KooperKast

They talk about their love for the great blues players and Jimmy Reed in particular. (Your host specially dug this conversation since he first saw Al with the The Blues Project in Central Park where Jimmy Reed also played around 1968 or so.)

Jimmy talks to Al about the old days writing songs at 1650 Broadway, and Al accuses Jimmy of romanticizing those days, which Jimmy admits he totally trying to do.

Jimmy talks about how in many songs a certain instrument plays the role of the icing on the cake; it adds a certain extra beauty and how Al did that for Dylan and for so many others.

This is first of 19 episodes where these two music buddies invited us to listen in on their music biz talk. This one starts with how they met, but like all of these, goes off into all sorts of other stuff.

We answer listener questions about am radio in the old days, Skynyrd after Al, did Al play keyboard with the Tubes, playing with Taj Mahal, Al’s collection of 380,00 songs, and a drunk Hubert Sumlin fan who Al was really nice to. After each question Nilly the Dog adds a canine comment. You can always submit questions for Al at alkooper.com on the Kooperkast page.

Al has mentioned the Nonesuch album Music of Bulgaria many times in the podcast so we thought we’d devote a whole podcast to it and play some very short bits of the music in order to give listeners a glimpse of the remarkable sound and hopefully prompt many to buy the album.

We answer questions  starting with one about Steven King, the shift from AM to FM for rock and its effect on song length,  about the mystery of mastering songs, and about the Funky Faculty at Berklee. As always, Nilly the Dog ends each segment with her dogged thoughts.

We answer questions about the influence of the artist versus the producer in recording sessions, and about the whole process of writing songs as a words - music team, starting with This Diamond Ring. Nilly the Dog concludes each segment with some brief pooch dog thoughts.

We answer a question about Paul Griffin from renowned rock writer Tony Scherman, about writing charts for other musicians, a mystery question about Al’s junior high 109, and the genesis of brass in rock with Blood Sweat and Tears and Chicago. After each segment Nilly the Dog adds some brief thoughts.

We cover questions including the old days in Queens with Simon, Garfunkel, and Harvey Brooks, to what if Like a Rolling Stone was a waltz. Of course, Nilly the Dog follows each segment with canine input of her own.

We cover an assortment of questions from the first time Al heard This Diamond Ring on the radio to quadraphonic sound. Of course, Nilly the Dog follows each segment with canine input of her own..

We cover a bunch of questions including Al’s favorite Gospel group, the Swan Silvertones, also about Felix Caviliere, and about modern music. Of course, Nilly the Dog follows each segment with canine input of her own..

This is your host, Al’s chrome plated bumper, Jon Sachs. We answer a few more Lynyrd Skynyrd questions, along with some Fender- Gibson and guitar-vs-organ talk.  Of course, Nilly the Dog follows each segment with canine input of her own.

We answers questions that raise the issue of the very loud volume of rock concerts, and what Al thinks about that.  As always, Nilly the Dog ends each segment with her dogged thoughts.

We talk about the good old not so great days at 1650 Broadway and we hear from L. Russell Brown who created a few million sellers with Al’s old songwriting pal. Nilly the Dog concludes each segment with some brief pooch dog thoughts.

We take a few questions about Nilly the Dog, including a startling revelation about the naked truth of her commentaries. We cover other topics, concluding with another exquisite example of Al’s duck talk. After each segment Nilly the Dog adds some brief thoughts, or at least she claims they are her thoughts and her woof.

We talk about creating the box set of Bloomfield for Columbia, about John Hammond, Bloomfield being afraid of Butterfield, about the legendary album East West, and Al doing this project out of love.

We bounce around various topics that relate the the box set, including more on East West, Bloomfield making way for Bishop, and Al’s visit to Mill Valley.

We conclude our talk about From His Head To His Heart To His Hands, the Mike Bloomfield Box set that Al Produced, and we also wander off into another Appaloosa story that shows again how deeply Al cared and cares about the music above everything.

We answer questions under what conditions Al would accept the gift of a Hammond B3 Organ, about the Bloomfield box set, and back to playing the organ. Of course, Nilly the Dog follows each segment with canine input of her own..

In this episode a question reveals that Al was a proud member of his college marching band, and we talk about not getting royalties from albums you played on. Of course, Nilly the Dog follows each segment with canine input of her own.

We answer a question from our first Czechoslovakian listener,  a question about maybe Mike Bloomfield’s old guitar, and a greeting from old friend Glober (global?) Gober. As always, Nilly the Dog ends each segment with her dogged thoughts.

We answer questions about how Al starts writing songs, about the Metropole  Lounge, and about Al’s crazy shirts. Nilly the Dog concludes each segment with some brief pooch dog thoughts.

We start with a rare bit of Donald Duck talk from Al and then about not visiting the Hall of Fame in Cleveland, being on the road vs staying in your home town, and the Cow Incident with the Blues Project.  After each segment Nilly the Dog adds some brief thoughts of her own.

We answer questions about the concept of a movie version of Backstage Passes, about the lost potential of the accounting firm Kuperschmidt and Zimmerman, and we get interrupted by Nilly the Dog, who usually only speaks up after each question.

We answer questions about piano chops and about Tom Wilson and his son. After each answer, Nilly the Dog adds a wise and succinct comment of her own.

We answer questions about attending the Hall of Fame induction ceremony, about writing with Gerry Goffin, and about some old grade school friends. After each answer, Nilly Dog adds a summary comment of her own.

We answer questions about Bert Sommer, whether Al was the actual Under Assistant West Coast Promo Man, choosing songs for the Steve Stills side of SuperSession, and about writing with Dan Penn. After each answer, Nilly the Dog adds a dogged comment of her own.

We talk about the piano great Johnnie Johnson, Al as A&R man, then about playing with Dylan. After each answer, Nilly Dog adds a short but pithy comment of her own.

 We answer questions including about singing falsetto, which leads to Claude Jeter, and the Swan Silvertones. After each question Nilly the Dog adds a short but pithy comment of her own.

We answer questions including about blending the sound of horns when recording. After each question Nilly the Dog add a brief canine perspective.

We talk about the song writer Graham Gouldman, who supplied the Hollies with some great hits, including Bus Stop – when he was only 15 years old.

We  answer listener questions including about Al’s top 100 recordings web page, which we thought was missing but is right there on the website, listed under Al’s Diary around the year 2000. But this question has made us ponder how best to bring Als’ list further into the new century which we are working on. After each question Nilly the Dog says hello and woof.

 We  answer listener questions including about Appaloosa and Sweet Linda Devine, among the first albums Al produced for Columbia. You can also check our earlier episode – all about Appaloosa. After each question Nilly the Dog chimes in with a dog thought.

We talk about Robbie Robertson who just passed away. Al played with him on the road with Dylan after Newport 65, then roomed with him and played with him for the Blonde on Blonde sessions in Nashville. You can also go check our four earlier episodes just about Blonde on Blonde.

We answer questions about co-writing with Blind Willie Johnson (and we hear a bit of Blind Willie singing), about Al’s not-happening dinner party, looking for hits, and about being famous. After the episode we play the entire Blind Willie Johnson song "I Can’t Keep from Crying Sometimes", recorded in 1928 . Nilly the Dog concludes each segment with some brief pooch dog thoughts.

We answer listener questions including: a desert island record album, writing hits versus writing songs, and another take on the Allman Brothers vs Skynyrd.   After each segment Nilly the Dog adds some brief thoughts of her own.

We answer listener questions including: Libby Titus, a song of Al’s that Judy Collins once sang on TV, and putting out a single of  a Phil Ochs song as an instrumental.  After each segment Nilly the Dog adds some brief thoughts of her own.

We answer questions about Al being a mensch, his first solo album, the Allman Brothers vs Skynyrd, and Bob Dylan in person. Nilly the Dog concludes each segment with some brief pooch dog thoughts.

We talk about how many other Jews might be in the Rock and Roll Hall of Fame (a lot more than you think, look it up, some surprises…) The wacky Alice Cooper and Al Kooper intersection, and a possible Hall of Fame reunion of Al with his buddies Bernie Taupin and Elton John.

We talk about topics ranging from the Tommy Flanders cab ride to Al’s ongoing popularity in Japan and maybe that Japan is the best place to get certain Al Kooper albums.

We ramble on about his solo albums, and then to Skynyrd. We ponder on whether this new notoriety will help get his 4 CD box set published, about hearing from friends as far back as The Aristocats, from even before The Royal Teens.

We talk about the breadth of Al’s career, starting out as a 14 year old, leading to a career if over half a century in music. We touch on how he might have stayed as a planet in Dylan’s solar system, but he wanted to be at the center of his own creative life, which took him then to things like Blood Sweat and Tears and Supersession and a lot more.

We chat about how just plain happy the news makes Al, whether he can make the ceremony in Brooklyn (not in Cleveland), a sweet listener story, and a bit about how the podcast and the new website came about.

We talk to Al about getting The Call from the Rock and Roll Hall of fame and how he never expected it, but it makes him genuinely happy.

 We answer questions about the idea of Kooper movie, about maybe not sending Al your demos, life in Queens in the old days, and a short interview with Nilly the Dog who is our canine commentator.

We answer questions about working on Dylan’s album Under the Red Sky,  Al getting tweaked with musical feedback from Dylan, life around Clive Davis at Columbia, and the great percussionist Bobbie Hall. Of course, Nilly the Dog follows each segment with canine input of her own.

We answer questions about Gary Rossington and Lynyrd Skynyrd. As always, Nilly the Dog ends each segment with her dogged thoughts.rossi

 We answer questions about Willy Clark and Clarence Reid, the Ron Wood tribute concert to Jimmy Reed, and the sound of soul music in the 70s. Nilly the Dog concludes each segment with some brief pooch dog thoughts.

We answer listener questions including: how not to go about playing This Diamond Ring, how Al might want to be remembered, the infamous phone call with Mom and Dad, and about doing one of his solo albums as a live concert. After each segment Nilly the Dog adds some brief thoughts of her own.

We answer questions about Freddy Henry, the firing of Tom Wilson, Al’s original Silvertone guitar, and that mystery song at the end of the movie King of the Corner. After each segment Nilly the Dog barks a brief comment of her own.

We answer listener questions including: what first made Al focus on Ronnie Van Zant,  about playing keyboards for Skynyrd, performing as his own act versus being in a festival, and about the passing of Mike Bloomfield. After each segment Nilly the Dog adds a brief comment of her own.

We answer – and don’t answer – some strange ones, including a mystery song of Al’s from the movie King of the Corner, composing with Charlie Colello and the weird endings of the two Crime Story seasons.

This episode covers listener questions about: Al being grumpy, Al’s role in New Morning which leads to thoughts about producing, which leads to more thoughts about Lynyrd Skynyrd. After each segment, Nilly the Dog adds a brief thought of her own.

We talk about touring, particularly about Japan where Al was very popular, so much so he had to wear a mask to get into the venue without being mobbed.

Another look at Blonde on Blonde.  We look a little closer at the role that Al played in the making of the epic Bob Dylan album.

This episode is three segments that were too short to go out on their own. First Al talks about how one of his favorite musical ideas didn’t make it to New Morning, but will be included on his box set. Then we goof on the idea of a mashup of remaining Beatles and Stones. And then Al talks about how he is back in contact with Judy Collins, a dear friend of his for many years. After each segment, Nilly the Dog adds a brief thought of her own.

We talk about Surround Sound, rock stories, songwriting, and just a bunch of things. Nilly the Dog comments after each segment.

We take a little different look at the life-changing Like A Rolling Stone recording session which leads back to Al’s first encounter with a piano. Nilly the Dog adds a brief comment after each segment.

We talk about Jerry Lee Lewis which leads sideways to Al’s friendship with Elton John and Bernie Taupin. After each question, Nilly the Dog adds a final comment.

We talk about the famous LA studio musicians, the Wrecking Crew,  the Nashville cats from Blonde on Blonde, and a bit about artistic success versus commercial success. After each question, Nilly the Dog adds a final comment.

We answer a listener question about a girl group for whom Al produced a single in 1665.  Nilly the Dog comments after each segment.

Here we arrive in Boston and Berklee College of Music.

This two part episode concerns Al’s tour with Joe Walsh and his connection with Cheech Marin. The Joe Walsh story is not to be missed.

This is the Nashville Episode, where Al moves to the country music capital to get out of LA, until Nashville starts to be too much like LA.

This is the first of a series of rambling conversations about race and music that we’re calling Black 'n' White 'n' Rock 'n' Roll. We start with DooWop, pioneered by Black groups and then emulated by many Italian groups.

This is the second of a series called Black 'n' White 'n' Rock 'n' Roll. Here we jump into the Elvis thing, with a terrific story about young Al and a mythic quest for an Elvis album.

In this third episode of Black 'n' White 'n' Rock 'n' Roll we talk about Al learning first hand about race at an Alan Freed show, the strange origin of Hound Dog and many other hits done by Black groups, and Little Richard vs Pat Boone.

In this fourth episode of Black 'n' White 'n' Rock 'n' Roll we talk about topics from Bo Diddley’s square guitar to the Black music influences on the Beatles and Stones.

In this fifth episode of Black 'n' White 'n' Rock 'n' Roll we talk about the strange rock odyssey from Chuck Berry to The Beach Boys to Jimi Hendrix.

In this sixth episode of Black 'n' White 'n' Rock 'n' Roll we actually talk about Al’s early and ongoing fascination with Jazz, going to see Horace Silver,  Al's father’s jazz 78s, and PeeWee Marquette the little person that was MC at Birdland for years.

In this seventh episode of Black 'n' White 'n' Rock 'n' Roll we start back at the DooWop days and wander up through the Tokens, Al’s 1650 Broadway days and then wind up at Motown.

In this eighth episode of Black 'n' White 'n' Rock 'n' Roll we look again at the Blues Project and ponder upon Jews in blues, plus Jimmy Reed, John Lee Hooker and then Danny Kalb.

We talk about Wake Me Shake Me at Monterrey Pop, and the best version by the Blues Project, and a nice tribute to Danny Kalb. After each question, Nilly the Dog chimes in.

We talk about Al’s splendid weirdness, insomnia, getting music from Japan, tuning guitars, and the Amazon review guy. After Al gives his input, Nilly the Dog comments on Al’s comments.

We talk about Amy Winehouse, playing the ondioline, and Al’s powerful lack of interest in today’s music.  After Al gives his answer, Nilly the Dog adds some canine pondering.

We review Al’s departure from Blood Sweat and tears for a listen in Austria, talk about what keyboard Al used before the Hammond, and a gig where the Funky Faculty couldn’t make it and Al played solo . After Al gives his input, Nilly the Dog comments on Al’s comments.

We get some feedback about the Kapusta albums, a request for more of Als’ podcast New Music for Old People, and about smoking weed and listening to Al with headphones.  After Al gives his answer, Nilly the Dog add a bit of her own wisdom.

We talk about other Brass-Levine-Kooper hits besides This Diamond Ring, the upcoming box set and why Al won’t include in it the Chipmunks version of this diamond ring. Also a comment on Al’s writing vs his playing, and how to get sheet music of songs. After each question, Nilly the Dog adds a brief canine comment.

We hear a compliment about Al’s version of a Temptations song and about that infamous Rolling Stone session from a different direction.  After Al complete his answers we get further input from Nilly the Dog.

In this episode Al introduces the very concept of the Kapusta album, then we hear Al calling his folks, back in the 90s. It is a whole different kind of KooperKast.

Normally we only get to hear the perfect outcome of studio sessions, but in this series of clips we hear some studio banter and some incredibly fine background singers at work, plus a few moments from live shows. These clips will put you behind the curtain, inside the biz, for a few moments. The group doing the rock-n-roll Silent Night is The Tubes; the guy who is annoyed that his microphone was not on was Ronnie Van Zant of Lynyrd Skynyrd.  

We talk at length about David Bromberg and Al’s participation in Dylan’s Self Portrait Album. At the end, Nilly the Dog adds a brief canine observation.

We answer questions about the infamous Kapusta Christmas albums, who did the laughing on the overture to Child is Father to the Man, how to buy Kooper music from Japan, and Al’s teaching days at Berklee. After each answer Nilly the Dog adds a brief canine rejoinder.

We go on for a while… starting from a listener’s question about  writing music for and fitting into a band. At the end, Nilly the Dog adds a brief canine retort.

We ramble from remembering Bobby Neuwirth to hanging with Dylan at Woodstock, to the great cow encounter on the road with the Blues Project. At the end, Nilly the Dog adds a brief canine summation.

We answer listener questions about whether Al still plays live, his favorite person ever to work with: Mike Bloomfield, and what Al feels  was his greatest musical achievement. (can you guess?) Nilly the Dog was not available because Nilly was off working on a new sitcom for and by dogs, so the comments after each of Al’s answers were done by the neighbor cats.

We answer a listener question about the phases of Al’s career and him playing at the 64 World’s Fair with Harvey Brooks. And on this episode the neighborhood cats sat in as commentators for Nilly the Dog who was recording a solo album.

We answer a listener question about Gateley’s Cafe and the friendship between Michael Gateley, Robert John, Lou Christie, and Al. And about a 24 hour recording session by that group of singers on Al’s 2nd album, doing Nillson’s Morning Glory Story. Of course, on this episode, Nilly the Dog’s comments after Al’s answers are dubbed into cat by the neighborhood cats.

We answer listener questions about Fred Lipsius vs John Simon on keyboards doing Child is Father to the Man, and about Skynyrd before Kooper, at Muscle Shoals, and a bit about Al’s high school days. On this episode the neighborhood cats sat in for Nilly the Dog who was away on tour.

We talk about the various Vivino brothers, including Uncle Floyd, and Stax musicians Duck Dunn and Steve Cropper. Submit questions for Al at alkooper.com on the Kooperkast page.

We talk about writing songs with Gerry Goffin, a tricky song title, and about the legendary Fred Neil. Submit questions for Al at alkooper.com on the Kooperkast page.

We talk about how Stoller and Lieber bought a great Italian song and recreated it as an English language hit. Submit questions for Al at alkooper.com on the Kooperkast page.

We talk about the backup singers, Kathryn Russell, Curtis King, Cheryll Marshall, and… Jimmy Vivino! And about Dan Penn and Spooner Oldham and going to the Apollo with Bobby Hatfield of the Righteous Brothers as guests of Smokey Robinson.

We talk about a co-writer Sandi Stewart, about Al’s walls of CD that impressed his Aussie friend. And about delivery methods of vinyl, CD, mp3, streaming and …. playing live.

We talk about the song ION HUE, by Hal Lindis of Dire Straights, and about getting permission to record a song.

We talk about the Lil Armstrong and her band, working with Ray Charles, and meeting alto sax virtuoso Hank Crawford.

We talk about getting the audience soul clapping at the Notodden Blues festival to a ten minute version of Comin' Back In A Cadillac. And going on the road with a 14 piece group of hot players, who open the show with their version of Hey Jude.

We talk about how Black Coffee and White Chocolate became obscure albums, a cool Amazon review, and strong All Music review, how Steve Vai moved the project along and about liner notes by Rolling Stone legend Andrew Loog Oldham.

We talk about The Funky Faculty: Tom Stein, Larry Finn, Bob Dozema, Daryll Lowry,  and Jeff Stout; about playing guitar via synth keyboard; and about Keb Mo, the blues wizard.

We answer listener questions about songs that close out albums, the book about the blues project call The Sound, an offer from Schnitzel Records, and did Al dig the Bossa nova? After each answer from Al, Nilly the Dog adds a brief comment of her own.

We answer a listener question about Al’s favorite band Free and how Free guitarist Paul Kossoff played an Al Kooper song on an album called Gately’s Cafe. After each answer from Al, Nilly the Dog adds a brief comment of her own.

We hear listener question and appreciations about Camille, Sharon Mitchell, being kind to a younger music dude, the important of being yourself, lost performance tapes, Max’s Kansas City and about Jews and Blacks in music. After each answer from Al, Nilly the Dog adds a brief comment of her own.

We hear listener question and appreciations about getting Al’s CDs, an Al documentary, the Blues Project at Town Hall, and Child is Father to the Man. After each answer from Al, Nilly the Dog adds a brief comment of her own.

We hear listener questions and appreciations about Nils Lofgren and Al’s 60th birthday event at his original Bar Mitzvah synagogue, a Skynard tattoo, a call for more photos. After each answer from Al, Nilly the Dog adds a brief comment of her own.

We talk about the amazing combination of alto sax with dobro, a side chat about Gary Burton’s Tennessee Firebird album, Al’s website, Duane Eddy, and Bill Dogget.

We talk about Clean Up Woman and his discovery of the great guitarist Little Beaver, more dobro plus alto sax, Johnny Johnson the piano legend, and the track with Dick Hyman, another piano legend.

We hear a great review of the album, we wander into talking about CD vs Vinyl, Al selling his LPs, Als collection of 45s, and selling them on eBay.

We talk about Hank Crawford playing the alto sax, a song that pay tribute to the Doors, a Ray Manzarek story, and glissandos on the black keys.

We hear a few last thoughts on the album, and chat about the 6 decades of Al’s career, and we muse on singers versus songwriters.

Al talks about three nights at the Bottom Line in 1994 that were recorded to make the album, with members of Blood Sweat and Tears, members of The Blues Project, and Al’s current band at the time, the Rekooperators. Al talks about Jimmy Vivino on Piano, sax master Fred Lipsius,  Jerry Douglas on Dobro, John Simon on Piano, about Andy Kulberg and Flute Thing. 

Al talks about Danny Kalb playing great on Two Trains Runnings, the musical complexity of Adrian Belew, John Simon just having a great time, and doing Sleepwalk by Santo and Johnny.

Al talks about “I Want A Little girl” from Ray Charles, John Simon’s scary great piano, backwards guitar solo by Oniviv Ymmij, (Jimmy Vivino spelled backwards) on My Days are Numbered, and stellar trumpet solos by Lew Soloff and Randy Brecker, plus the greats John Sebastian and Johnny Johnson.

Al talks about  favored musical keys: that horns favor E flat and B flat… about Eric Andersons’s Violets of Dawn…. Jimmy Vivino as disciple of Bloomfield, You Can’t Always Get What You Want live on stage, with the chorus.

Al talks about mandolin, and I read him a ton of rave reviews for Soul of a Man, by Dave Chavers, the Best Live Albums website,  and many others...

We talk about the songs on Al’s second solo album, including Magic in My Socks, Lucille, and The Great American Marriage / Nothing.  And we read some reviews including a lovely one in German.

Al talks about Tower of Power on the horns, there is another comment by Nilly the Dog, about singer Mickey Thomas, more on Valerie Carter and Prince, the clavinet, and pianist Jim Ehinger. 

Al talks about P. Johnson, of the Chairmen of the Board, we explore the mystery of Connie Ducharme, the record company’s iffy reception of the album, and about Ricky Washington, the pool guy who sang Finders Keepers on the album.

Al talks about how the album started out as a partnership with Jeff Baxter, about Al singing a lot less, the expectation of another Supersession, about producer Bill Szymczyk, a complaint from Nilly the Dog, and about singer Valerie Carter who sings two songs on the album.

Al answers questions about the lack of live Blood Sweat and Tears recordings from the first tour, Al’s favorite drummers, what if Supersession had been all Bloomfield, and what kinds of music does Al like from around the world. Of course, after each of Al’s answers, Nilly the dog adds a brief comment.

Al answers a question about east coast vs west coast musicians, the song, A Drive though the Old Neighborhood,  Todd Rundgren, a question about questions, yet another thought on the Rock and Roll Hall of Fame, and after each answer Nilly the dog adds her own comment.

Al answers questions about what amps Skynard used,  Randy Newman and his song Just One Smile, a brief segment where Nilly the dog goes crazy, what comes first writing a song, a chance meeting at the pancake house in 1966, and what happened to horn-rock like Blood Sweat and Tears and Chicago. And of course,  after each of Al’s answers, Nilly the dog adds a brief comment.

Al talks about going to United Artists after Columbia, the opening chatter on the album, his first official version of This Diamond Ring, the fabulous guitar work of Little Beaver, and working with the Ron Hickman singers. Visit www.alkooper.com for more good stuff.

 In this episode Al talks about working with the great producer John Simon, and Simon’s infamous comment about an Al vocal take, The Rainbow Bar and Grill sound segment, and Joe Walsh playing on Hollywood Vampire. Visit www.alkooper.com for more good stuff.

Al reacts to various online reviews, teases us about the upcoming box set, and how Joe Walsh was his Jeff Lynne on Hollywood Vampire.  Visit www. alkooper.com for more good info.

Al talks about Dylan’s tendency to just play cover songs at recording sessions, we veer off about the recently passed B3 organ wizard Lonnie Smith, and one more take on Al’s B3 adventure on Like a Rolling Stone.

Al talks about Dylan’s piano playing, and bringing Mike Stoller’s wife, a top NY harp player, to play on Sign on a Window (which version is not the one one the 1970 album, but you can find it on YouTube, among other places).

In this episode we comment on people’s attempts to explain the meaning of Dylan songs, and Al’s arrangement of If Dog’s Run Free.

Al answers questions about which song is he most proud of, about live recordings, the great Jimmy Reed, that elusive box set, questions from a horse race fellow, the music of the 60S, and what is at the top of Al’s memory bank. As always, after each of Al’s answers, Nilly the dog adds a brief comment.

Al answers questions about playing in Norway and going to a Norwegian hospital,   the 1967 benefit at Ccafe AU GO GO,   playing at Shea stadium, and miraculous use of the word proselytize in a song. As always, after each of Al’s answers, Nilly the dog adds a brief comment

Al answers questions about playing the Farfisa organ, arriving in a wheelchair at the Central Park Blues Project Reunion, and would he play live on Zoom. As always, after each of Al’s answers, Nilly the dog adds a brief comment.

 Al answers questions about producing Rick Nelson, about Leon Russel, what is Yahuptiz, and drugs of the 60s,   As always, after each of Al’s answers, Nilly the dog adds a brief comment.

Al talks about key moments in rock history, thoughts on the Loving Spoonful, . As always, after each of Al’s answers, Nilly the dog adds a brief comment.

Al talks about an incredibly strange Tom Wilson album, Batman and Robin by The Sensational Guitars of Dan and Dale that involved the Blues Project, and Sun R.  Also a question about Albert Grossman, and did Al play on Freebird. As always, after each of Al’s answers, Nilly the dog adds a brief comment.

Al talks about what session musicians have most impressed him, the Miles Davis story, seeing Supersession selling in a store, and about recording live. As always, after each of Al’s answers, Nilly the dog adds a brief comment.

Al answers questions including a story about hippies playing monopoly, Redbone,  Jerry Ragavoy, and an update on the Box set. As always, after each of Al’s answers, Nilly the dog adds a brief comment.

Al answers a question from Roger about Bill Graham and the Fillmore East and West that turns into a whole episode of its own. After each of Al’s answers, Nilly the dog adds a brief comment.

Al answers four questions: does Al listen to new music, following which we go off track on Joni Mitchell and Grace Slick, who singing along on Day of the Locusts, what about the Velvet Underground, and the 50th birthday 3-day bash.  Of course, after each of Al’s answers, Nilly the dog adds a brief comment.

Al answers questions about the most talented people he ever encountered, about keeping lots of instruments… and then we wandered into a focusing on Al’s diabetes tests and how they ruin his fingers for guitar. And yes,  after each of Al’s answers, Nilly the dog adds a brief comment.

Al talks about a tiny gig that listener Max loved, Al’s playing on Hendrix’ Long Hot Summer, Skynyrd and drugs, which was interrupted by Nilly the dog who could not wait till the end of Al’s answer to get involved.  

This is the first Go Ask Al episode with some great questions about the song Touch the Hem of His Garment, Best Concerts he ever gave, Favorite Albums, Rock and Rock Hall of Fame, and Al’s Health and ability to go out and play.

In our 2nd episode of Go Ask Al, we have questions about mysterious etching on album vinyl, the Landlord soundtrack, Barry Goldberg on Supersession, the legendary Kapusta albums, the Sharon Mitchell story, and the mysterious Swallow the Roach Question.

In this episode of Go Ask Al we have questions about Al and Dylan as musical primitives, Dylan saying hi to Al’s parents, great session musicians, and a good story about I Love You More Than You’ll Ever Know that snuck in on its own.

Al talks about the songs on the album and gives us a nice little story about running into Smokey Robinson, whose song Swept For You Baby  Al covered on this album. 

Al talks about such wide ranging topics as Jolie, the daughter of Quincy Jones to Richard Greene the bluegrass fiddler.

Al talks about doing a John Prine song, meeting Prine later in Nashville, Hammond organ jealousy, and even a nice little Linda Rondstadt tale.

Al talks about everything from his new box set to touring in Japan.

Al talks about the arduous makeup effort for the album cover and the concept behind the album.

Al talks about his appreciation for the recently passed Charlie Watts and also for Ringo, who is still out there banging away.

Al talks about playing on shows with Chuck Berry in the 50s and then backing him up with the Blues Project in the 60s, and just how difficult it was to play for the great Chuck Berry.

Al talks about going to visit blues great Johnny Otis and his son Shuggie in California and getting them to agree for Shuggie to go to NY and record an album with Al. The album took just a weekend; it contains some great music and some great, great blues guitar by Shuggie Otis who was only 15.

Al talks about going to London to work with bass player Herbie Flowers, who he connected with through his friend Elton John, co-writing with Phyllis Major, bass playing legend Carol Kaye in LA, and about working with session players.

Al talks about turning the folk song 500 miles into rock with a secret guitar solo by Terry Kath of Chicago and stellar scat singing by Rita Coolidge. 

Al talks about getting that high vocal sound like the Beatles were using, a crazy song to his mother, and a song based on an actual nightmare with great steel guitar by Sneaky Pete and great scat singing by Vanetta Fields.

Al talks about working with the great photographer Richard Avedon for the cover photos for this album.

Al talks again about how he brings Bobby Colomby, who kicked his ass out of Blood Sweat and Tears, to play drums…. because Bobby is a really good drummer. Al also explains how a bit of Eleanor Rigby ends up in the 12 minute blues, Baby Please Don’t Go.

Episode 1 about Al's 1970 solo DOUBLE album, Easy Does It.  Al talks about how Easy Does It became a double album, how Columbia Records let Al do his thing, and how weed contributed to the amazing piano intro to I Got a Woman.

Al talks about making his first solo album, including wrangling a 14 piece string section, horns, and much more.

Al talks about some of the specific songs on his first solo album and how this album might have gotten lost among all the other big selling albums he brought out, from Blood Sweat and Tears first album through the various SuperSessions albums.

Al talks about his great affection for Harry Nilsson and his sadness over Harry's decline into alcohol and drug abuse. We also talk a bit about the tribute album, For the Love of Harry, which Al co-produced.

Al talks about the three great New York music buildings and his connections with two of them.

Al talks about how Dick Clark had to sell his music publishing businesses and how Al went to work for the people that bought them.

Al talks about making demos with Jimmy Radcliffe, who had the best weed, and running recording sessions with studio pros while still a teenager.

Al talks about being at the first demo that Gene Pitney did for Alan Schroeder, Pitney’s unique talent, and his surprising overseas career.

Al talks about how he got into the Royal Teens, the Bob Gaudio Royal Teens connection to the Four Seasons, the Charlie Collelo connection, and getting into the 1650 Broadway music scene.

In this episode, Al talks about writing with Brass and Levine, This Diamond Ring, and being in the Northeast Blackout while on Mescaline.

On his first day at work, Al Kooper argued with  his new boss to release the Zombie's Odessey and Oracle  album in the United States. Hear Al tell the story live, years later, at a Zombies celebration concert in England. 

Al talks about his admiration for the bass playing of Herbie Flowers, whose most famous playing is  Walk on the Wild Side, but who played on countless hits.

Al tells how he came to produce the first album by The Tubes, and bringing Dominic Frontiere to add arrangements.

Al tells about the recording process and the Tube's theatrical stage shows.

Al tells some amazing stories about connecting with Simon and Garfunkel in New York and LA.

Al talks about running into Simon and Garfunkle since they were teens – in Queens.

In this episode, Al talks about how the sessions worked and how he brought the songs from Dylan to the Nashville cats.

In this episode, Al talks about the transition from NY to Nashville, barely getting there, and how Bob Johnston set the stage.

 In this episode, Al tells the Elvis’ bodyguard story and looks back at that great Nashville experience.

In this episode, Al talks about some of the songs and how they came to sound the way they do.

Al tells how Mick Jagger called him up to play keyboards on a new song and he flew to England for the session. Then he suggested adding a French horn intro, which the Stones loved and put his credit on the single. Articles have been written about that intro.

Al talks about his friendly relationship with Jimi Hendrix and how he still has a meal he calls "A Jimi Hendrix". Plus the famous Hendrix gift guitar that he had to sell.

Al talks about getting Mike Bloomfield to work on Super Session, then replacing him with Steve Stills on the 2nd day.

Al talks about his great friendship with Mike Bloomfield over the years and how Bloomfield's periodic no-shows was just never an issue for Al.  This episode also includes a few stories about Supersession Live concerts.

Al Kooper tells of hanging with Dylan before and after the infamous Newport Folk Festival, the Greenwich Village scene in 1965, with Jack Elliot, on the road with Dylan in LA, Alice Ochs, giving way to The Band as Dylan's road band. The photo is by legendary programmer and pilot Phil Greenspun.

Hear Al tell about how he played with Mimi and Dick Fariña and then with Bob Dylan at the infamous 1965 Newport Folk Festival.

Al Kooper talks about hearing Dionne Warwick as a youngster and his love for her work , working with her sisters, and his great respect for the work of Burt Bachrach.

Al Kooper talks about visiting Brian Wilson and hearing Pet Sounds before it was release, giving Brian a gift, friendship with Carl Wilson, and general appreciation for the Beach Boys.

Al Kooper talks about visiting Birdland as a youth, and sitting close in the kid's section, becoming close to the band members and later hiring them as session musicians.

Skynyrd becomes a major success, with Sweet Home Alabama in the top 10 as a single from the 2nd album. But things get difficult making the 3rd album, with a rival in the studio.  Then a few years later, a tragic plane crash.

Al moves to Atlanta and hears Lynyrd Skynyrd play, signs them to his new label, and produces their first record.  He runs into Pete Townshend of The Who, tells them about Skynyrd, and they end up going on a major tour, opening for the Who.

In this very short but intriguing Appaloosa episode we hear about Al’s first project as producer after Blood Sweat and Tears.  But Al had 2 members of Blood Sweat and Tears play on the Appaloosa album, which is an interesting side story.

Al talks about renting George Martin’s studio in London and getting some gentle and welcome advice from George, also about a legendary meeting of George Martin with Brian Wilson.

Al tells about playing on George's solo album the day after Lennon was shot, and a surprise visit in LA some years later.

Al fills us in on a number of factors about the iconic record, producer John Simon, the origin of the album cover, and a bit about BB. King.

Al gets a call from Danny Kalb about coming to a jam session... thus starts a new chapter in Al's career. Until Al wanted to add horns...

In 1967, Joni Mitchell broke up with Blues Project drummer Roy Blumenfeld and she ran into Al Kooper at a bar that night. Al walked her home and Joni sang some songs for him. He was so impressed with her music that he called friend Judy Collins at 2am to get her to take Joni to the Newport Folks Festival the next day. Judy said yes, but grumbled about being woken up. Joni's appearance at Newport kickstarted her career and Al helped her get a record contract. But you have to hear Al tell it.

A little different take on the famous Like A Rolling Stone session where Al met Bloomfield and became Dylan's organ player. The episode starts with Al and Frank Zappa chasing the same woman, who became Gail Zappa.

Al talks about getting Deep Purple to hire his favorite guitar player and how it really didn't work out; then the same fellows shows up in a bizarre incident. Just another chapter the the life of the Zelig of Rock, Al Kooper.

How Denny Cordell got Al to play on early Tom Petty sessions, resulting in The Heartbreakers going on the road the first time opening for Al's act, which was a very large band with horns and backup singers. Al sat in with the Heartbreakers on a few Petty songs to help generate some buzz.

Al tells about his upcoming CD of  demo recording going back to the 1960's and since then. He then launches into a great story about where on of the songs came from, the result of an epic quest to find Little Beaver, the great R&B guitarist.