Legacy Recordings

This segment covers The Clash’s Combat Rock , and their first US pop hit, “Rock The Casbah.” The band hits some bumpy road with the members just being “burned out” as Joe Strummer explains. Their final album comes about not without hardship, with the release of Topper Headon and then Mick Jones shortly after.

Recommended: Clash Live: Revolution Rock

Producer: Joyride Media

 

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The new 2-CD Tapestry “Legacy Edition”  includes a bonus disc of the album’s 12 tracks performed live by King as just solo vocal and piano arrangements. Our third episode starts with clips of “It’s Too Late” and “Will You Still Love Me Tomorrow” from this release. Between the music, King comments on her career performing this repertoire. She also discusses how her songs and on-stage confidence developed from her early Troubadour gigs to headlining major venues after Tapestry became a big hit. Journalist David Wild also comments on the successful intimacy of her recent “Living Room” tours.

Recommended: Tapestry (Legacy Edition)

Producer: Joyride Media

 

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Graham Nash lived near Carole King in LA’s Laurel Canyon area, a fertile ground for many artists of the late 1960s and early 1970s. In our second episode of the Tapestry series, Nash describes some of the common inspirations of that scene and how King applied those ideas to her own music. It was there that King met Danny Kortchmar and the other musicians in their band, The City, who would eventually back Carole King and James Taylor during the sessions for both Tapestry and Taylor’s Sweet Baby James.

As King was developing her new songs for “Tapestry,” album producer Lou Adler and journalist David Wild contrast aspects of the recording that were either collaborative or from Carole King’s own soul. Music includes clips of “It’s Too Late” (#1 for five weeks), “Home Again” and the album’s title track.

Recommended: Tapestry (Legacy Edition)

Producer: Joyride Media

 

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In the early/mid 1970s, Willie Nelson knew he was “on to something” in Austin, TX, but still had to deal with the Nashville music biz when making records. If RCA, his label at the time, wanted to add strings to make Willie’s records sound more commercial, there was nothing he could to stop them. His only recourse was to let his contract expire and move on to another label that would give him full artistic control.

After a brief, two-album stint at Atlantic Records, Willie Nelson finally got what he wanted when he moved to CBS Records with his 1975 album, Red Headed Stranger. It wasn’t what they thought would be commercial, but it ended up being Willie’s first #1 album. The more Willie did things his own way, the more records he sold, and struck gold again a few years later with jazz standards on the LP Stardust.

[Editors Note: The irony is not lost on the Legacy Podcasters here at Sony BMG Music, the current home of both the RCA and CBS labels. We’re sure Willie notices, too.]

Recomended: Willie Nelson: One Hell of a Ride

Producer: Joyride Media

 

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