Neil, Fred & Mccann, Les - Come Back, Baby
In 1969, as his most famous song, 'Everybody's Talkin'", was dominating pop charts, Fred Neil (1936-2001) was working overtime to remove himself from the public eye. Though he turned his back on fame, Neil's vanishing deed couldn't obscure the ability of his music or hide the influence he had on a couple generations of rock bands and solo acts who followed in his wake (and covered his songs). To notation Neil's birthday (March 16) and the release of a riveting alive album, 38 MacDougal, Scott Schinder unearths Neil'southward not-quite-forgotten genius.
"The outset matter that y'all have to empathize well-nigh Fred Neil is that you won't understand." —John Sebastian
When Fred Neil died of skin cancer in Florida on July 7, 2001, at the age of 65, the few media outlets that acknowledged his passing seized upon the nearly prominent factoid of his musical career. That would exist Neil's 1966 authorship of "Everybody'due south Talkin'," which became a worldwide smash two years later, when Harry Nilsson's version became the theme song of John Schlesinger'south picture show Midnight Cowboy.
Some of the obit writers also made notation of Neil's own body of recordings, but few did justice to his level of musical influence, or conveyed his outsized stature among the countless artists who'd crossed his path and/or been influenced by his talent.
Everybody's Talkin' – Fred Neil (1966)
"Everybody's Talkin'" launched Harry Nilsson's career and made him an instant star. But by the time Nilsson'south Grammy-winning have on the vocal hit the Height 10, its writer had already pretty much abdicated from public life. Echoing the song'south yearning to escape to "where the sun keeps shining/through the pouring rain," Neil turned his back on whatever notoriety his decade-long musical career had brought him, retreating to a placidity and largely non-musical life in southern Florida.
Unlike many artists who made their marker in the 1960s, Fred Neil managed to avoid the early drug decease that would have fabricated him an instant fable, and he never pursued the commercial comeback that might accept restored him to public prominence. At the time of his death, Neil hadn't released any new music in iii decades, and his only live appearances during that time were limited to a handful of depression-key performances to do good a charitable cause close to his eye.
Despite his efforts to make the world forget him, Fred Neil's small but strong trunk of recordings retains its brilliance decades after its cosmos. The five deeply soulful LPs that he recorded—sometimes grudgingly—between 1964 and 1971 established Neil equally an artist of rare vision and consequence.
Armed with an intimate baritone voice that could embody hypnotic sweetness or acidic recrimination, and a knack for intricate, expressive 12-string audio-visual guitar work, Neil'due south vivid, haunting songwriting conveys timeless truths that continue to resonate. But Neil's albums didn't sell, and information technology didn't help that the publicity-averse artist consistently avoided touring and promotion.
The five deeply soulful LPs that he recorded—sometimes grudgingly—betwixt 1964 and 1971 established Neil as an artist of rare vision and consequence.
Unlike many of his '60s folkie contemporaries, Neil's didn't write protest songs. His compositions rarely addressed the era'southward social and political issues, touching instead upon more internal spiritual and emotional concerns. In that respect, Neil may have presaged the school of introspective vocalist-songwriters who would reap commercial success in the '70s, albeit without the self-indulgence that helped to define that subgenre.
Listeners fortunate enough to become acquainted with Neil's work were most likely to do so via other artists' readings of his compositions. For instance, his existential hymn "The Dolphins" inspired vintage versions by Tim Buckley, Dion and Linda Ronstadt (who also covered Neil's "Little Bit of Rain"), and was adopted in later years by Billy Bragg and Beth Orton. And his escapist anthem, "The Other Side of This Life," was recorded past acts every bit various equally Jefferson Airplane, the Lovin' Spoonful, Peter, Paul & Mary, the Youngbloods and Eric Burdon and the Animals.
Neil is also known to have inspired such songs equally the Aeroplane's "The Ballad of You and Me and Pooneil" and the Spoonful's "Kokosnoot Grove."
"Other Side of This Life" – Fred Neil:
"The Other Side of This Life" – Jefferson Airplane, live version:
His comprehend of obscurity notwithstanding, Fred Neil was once an in-demand attraction. During his years on the Greenwich Hamlet folk scene, showtime at the tail end of the 1950s, he earned a reputation as a riveting performer, and his gild and coffeehouse gigs regularly attracted enthusiastic capacity crowds. Although he would never achieve widespread fame outside of Greenwich Village, Neil managed to leave his marker in other ways, influencing such acolytes as Bob Dylan, Karen Dalton, Dino Valenti, John Sebastian, Richie Havens, David Crosby, Stephen Stills, Tim Hardin, Paul Kantner, Joni Mitchell, Gram Parsons, Peter Tork, Jerry Jeff Walker and Jesse Colin Immature.
Despite his efforts to avoid fame, not to mention his tape labels' disinterest in keeping his work in impress, Fred Neil's music continues to command the loyalty of a small-scale but fervent circumvolve of admirers. Those fans welcome the occasional archival release, such as Delmore Recording Society'south just-released 38 MacDougal, which offers a rediscovered, and riveting, eight-song set that demonstrates Neil'south peerless talent in an intimate setting.
Neil was credited for helping to nurture the talents of Richie Havens, David Crosby, Stephen Stills and Bob Dylan, whose showtime paying gig after arriving in New York in 1961 was backing Neil on harmonica at Cafe Wha?
38 MacDougal was recorded one evening in 1965 subsequently Neil stormed out of Elektra Records' Manhattan studio during the sessions for his starting time solo album, Bleecker & MacDougal, afterward butting heads with producer Paul Rothchild. In an effort to ease tensions and get Neil back on rails, his friend and sideman Peter Childs, who'd been playing guitar on the sessions, invited Neil upwardly to the Greenwich Village flat that Childs shared with former Neil sideman John Sebastian for some depression-key music-making, which Childs had the presence of mind to capture on tape.
Fortunately, Childs' gambit worked, and Neil was coaxed back to the studio to complete Bleecker & MacDougal, which captures the artist at the peak of his power and charisma. 38 MacDougal is an effective companion piece, with such notable Neil originals every bit "Little Bit of Rain," "Country Boy," "Gone Again," "Travelin' Shoes," "Blind Man Standin' by the Road and Cryin'," the traditional Appalachian folk ballad "Once I Had a Sweetheart" and Neil's early rockabilly breakthrough "Candy Man."
"Processed Man'-Fred Neil:
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Neil is known to have granted only 1 published interview in his lifetime—in a 1966 issue of Striking Parader, of all places. Given his tendency to offer wildly divergent biographical information, depending on whom he was speaking to, it's not surprising that many details of his life take remained hazy. Fortunately, Peter Lee Neff's exhaustively researched 2019 Neil biography That'south the Bag I'1000 In: The Life, Music and Mystery of Fred Neil clears upwards many of the persistent enigmas of Neil'due south life and career.
Frederick Ralph Morlock Jr.—he adopted Neil equally his surname in award of his grandmother Addie Neill, apparently the only family member to whom he felt close—was built-in on March xvi, 1936 in Cleveland, Ohio. He spent part of his youth traveling with his male parent, who serviced Wurlitzer jukeboxes.
After his parents carve up up, he was raised mainly by his mother in St. petersburg, Florida, where he lived a lower-middle-class existence and adult a deep analogousness for African-American blues, jazz and gospel music. He gave up on organized pedagogy while in loftier schoolhouse and spent the remainder of his teen years educational activity himself to play guitar and write songs.
Afterward a brief starting time marriage while still in his teens, Neil lied near his age and enlisted in the Navy at 17, serving two years stationed in California before returning to noncombatant life. Already skilful at writing songs and creating guitar riffs, he formed a stone 'n' curlicue combo that became popular locally. On July 2, 1957, a 21-twelvemonth-old Neil performed a relatively loftier-profile evidence at St. Petersburg'due south One thousand thousand Dollar Pier. That performance generated sufficient word of mouth to achieve New York manager Fred Strauss, whose involvement led to Neil's showtime professional person recording experience, cut three of his compositions in a Chicago studio.
Two of those songs became the first of half a dozen Neil singles. While those early on rock 'north' scroll efforts attracted little notice, they helped Neil to get to New York, where he landed a $forty-a-week contract as a songwriter for Peer-Southern Music at the Brill Building, the legendary Broadway hit mill. Although commercial pop songwriting would never become his forte, Neil'south Brill Building stint opened doors for him and helped him to acuminate his craft. Buddy Holly cutting Neil'due south "Come Back Babe" in 1958, while Roy Orbison recorded his "Candy Man." The latter generated some welcome royalties when it became the B-side of Orbison'due south 1961 hit "Crying."
"Come Back Baby" – Buddy Holly (comprehend of Fred Neil song):
With a 2d wife and newborn son to support, Neil hustled for work to make ends meet. His guitar skills won him some gigs as a session musician, playing on Bobby Darin's 1958 hit "Dream Lover." He also played on the demo of a Dr. Pomus tune that was intended for an Elvis Presley moving-picture show, although Elvis concluded upwardly not recording it.
At one betoken, needing $200 to cover his hire, Neil asked for an advance from his publisher. The publisher agreed, on the condition that Neil bring him a new song. In a cab on his way uptown to pick up the cheque, Neil, on a chocolate-brown newspaper handbag, wrote "That'due south the Bag I'm In," which would get one of the most indelible items in Neil'south songbook.
"That's the Bag I'grand In" – Fred Neil:
Although Neil's early releases failed to catch on with the public, he had no such trouble gaining attention when he became part of the booming Greenwich Village folk music scene, where his originality was recognized and rewarded. Neil played to packed houses in such fabled Village venues as Café Wha?, Gerdes Folk City, the Gaslight and the Cafe Au Go Go. Inspired by the Village's nonconformist energy and artistic freedom, the tall, skinny vocaliser incorporated his country, blues and gospel influences for receptive audiences, establishing a reputation as a commanding, chance-taking performer.
In the Village, Neil'south songwriting flourished, taking on deep, bittersweet and unmistakably personal undercurrents. While many folk singers offered topical protest songs or attempted to channel aboriginal ethnic traditions, Neil treated the music equally a vehicle for cocky-expression, and an opportunity to hone his ain musical manner and lyrical opinion.
Early, Neil demonstrated a profound distaste for dealing with the business side of music. That trait would get more pronounced every bit his career progressed. It would, unfortunately, manifest itself in his signing abroad valuable song publishing rights in return for quick cash. He too emerged as an enthusiastic drug experimenter, equally well as a perfectionist who could berate himself if he hit a bad note that no one else noticed, or who might smash a guitar to bits if he had too much trouble getting it in tune.
Buddy Holly cut Neil'south "Come Back Babe" in 1958, while Roy Orbison recorded his "Candy Man."
Somewhat older and more experienced than most of his fellow Village folkies, Neil likewise emerged equally a mentor to younger artists. Neil was credited for helping to nurture the talents of Richie Havens, David Crosby, Stephen Stills and Bob Dylan, whose commencement paying gig after arriving in New York in 1961 was backing Neil on harmonica at Cafe Wha?
Beyond his generosity towards other artists, Neil's offstage personality could also be withdrawn and abrasive. Despite his wide-ranging musical skills, he is reputed to have hated performing. He was also reticent about the prospect of recording, creating a challenge for those seeking to expose him to a wider audience.
After a 1962 attempt at making an album for Columbia Records apparently yielded no usable material, Neil agreed to sign with the fledgling Elektra Records, i of the earliest labels to tap into the folk scene. For the occasion, he teamed upward with friend and frequent performing partner Vince Martin, a seasoned folkie who had scored a calypso-pop crossover hit with The Tarriers in 1956 with "Cindy, Oh Cindy."
Neil and Martin's first and only duo release was Tear Down the Walls, which Elektra released in 1964. With instrumental fill-in from time to come rock stars John Sebastian and Felix Pappalardi, the album featured a pleasant array of styles, combining covers of familiar folk standards with a handful of intriguing Neil originals. Such Neil tunes every bit "Weary Dejection," "Baby" and "Wild Kid in a World of Problem" previewed the bluesy, raga-inflected folk-stone arroyo that he would farther explore on his subsequent solo releases.
Elektra had hoped to record a live follow-up to Tear Downwards the Walls at the Biting End. Just that plan lost steam when Neil stormed off the stage later breaking a cord, leaving Martin, Sebastian and Pappalardi to cease the gig without him.
"Wild Kid in a World of Problem" – Fred Neil & Vince Martin:
In addition to existence Neil'southward beginning recording partner, Vince Martin also introduced him to Coconut Grove, the bohemian Florida enclave that would loom big in his future. With a laid-dorsum atmosphere and its own coffeehouse folk scene, the Grove offered a welcome alternative to New York'due south chemical temptations and music-biz hustle. Neil took refuge in the Grove, while regularly returning to New York for live gigs. Meanwhile, Neil's notoriety helped to institute Kokosnoot Grove every bit a draw for performers from both coasts.
Neil'south belated solo debut, Bleecker & MacDougal, released in May 1965, marked a quantum leap in his recordings. Featuring some of his nearly enduring compositions, the by and large acoustic gear up finds Neil hitting his stride as a singer and guitarist, honing his iconoclastic folk-dejection-rock fusion on such enduring tunes as "Blues on the Ceiling" (later on covered by the Lovin' Spoonful), "The Other Side of This Life," "Little Bit of Rain," "State Boy" and "Yonder Comes the Dejection," along with Neil's Brill Building oldie "Candy Man."
Bleecker & MacDougal emphasizes Neil's persona as a worldly, bemused observer who too long for escape and spiritual transcendence. Although it namechecks a prominent intersection of Neil'due south Greenwich Hamlet stomping grounds, the anthology's title song finds Neil asserting that he tin retreat to Coconut Grove whenever the Village gets to exist too much. That theme would continue to recur in his writing, and in his life.
Fred Neil – Little Bit of Rain 1965
Bleecker & MacDougal 's producer Paul Rothchild, who had been responsible for signing Neil and Vince Martin to Elektra, was a house believer in Neil'due south talent. Only he had footling patience with the creative person's drug apply, or with his undisciplined approach in the studio. Although Bleecker & MacDougal's quality transcended the two men's conflicts, they would not piece of work together again.
Fred Neil – Blues on the Ceiling
Having worn out his welcome at Elektra, Neil signed a new contract with Capitol Records. The deal reunited him with influential staff producer Nik Venet, an old friend who had hired Neil as a session player in his Brill Building days. Venet was determined to exercise justice to Neil's prickly talent, assembling an electric studio band comprised of sympathetic players and working to create a relaxed, naturalistic studio ambience that would put Neil at ease and continue him focused.
Recorded at Capitol'southward Hollywood studio, the resulting Fred Neil is loaded with archetype songs and inspired performances, with a gently haunting blend of electric and acoustic textures that flatters such standouts every bit "The Dolphins," "Badi-Da" and "That'southward the Handbag I'm In." The album-opening "The Dolphins" eloquently announced Neil's new sound, with its reverberating guitars framing Neil'south warm vocalization and his lyrical musings on nature and humanity.
Fred Neil likewise included Neil'south raw, unadorned original recording of "Everybody'due south Talkin'," which he claimed was written during the album sessions afterward he decided that one more than song was needed to complete the project. Neil supposedly retreated to the studio bathroom and wrote "Everybody's Talkin'" in 5 minutes, cut the vocal in a unmarried take at the end of the sessions, merely before being whisked to the airport to catch a flying home.
Released in January 1967, Fred Neil was widely hailed as a masterpiece. Just information technology in one case once more failed to find a large audience. For its follow-upward, Sessions, Venet attempted to maintain Fred Neil's alive-in-the-studio ambient, once again keeping the recordings raw and unadorned. But Neil, now in the procedure of splitting with his tertiary wife, was at a low point, and his drug-fueled mood swings adversely afflicted his performances. Additionally, his drug use had caused him to lose his teeth, and the faux teeth that he now wore made it uncomfortable for him to sing for extended periods.
Tim Buckley ~ Dolphins
Sessions, released in 1968, met with a mixed response, with many observers noting that the loose, unfocused performances often sounded more like meandering jams than cohesive tracks. Such promising material as "Felicity," "Await Over Yonder," "Coil On Rosie," "Merry Go Round" and a cover of Percy Mayfield's R&B anecdote "Please Send Me Somebody to Honey" suffers from half-baked execution that makes them sound unfinished.
Maintaining his religion in Neil, Venet would subsequently attempt to tape him in various locations and in a variety of circumstances, only those tracks generally remained unheard past the public. On one unreleased session, Neil patently recorded an album's worth of cloth with R&B legend Ivory Joe Hunter and blues vet Harmonica Slim.
By 1969, the atmosphere of Greenwich Village had changed drastically from that of the creative community that had originally inspired him a decade earlier, and Neil, already settled in Florida, finally decided that he'd had enough. After playing a prepare at the Cafe Au Go Get on the club's endmost night—merely a few weeks before Midnight Cowboy reached theaters—Neil bade farewell to New York and never returned.
With a fourth married woman and ii young sons, Neil spent a catamenia living in a ramshackle cabin he'd had built in West Saugerties, New York, almost Woodstock and next door to The Band's fabulous Big Pinkish house. After a few years, Neil left the area and once over again gravitated to Florida.
Neil supposedly retreated to the studio bathroom and wrote "Everybody'southward Talkin'" in 5 minutes, cutting the song in a single take at the finish of the sessions.
Having a hit song in a massively successful move picture show opened some potential career doors for Neil, only by now he had little interest in exploiting these opportunities. He also had the foresight to pull out of a proposed concert that somewhen became the Rolling Stones' infamous Altamont Speedway debacle. At one betoken, Harry Nilsson attempted to make contact with Neil via telephone, just Neil refused to come to the phone. It is not known if Neil ever really saw Midnight Cowboy.
Despite the success of "Everybody'south Talkin'," Neil had issues collecting royalties when Capitol and his song publisher withheld a six-figure sum in retaliation for Neil's failure to meet his contractual delivery to evangelize new cloth. Former Cafe Au Go Become possessor Howard Solomon, now serving as Neil's director, negotiated a settlement whereby Neil agreed to record a new album in lieu of the v LPs that remained on his contract, in return for the release of the frozen funds.
Neil reluctantly recorded a six-song solo set at a Woodstock society chosen the Purple Elephant, before refusing to commit any more textile to tape. Howard Solomon eventually cobbled together an anthology comprised of the Purple Elephant recordings plus five more devious tracks recorded with Nik Venet. The resulting collection, which would exist the last Fred Neil album released during his lifetime, was issued in February 1971 equally Other Side of This Life. While waiting for it to be delivered, an impatient Capitol reissued the Fred Neil album, conveniently retitled Everybody'south Talkin'.
"Everybody's Talkin'" – Fred Neil, live at the Royal Elephant, Woodstock, N.Y., 1970:
Like Sessions, Other Side of This Life was a relatively underwhelming showcase, although the live tracks comprised a compelling snapshot of his skill as a solo performer. Despite its flaws, Other Side of This Life achieved its goal of allowing Neil to collect the royalties that "Everybody'south Talkin'" was generating, as well as freeing him from his obligation to Capitol Records.
In Florida, Neil met Ric O'Barry, a marine biologist who had defenseless and trained the dolphins featured in the '60s TV show Flipper, and who at present worked with the dolphins at Miami's Seaquarium. O'Barry was inspired to appoint Neil as function-time caretaker for the Seaquarium dolphins, and Neil instantly developed a deep fascination and rapport with the intelligent creatures. Neil spent much of his time interacting with the dolphins, swimming with them and playing guitar and singing to them.
His experiences with the dolphins were life-changing for Neil, and he often told friends that the dolphins had saved his life. He ceased doing hard drugs afterward he began working with the dolphins, and when his musician friends would visit town, he would oft bring them to Seaquarium to come across his new friends.
Neil spent much of his time interacting with the dolphins, swimming with them and playing guitar and singing to them.
Eventually, O'Barry and Neil came to question the morality of capturing and confining dolphins for human entertainment. On Earth Mean solar day 1970, a despondent Cathy, the dolphin to whom Neil had grown closest, died in O'Barry's arms, in an act that O'Barry regarded as suicide. The incident was the concluding harbinger for O'Barry, who quit his task at Seaquarium and was afterwards jailed for attempting to costless the park's dolphins.
Soon subsequently, O'Barry and Neil, while out sailing with a visiting Stephen Stills, hatched plans to launch the Dolphin Projection, a non-profit organization dedicated to the abolition of the capture and exploitation of dolphins, and educating the public about the cruelties of the dolphin trade. Although Neil was already determined to retire from performing in public, his commitment to the dolphins' crusade was such that he agreed to organize, and perform at, some do good shows for the new arrangement. Neil's reputation and credibility became central to generating donations and goodwill to get the Dolphin Project rolling, and his credibility and contacts helped to secure the participation of many of his famous friends.
Neil would remain a passionate abet for the Dolphin Project. The system, with Ric O'Barry still at its helm, recently celebrated its 50th anniversary, continuing to fight against the exploitation and mistreatment of marine mammals.
In 1975, after playing some well-received Dolphin Project benefits, Neil shocked many observers past accepting an invitation to perform at the prestigious Montreux Jazz Festival in Switzerland. Two years later, he traveled to Tokyo for an ambitious all-star Dolphin Project benefit concert that likewise featured Eric Andersen, Jackson Browne, Odetta, John Sebastian and Warren Zevon.
Fred Neil & Joni Mitchell – The Dolphins (Live 1976)
On Thanksgiving 1976, Neil and Peter Childs happened to exist in San Francisco, after playing at a Dolphin Project benefit a few days before. They attended The Ring's star-studded Last Waltz concert, simply Neil refused an invitation to perform.
Neil's pathological aversion to the spotlight continued to manifest itself in his insistence on taking possession of, and apparently destroying, any recordings of his benefit sets whenever possible, robbing the world of some potentially historic performances.
Neil's scattered '70s appearances generated some rave reviews that translated into renewed tape-company interest, despite his prior combative relations with his labels. The fizz resulted in Neil's new managers, longtime Bob Dylan impresario Albert Grossman and Woodstock festival organizer Michael Lang, negotiating a $120,000 advance from Columbia Records for a new Fred Neil anthology to be released on Lang's Columbia-distributed Simply Sunshine banner.
When no new recordings were forthcoming afterward several months, Columbia, like Capitol before them, put Neil on suspension for his failure to deliver the textile they'd paid for. With litigation looming and a substantial chunk of the advance frozen past Columbia, Neil was somewhen coaxed into Coconut Grove's Bayshore studio to cut some tracks, despite the fact that he had no new songs written, with the inexperienced merely trusted Ric O'Barry producing some of the sessions. After multiple attempts, an album's worth of material, provisionally titled Walk On H2o, was culled from the sessions and submitted to Columbia.
Despite his efforts to make the world forget him, Fred Neil's pocket-size but strong body of recordings retains its brilliance decades after its cosmos.
Columbia deemed the tapes to be unsatisfactory, but liked the cloth enough to determine that Neil should rerecord it with the renowned jazz-funk band Stuff. In March 1978, Neil and the members of Stuff recut the songs in 4 days in an East Orange, New Jersey studio. The recordings fulfilled Neil'south contractual delivery and staved off the prospect of litigation. But Columbia execs, having apparently lost their enthusiasm for the prospect of promoting an album past a vocalizer-songwriter who no longer wrote songs and refused to tour, ultimately declined to release either version of the proposed album.
Despite such half-hearted threats to reenter the music manufacture, Neil was satisfied to remain a recluse, happy to spend his time with his family and the dolphins. His last public appearance patently took place in 1981, sitting in with his one-time Village friend Buzzy Linhart at an outdoor concert at the Old Grove Pub in Coconut Grove.
Neil managed to get out his mark in other means, influencing such acolytes as Bob Dylan, Karen Dalton, Dino Valenti, John Sebastian, Richie Havens, David Crosby, Stephen Stills, Tim Hardin, Paul Kantner, Joni Mitchell, Gram Parsons, Peter Tork, Jerry Jeff Walker and Jesse Colin Young.
In 1987, Neil's obsession with privacy took on a new edge after his girlfriend was killed in a freak car mishap. That incident manifestly had a devastating event on Neil, sending him into a spiral of guilt and low from which he seemingly never recovered. He disappeared for a while to Texas and Mexico, and afterwards relocated for a few years to littoral Oregon. He eventually gravitated back to Florida, where, at Ric O'Barry's request, he signed on to assist out at a local dolphin sanctuary.
In Florida, Neil increasingly cut himself off from friends and family, often operating under various aliases. He rarely saw his old friends, and new acquaintances generally had no idea who he was, or who he had been. He had seemingly lost interest in being Fred Neil. Having long neglected to seek medical attention for a skin growth that turned out to be cancerous, Neil died before he could begin a planned program of treatments.
Regardless of his efforts to discourage attention, Fred Neil'due south greatest music—exemplified by his folk landmark Bleecker & MacDougal and his electric breakthrough Fred Neil—has lost none of its ability to touch the soul. Every bit long every bit his music can be heard, he volition remain a success.
~
38 MacDougal
That'southward the Pocketbook I'chiliad In: The Life, Music and Mystery of Fred Neil
Fred Neil Music – Twitter
Fred Neil Doc:Work In Progress:12:25:2020
https://youtu.be/Df19GcSWs5I
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Neil, Fred & Mccann, Les - Come Back, Baby
Source: https://pleasekillme.com/fred-neil/
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