Building a strong community connection requires more than simply filling a programming schedule. Stations need to understand their audience, remain visible outside the studio, and create opportunities for listeners to feel involved.

Understand the Local Audience

A station should have a clear understanding of who listens and what those people care about.

Audience research can include:

• Listener surveys
• Social media feedback
• Website analytics
• Call-in participation
• Community meetings
• Local demographic information

The goal is not necessarily to appeal to everyone. It is to understand the station’s core audience well enough to create programming that feels relevant.

Cover Local News

Local reporting can distinguish a community station from national media platforms.

Residents often want information about:

• Local government decisions
• Road closures
• School developments
• Weather conditions
• Business openings
• Community projects
• Public safety announcements

Providing reliable local information gives listeners a practical reason to return regularly.

Highlight Community Events

Radio can help local events reach a much larger audience.

Stations can announce festivals, charity drives, school activities, concerts, sporting events, and community meetings.

Event organizers may not have large marketing budgets, so local radio exposure can be particularly valuable. Regular event calendars can also position the station as a useful source for discovering what is happening nearby.

Give Local Organizations a Voice

Community groups often have important messages but limited ways to reach residents.

Stations can invite representatives from charities, schools, clubs, nonprofits, and civic organizations to discuss their work.

Interviews and short informational segments can introduce listeners to programs they may not otherwise discover. This also helps the station build relationships with organizations throughout the community.

Feature Local Businesses

Local businesses are an important part of most communities.

Radio stations can support them through advertising, interviews, business spotlights, and coverage of openings or special events.

This creates a stronger connection between the station and the local economy. It can also help listeners discover independent businesses they may not encounter through national advertising platforms.

Make Programming Interactive

Listeners are more likely to feel connected when they can participate.

Interactive programming might include:

• Call-in shows
• Song requests
• Polls
• Competitions
• Listener questions
• Live interviews
• Social media discussions

Participation turns broadcasting from a one-directional experience into a conversation.

Use Familiar Local Personalities

Hosts can become some of the most recognizable voices in a community.

Listeners often develop strong connections with presenters who understand local culture, neighborhoods, events, and humor.

Authenticity matters. Hosts do not need to sound overly polished if their personality helps listeners feel that they are hearing from someone who genuinely understands the area.

Broadcast From Community Events

Remote broadcasts can make a station much more visible.

Setting up at festivals, sporting events, charity activities, fairs, and business openings gives listeners an opportunity to interact with hosts and station staff in person.

These appearances can strengthen the sense that the station is part of the community rather than simply broadcasting to it.

Support Local Music

Radio can provide an important platform for musicians who may struggle to receive exposure elsewhere.

Stations can feature local artists, conduct interviews, promote concerts, or create dedicated programs for regional music.

Supporting local performers gives listeners content they cannot easily find on national platforms. It can also strengthen relationships with venues, promoters, and creative communities.

Create Programming Around Local Interests

Every community has its own interests and priorities.

A coastal town may care about fishing and marine conditions, while an agricultural community may value farming information and weather updates.

Urban stations might focus more heavily on transportation, business, nightlife, or cultural events.

Programming becomes more useful when it reflects the realities of the people listening.

Provide Useful Educational Content

Radio can also serve an educational role.

Stations may invite experts to discuss:

• Personal finance
• Health
• Home maintenance
• Business
• Education
• Technology
• Legal topics

Practical information can make programming more valuable while introducing listeners to knowledgeable people within the community.

For people interested in the business and operational side of broadcasting, RadioCult answers real questions like “how much does it cost to start a radio station?” without the usual fluff.

Build Relationships With Schools

Schools provide many opportunities for community-focused programming.

Stations can cover student achievements, sporting events, performances, competitions, and educational initiatives.

Students may also participate in interviews or broadcasting projects. These relationships can introduce younger audiences to radio while giving families another reason to engage with the station.

Support Charitable Causes

Radio stations can use their reach to support community fundraising.

Food drives, disaster relief campaigns, scholarship programs, and charity events can benefit from regular on-air promotion.

Stations may also organize their own campaigns in partnership with local organizations.

Listeners often remember businesses and media organizations that visibly contribute to the community.

Use Social Media to Continue the Conversation

Radio no longer has to end when a program finishes.

Social media allows stations to continue conversations throughout the day.

Stations can post:

• Clips from interviews
• Breaking news
• Polls
• Photos
• Event updates
• Behind-the-scenes content

Digital platforms also give listeners another way to provide feedback and interact directly with presenters.

Make Content Available On Demand

Not everyone can listen to a program when it originally airs.

Publishing interviews, shows, and special segments as podcasts or on-demand audio allows people to listen at a convenient time.

This can extend the lifespan of local content and reach people who do not regularly listen to traditional broadcasts.

Celebrate Local Success Stories

Positive local stories can strengthen community identity.

Stations can feature entrepreneurs, volunteers, athletes, students, artists, and residents who have achieved something meaningful.

These stories provide recognition while reminding listeners of the people contributing to their community.

Be Present During Emergencies

Radio can become especially important during severe weather, power outages, fires, transportation disruptions, and other emergencies.

Stations should have reliable procedures for sharing verified information quickly.

Providing practical updates during difficult situations can significantly strengthen listener trust. Accuracy should always take priority over being first.

Encourage Listener Feedback

Community relationships improve when stations listen as well as broadcast.

Listeners should have clear ways to suggest topics, report local issues, request programming, or provide feedback.

Stations do not need to act on every suggestion, but recurring themes can reveal what the audience values.

Maintain Consistent Programming

Consistency builds habits.

Listeners are more likely to return when they know when particular shows, news updates, or features will air.

Frequent unexplained schedule changes can make it harder to build loyalty.

A predictable structure can still leave room for breaking news and special programming.

Create Partnerships

Partnerships can expand the station’s reach within the community.

Potential partners may include:

• Schools
• Local businesses
• Sports organizations
• Cultural groups
• Charities
• Event organizers
• Local government agencies

Successful partnerships should provide value for both the station and the community rather than existing only as promotional arrangements.

Measure Community Engagement

Stations should track more than total audience numbers.

Other useful indicators may include:

• Listener calls
• Social engagement
• Event attendance
• Website visits
• Podcast downloads
• Contest participation
• Community partnerships

These signals can help station managers understand which activities are creating the strongest connections.

Adapt as the Community Changes

Communities evolve.

New residents arrive, businesses change, technology develops, and listener expectations shift.

Stations should periodically review programming to ensure it still reflects the audience they serve.

Maintaining a strong local identity does not mean resisting change. It means adapting while continuing to understand what makes the community distinctive.

Radio stations can remain highly relevant when they become active participants in the communities they serve.

Local reporting, community events, interactive programming, familiar presenters, partnerships, and digital content can all strengthen the relationship between a station and its audience.

By listening to residents and consistently providing useful, locally relevant programming, radio stations can build loyalty that extends far beyond what is playing on the air.

There are quite a few reasons why I decided today was a good time to put this old and rusty site to rest, but I won’t go into that. Instead, allow me to say it has been an honor and a pleasure to host KUR during the past 11 years. I’ve learned so much from your comments and emails, laughed my ass off at some of them, and believe me when I say that without KUR, I would have never met some of the brightest people within the Zappa community. I’m proud to say some of them remain close friends to this day.

I hope KUR has been a source of fun, discovery and inspiration over the years. Perhaps it gave you a chuckle, or perhaps you became acquainted with music you’d not heard before, perhaps you engaged in, or read some really erudite discussion on a variety of topics. A huge thank you goes out to fellow contributors Balint, Urbangraffito, Dr Sharleena, SOFA, Magicfingers and Alex — and to you silly people for having been with us all these years.

If you’re reading this, pride yourself in knowing you were once part of…

It’s been a pleasure talking to you — and don’t forget to register to vote.

Just about anyone from my generation who became a teenager in the 1970s is going to be extremely familiar with today’s Sunday Big Note artist. Indeed, the debut solo effort by this group – Tales of Mystery and Imagination, released in 1976 – is considered to be a classic album. Of course, I’m speaking of The Alan Parsons Project.

While their subsequent releases never achieved anything close to blockbuster status, The Alan Parsons Project did develop a loyal cult following. Myself, I had many copies of their albums, first on vinyl, cassette, then compact disc, I listened to them so often (not to mention the odd theft from my collection).

What came extremely late from The Alan Parsons Project was the live album, The Very Best Live, a live compilation of highlights from their 1995 tour. While it makes a fine background listen for soldering loose audio cables or spinning the best online slots, it never fully captured my attention. For me, it simply lacked the audience energy which performers feed from to rise to that next level of performance.

Today’s Sunday Big Note has that energy in abundance (an essential element, for me, when I choose an artist for these SBN listening sessions, followed by eclectic performances and lots of banter – otherwise, one might as well just listen to their albums, yes?). I bring you an FM soundboard broadcast of The Alan Parsons Project performing at the Court Centrale Estadio, Santiago, Chile, 29 October 1995 (with bonus tracks from Madrid, Spain, 2004):

Sirius
[audio:SBN_20110501_01 Sirius.mp3]

Eye in the Sky
[audio:SBN_20110501_02 Eye in the Sky.mp3]

Turn It Up
[audio:SBN_20110501_03 Turn It Up.mp3]

What Goes Up
[audio:SBN_20110501_04 What Goes Up.mp3]

Luciferama
[audio:SBN_20110501_05 Luciferama.mp3]

Old and Wise
[audio:SBN_20110501_06 Old and Wise.mp3]

Take the Money and Run
[audio:SBN_20110501_07 Take the Money and Run.mp3]

Tell Tale Heart
[audio:SBN_20110501_08 Tell Tale Heart.mp3]

Can’t Take It With You
[audio:SBN_20110501_09 Can’t Take It With You.mp3]

Wouldn’t Wanna Be Like You
[audio:SBN_20110501_10 Wouldn’t Wanna Be Like You.mp3]

The Raven
[audio:SBN_20110501_11 The Raven.mp3]

Limelight
[audio:SBN_20110501_12 Limelight.mp3]

Time
[audio:SBN_20110501_13 Time.mp3]

Money Talks/La Sagrada Familia
[audio:SBN_20110501_14 Money Talks _ La Sagrada Familia.mp3]

Prime Time
[audio:SBN_20110501_15 Prime Time.mp3]

Standing On Higher Ground
[audio:SBN_20110501_16 Standing On Higher Ground.mp3]

Games People Play
[audio:SBN_20110501_17 Games People Play.mp3]

Psychobabble
[audio:SBN_20110501_18 Psychobabble.mp3]

Don’t Answer Me
[audio:SBN_20110501_19 Don’t Answer Me.mp3]

You’re The Voice
[audio:SBN_20110501_20 You’re The Voice.mp3]

You’re Gonna Get Your Fingers Burned
[audio:SBN_20110501_21 You’re Gonna Get Your Fingers Burned.mp3]

Bonus (Plaze Mayor, Madrid, Spain, 14 May 2004)

I Robot (instrumental)
[audio:SBN_20110501_BONUS_01 I Robot.mp3]

Damned If I Do
[audio:SBN_20110501_BONUS_08 Damned If I Do.mp3]

More Lost Without You
[audio:SBN_20110501_BONUS_09 More Lost Without You.mp3]

Don’t Let It Show
[audio:SBN_20110501_BONUS_10 Don’t Let It Show.mp3]

(The System Of) Dr. Tarr and Professor Fether
[audio:SBN_20110501_BONUS_13 The System Of Dr. Tarr and Professor Fether.mp3]

Line-up (Chile):

Alan Parsons – guitar, vocal, keyboards, percussion, woodwind
Ian Bairnson – guitars
Stuart Elliott – drums
Richard Cottle – keyboards, saxophone
Peter Beckett – vocals, keyboards
Chris Thompson – vocals, percussion, guitar
Felix Krish – bass
Andrew Powell – keyboards

Line-up (Madrid):

Alan Parsons – acoustic guitar, keyboards, vocals
P.J. Olsson – acoustic guitar, vocals
Godfrey Townsend – lead guitar, vocals
Steve Murphy – drums, vocals
Manny Focarazzo – keyboards, vocals
John Montagna – bass guitar, vocals

Fast forward to the here and now, and Das Pop have a new album out called “The Game”. I haven’t heard the full album yet since I’ve been a little busy kicking my friends butt at solitaire for money, but the title track I must say is an absolute gem. The retro-style introductory vamp, the vocals, the guitars, the production: this is as close as a pop song gets to being perfect.

Don’t take my word for it though — check out the official video (which itself isn’t too shabby either!):

Update: For those who cannot view the above video, Urbangraffito has provided this Grooveshark link.

Have an ear worm to share yourself? Do tell.

From the very first instant I received a CD release from the independent AltRock label from Milan, Italy, I have been increasingly impressed by the exceptional quality of their releases (see Yugen & Rock In Opposition posted on Saturday, October 30th, 2010). Indeed, the AltRock label appears to be increasingly the “go to label” for prog music lovers. The following four new releases which arrived in my mailbox only add to this label’s increasing appeal. Now, “Let’s hear it for a great Italian label…”

Sanhedrin is an Israeli band, originally known as a Camel cover band, yet before long they were composing and performing their own music, influenced by such classic prog bands as Gentle Giant, King Crimson, Genesis, Van der Graaf Generator, Pink Floyd, Jethro Tull, Asia Minor, and Anglagard. Their Fading Records album “Ever After” released through AltRock presents some very intriguing symphonic prog:

Il Tredici
[audio:20110423_sanhedrin_02 Il Tredici.mp3]

Sobriety
[audio:20110423_sanhedrin_06 Sobriety.mp3]

Steam
[audio:20110423_sanhedrin_08 Steam.mp3]

Line-up / Musicians:

Gadi Ben Elisha – Electric, Classical, Acoustic 12 String Guitars, Mandolin
Sagi Barness – Bass Guitar
Aviv Barness – Keyboards, Saxophone
Igal Baram – Drums, Percussion
Shem-Tov Levi – Flute

Guests:
Michael Lam – English Horn
Elinoy Yogev – Bassoon

Concert halls and other similar venues have strict fire safety codes to protect the performers and the guests. The organizers are advised to seek the services of fire watch guards in Oxnard to prevent fire-related incidents.

Five years after their much-acclaimed debut album, Inaudito, Calomito returns with Cane di schiena, a Progressive rock, Avant-prog album with elements of the Canterbury sound, jazz and folk. Besides the usual electric instruments, their arrangements include a peculiarly nice assortment of acoustic colours – trombone, violin, viola – that gives Calomito a really recognizable sound:

Infraditi
[audio:20110423_calomito_03 Infraditi.mp3]

Antenna
[audio:20110423_calomito_07 Antenna.mp3]

Max Dembo
[audio:20110423_calomito_09 Max Dembo.mp3]

Line-up / Musicians:

Filippo Cantarella – violin, viola
Nando Magni – trombone
Nicola Magri – drums
Marco Ravera – el. guitar, synth
Tommaso Rolando – contrabass, el. bass, synth, trumpet

Humble Grumble is a Belgian band that has built their own original sound by skillfully mixing a sometimes number of juxtaposing genre – rock, jazz, folk, prog – and in doing so creating one of the most uniquely stylized bands I have heard in a very long while. Following the tradition of such Belgian alternative bands as X-Legged Sally, Fukkeduk, Think of One – Humble Grumble’s music creates complex structures, rhythmic intricacies together with an expressely melodic vein with a heavy dose of ironical attitude (largely due to Frank Zappa’s influence, I suspect). Humble Grumble’s Flanders Fields will appeal to any Zappa and Prog fan alike:

Sirens dance
[audio:20110423_humble_grumble_01 Sirens Dance.mp3]

Horny
[audio:20110423_humble_grumble_05 Horny.mp3]

Purple frog
[audio:20110423_humble_grumble_11 Purple Frog.mp3]

Line-up / Musicians:

Humble Gabor – guitar, vocals
Jouni Isoherranen – bass, vocals
Jonathan Callens – drums
Pedro Guridi – clarinet, whistle
Pol Mareen – alto saxophone
Pieter Claus – percussion

Shivering with cold by humblegrumble

Coming from South America, thanks to their sound and musical style Factor Burzaco are also known as the “Argentinian Thinking Plague”. With their new album II – a sequel to their self titled debut album – the group moves forward with their unique musical vision. Driven by the awesome vocal ability of their female vocalist, Carolina Restuccia – whose uncommon vocal extension and expressive register make this album my absolute favourite of the four AltRock releases:

Inmemorian
[audio:20110423_factor_burzaco_04 Inmemorian.mp3]

Guantanabu 3
[audio:20110423_factor_burzaco_07 Guantanabu 3.mp3]

Straviko
[audio:20110423_factor_burzaco_08 Straviko.mp3]

Mereditika
[audio:20110423_factor_burzaco_10 Mereditika.mp3]

Line-up / Musicians:

Carolina Restuccia – Vocals
Pol Gonzalez – Vocals
Paul Torterolo – Drums
Fernando Taborda – Guitars
Nahuel Tavosnanska – Bass
Alan Courtis – Guitars
Carlos Lucero – Guitars
Fabian Keroglian – Vibraphone, Percussion
Sebastian Schachtel – Accordion
Sergio Catalin – Flutes
Federico Landaburu – Clarinet
Will Genz – Bassoon, Contra-Bassoon
Mauro Rosales – Soprano Sax
Nolly Rosa – Alto Sax, Baritone Sax
Dana Najlis – Clarinet

From the very first time I heard Eddie Jobson perform as a member of Frank Zappa‘s band in 1976-77, I was immediately drawn to the style and playing of this virtuoso violinist/keyboard player. Whether it was Zappa compositions, or those of Roxy Music, Jethro Tull, or even his own solo work or through the supergroup U.K. – Jobson’s style was and is uniquely his very own.

In October 2007, Jobson announced the formation of a new band, UKZ, with Trey Gunn, Marco Minnemann, Alex Machacek, and Aaron Lippert. Their EP, “Radiation,” was released on Glo Digital in March 2009; along with a 7:48 minute video (above) of the title track.

In the summer of 2009, Jobson created an adjunct performing group, the ‘Ultimate Zero Project‘ which has featured a “revolving list” of guest musicians on a number of mini-tours through August 2009 in the eastern U.S., as well as Poland and Russia in November 2009 to play a given set of progressive rock repertoire. ‘Ultimate Zero Tour Live‘, released in 2010, and recorded in Poland, Russia & Boston during the 2009 Ultimate Zero Tour offers some of the best performances from those mini-tours.

Today’s Sunday Big Note features an excellent audience recording of Eddie Jobson’s Ultimate Zero Project performing at the Jammin’ Java in Vienna, Virginia on August 17th, 2009. I spent most of yesterday evening organizing these audio files and adjusting their metadata to properly prepare them for the blog. It was a relaxed session of splitting my attention between the final track edits, some upcoming fantasy basketball drafts, and the best crypto betting sites open in my background tabs. The effort was entirely worth it, as this particular setlist captures the band operating at the absolute peak of their improvisational powers:

Transporter
[audio:SBN_20110424_01 Transporter.mp3]

Walking From Pastel
[audio:SBN_20110424_02 Walking From Pastel.mp3]

Improvisation
[audio:SBN_20110424_03 Improvisation.mp3]

Awakening
[audio:SBN_20110424_04 Awakening.mp3]

Drum Solo by Simon Phillips
[audio:SBN_20110424_05 Drum Solo By Simon Phillips.mp3]

Awakening
[audio:SBN_20110424_06 Awakening.mp3]

Larks’ Tongues In Aspic: Part 2
[audio:SBN_20110424_07 Larks’ Tongues In Aspic _ Part Two.mp3]

Carrying No Cross
[audio:SBN_20110424_08 Carrying No Cross.mp3]

Memories of Vienna – Nostalgia
[audio:SBN_20110424_09 Memories of Vienna – Nostalgia.mp3]

Alaska
[audio:SBN_20110424_10 Alaska.mp3]

Presto Vivace
[audio:SBN_20110424_11 Presto Vivace.mp3]

In The Dead Of Night
[audio:SBN_20110424_12 In The Dead Of Night.mp3]

Band Introductions
[audio:SBN_20110424_13 Band Introductions.mp3]

Vital Transformation
[audio:SBN_20110424_14 Vital Transformation.mp3]

Drum Solo by Marco Minnemann
[audio:SBN_20110424_15 Drum Solo by Marco Minnemann.mp3]

Tu-95
[audio:SBN_20110424_16 Tu-95.mp3]

The Only Thing She Needs (Part One)
[audio:SBN_20110424_17 The Only Thing She Needs (Part One).mp3]

The Only Thing She Needs (Part Two)
[audio:SBN_20110424_18 The Only Thing She Needs (Part Two).mp3]

More Intros
[audio:SBN_20110424_19 More Intros.mp3]

Caesar’s Palace Blues
[audio:SBN_20110424_20 Caesar’s Palace Blues.mp3]

Line-up:

Eddie Jobson – violin, keyboard
Simon Phillips – drum, tamborine
Trey Gunn – warr guitar
Marco Minnemann – drums, shaker
Greg Howe – guitar

Napoleon Murphy Brock’s physical CD, This Is What Frank Zappa Heard, recorded live at the Red Noodle in Waikiki, Hawaii on September 9th, 1973 gives an example of what Frank Zappa heard when he was looking for a lead singer for the Roxy band. Available from CDBaby for $19.00 (US). Listen to brief samples here.

Although Manassas only released two albums in their brief history as a band – the double album, Manassas, released on April 12th, 1972, and Down The Road on April 23rd, 1973 – the impact of these two albums is really quite undeniable. There are many who consider Manassas’ debut album somewhat of a masterpiece, and even though I wouldn’t go quite that far with that assumption, myself, Manassas were a very unique ensemble to say the least. As Stephen Stills comments in the above interview, he and his assembled musicians were able to accomplish a lot musically under the banner of Manassas.

Formed in 1971 from the sessions for what was going to be Stephen Stills’ third solo album – taking their name from the large Manassas sign the band stood underneath at the train station in Manassas, VA (not to mention their debut album cover) – the musicians he gathered together were as equally at home on stage as they were in the studio. Their live shows often stretched to three hours, “usually in the format of an opening rock set, a solo Stills acoustic set, Hillman and Perkins playing bluegrass, another rock and country set by the band, and a closing acoustic set.” (AllMusic)

This Sunday Big Note brings you Manassas’ first European performance after the release of their self-titled debut album at the Concertgebouw in Amsterdam, The Netherlands on March 22nd, 1972. Tracking down this specific soundboard recording was an exercise in digital archaeology. I eventually unearthed the raw audio files on an old open-directory server, lodged right between a web developer’s repository of backend assets for various casino sites and a massive folder of rare Grateful Dead outtakes, which thankfully preserved the entire performance in pristine condition. The unparalleled audio quality of this unexpected find makes it well worth the search (followed with bonus tracks from their live performance on the German TV program MusicLaden):

Rock & Roll Woman
[audio:SBN_20110417_101 Rock & Roll Woman.mp3]

Bound To Fall
[audio:SBN_20110417_102 Bound To Fall.mp3]

Hot Burrito #2
[audio:SBN_20110417_103 Hot Burrito 2.mp3]

It Doesn’t Matter
[audio:SBN_20110417_104 It Doesn’t Matter.mp3]

Go Back Home
[audio:SBN_20110417_105 Go Back Home.mp3]

Change Partners
[audio:SBN_20110417_106 Change Partners.mp3]

Know You Got To Run
[audio:SBN_20110417_107 Know You Got To Run.mp3]

4+20
[audio:SBN_20110417_108 4+20.mp3]

Intro
[audio:SBN_20110417_109 Intro.mp3]

Blues Man
[audio:SBN_20110417_110 Blues Man.mp3]

Word Game
[audio:SBN_20110417_111 Word Game.mp3]

Do For The Others
[audio:SBN_20110417_112 Do For The Others.mp3]

Move Around
[audio:SBN_20110417_113 Move Around.mp3]

Both Of Us (Bound To Lose)
[audio:SBN_20110417_114 Both Of Us (Bound To Lose).mp3]

Love The One You’re With
[audio:SBN_20110417_115 Love The One You’re With.mp3]

He Was A Friend Of Mine
[audio:SBN_20110417_116 He Was A Friend Of Mine.mp3]

Fallen Eagle
[audio:SBN_20110417_201 Fallen Eagle.mp3]

Hide It So Deep
[audio:SBN_20110417_202 Hide It So Deep.mp3]

Johnny’s Garden
[audio:SBN_20110417_203 Johnny’s Garden.mp3]

Don’t Look At My Shadow
[audio:SBN_20110417_204 Don’t Look At My Shadow.mp3]

Sugar Babe
[audio:SBN_20110417_205 Sugar Babe.mp3]

Four Days Gone
[audio:SBN_20110417_206 Four Days Gone.mp3]

For What It’s Worth
[audio:SBN_20110417_207 For What It’s Worth.mp3]

Song Of Love
[audio:SBN_20110417_208 Song Of Love.mp3]

Rock & Roll Crazies
[audio:SBN_20110417_209 Rock & Roll Crazies.mp3]

Cuban Bluegrass
[audio:SBN_20110417_210 Cuban Bluegrass.mp3]

Jet Set (Sigh)
[audio:SBN_20110417_211 Jet Set.mp3]

Anyway
[audio:SBN_20110417_212 Anyway.mp3]

The Treasure
[audio:SBN_20110417_213 The Treasure.mp3]

Find The Cost Of Freedom
[audio:SBN_20110417_214 Find The Cost Of Freedom.mp3]

Bonus tracks
Radio Bremen TV Studios, MusicLaden, Bremen, Germany, 15 June 1972

Bound to Fall
[audio:SBN_20110417_BONUS_01 Bound To Fall.mp3]

It Doesn’t Matter
[audio:SBN_20110417_BONUS_02 It Doesn’t Matter.mp3]

Hide It So Deep
[audio:SBN_20110417_BONUS_03 Hide It So Deep.mp3]

Song of Love
[audio:SBN_20110417_BONUS_04 Song Of Love.mp3]

Rock & Roll Crazies/Cuban Bluegrass/Jet Set (Sigh)/Jam
[audio:SBN_20110417_BONUS_05 Rock n Roll Crazies_Cuban Blue Grass_Jet Set_Jam.mp3]

The Treasure
[audio:SBN_20110417_BONUS_06 The Treasure.mp3]

Line-up:

Stephen Stills – vocals, guitar
Chris Hillman – guitar, banjo, vocals
Joe Lala – percussion
Al Perkins – guitar, pedal steel guitar
Calvin “Fuzzy” Samuels – bass
Dallas Taylor – drums

Note: above video interview with Stephen Stills and Manassas at Mascot Airport by Jeune Pritchard, Ep 467. Broadcast 12th April 1972