’.”

Despite being an international star and mega-selling artist in his own right, for lifelong Beatles fan Lynne, it was a daunting prospect. “It was really quite scary because I didn’t know Paul very well,” he said. “I’d only met him a couple of times before that. He was a bit worried about me because I was George’s pal and he wondered if it was going to be a little bit one-sided and not in the spirit of things, but he needn’t have worried because I was totally into the spirit of things.”

Somehow though, they got it to the stage where it felt like The Beatles – not just McCartney, Harrison and Starr as mere mortals but The Beatles – were in the studio again. “We had the cassette of John and we just gradually built it up, put a bit of bass on, guitar, George ended up putting the slide on which was the icing on the cake, we sang,” McCartney said. “For all of us the most exciting thing was, even though John was no longer on this planet, here he was in the studio with us. All of us were like, ‘Wow!’, it was a very big moment.”

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

@sammyhagar’s ‘Best Of All Worlds’ Tour To Return As Las Vegas Residency In April/May 2025

Rock And Roll Hall Of Famer Sammy Hagar today announced that “The Best Of All Worlds,” his critical and commercial hit summer 2024 tour, will launch in 2025 as “The Best Of All Worlds Tour – The Residency” at Dolby Live at Park MGM in Las Vegas, Nevada.

The tour will reunite the rock powerhouse band of Sammy, Michael Anthony, Joe Satriani and Kenny Aronoff with a new “only in Las Vegas” setlist running April 30 through May 17, 2025. The tour represents a once-in-a-lifetime opportunity to see this band of brothers deliver one of the most legendary hits-packed live shows of their careers.

This highly anticipated residency will showcase Sammy’s career-spanning hits, from seminal breakouts with MONTROSE, his iconic solo hits, and a deep dive into his tenure with VAN HALEN, CHICKENFOOT, and everything in between.

Presented in partnership by Live Nationand MGM Resorts International, the residency will be custom-designed for Dolby Live, giving fans an intimate, high-energy concert experience in the 5,200-seat entertainment venue.

“I’m so looking forward to this residency and being able to stay in one place so we can get the sound and production completely dialed in,” said Hagar. “It also allows the band to experiment with the setlist every night — that’s why it’s going to be exclusive to Las Vegas. The fans are in for a lot of surprises.”

Catch the stream at k-zap.org, on the k-zap apps or at 93.3 FM in the metro Sacramento area.
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@bobdylan and @markknopfler’s Collaboration on ‘Infidels’ Was Full of Conflict, Confrontation, and Creative Differences

Even if it tainted his life, legacy, and music out of all the albums he released in the ’80s, “Infidels” didn’t tarnish any of those things. It was one of the few albums from that Dylan era that still regularly is paid respect.

Despite its relative success, the album did not come easy for Dylan or Dire Straits guitarist, Mark Knopfler.

And Dylan, who was reportedly out of touch, needed a helping hand keeping up with the decade that was not owned by him. Although, the sessions between Mark Knopfler and Bob Dylan were not educational-friendly ones. Rather, they were contentious to the utmost degree.

Thanks to Dylan’s impromptu approach and Knopfler’s deliberate one, the collaboration seemingly took a toll on both parties. Knopfler, who was under the impression that he would have lots of input, seemingly had little to none.

Dylan took full reins of the project and threw his somewhat high-maintenance creative attitude directly onto Knopfler. Dorfman recalls, “If things were going maybe too well, in somebody else’s definition, he would consciously make an effort to make that stop.” “It was just his way of saying, ‘I’m bored with this, I don’t want to do this particular song anymore.’”

Thanks to Dylan’s domineering and contradicting ways, Knopfler knew his role as an orthodox producer was completely obsolete. “I could feel the air just sort of going out of Mark a little bit when he realized that the traditional role of the producer was not going to be in play on this record”

Frustrating, as Knopfler saw this as an opportunity to make a one of a kind album with a one of a kind Bob Dylan. Regardless of the strife, the album scored both musicians a chart-placing gold record.

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