Podcast appearances and mentions of allan clarke

This is a Special Episode called THE BRITISH INVASION SHOW. It features the seven following stars from this magical era of the 1960s when English artists ruled the pop world and the charts. Each was previously a guest on the podcast.Peter Noone - Herman of Herman's Hermits. They had a spectacular run of hits including “No Milk Today”, “There's A Kind Of A Hush”, “Mrs. Brown You've Got A Lovely Daughter”, “I'm Henry VIII” and their first smash “I'm Into Something Good”.Rod Argent was the keyboard wizard of The Zombies. The band had two massive hits in the ‘60s, “She's Not There” and “Tell Her No”.Allan Clarke was the lead singer for The Hollies, another band that had a string of hits including “On A Carousel”, “Pay You Back With Interest” and “Long Cool Woman In A Black Dress”.Jim McCarty was the drummer for The Yardbirds, whose hits included “For Your Love” and “Heartful Of Soul”. The band had three famous guitarists in succession: Eric Clapton, Jeff Beck and Jimmy Page.Billy J. Kramer was the lead singer of Billy J. Kramer and the Dakotas. They were managed by Brian Epstein, the manager of The Beatles, and were given several Lennon/McCartney songs to record including “Do You Want To Know A Secret”, “I Call Your Name” and “Bad To Me”.Kenney Jones was the drummer for the Small Faces of “Itchycoo Park” fame, then the Faces starring Rod Stewart, and then joined The Who after the death of Keith Moon.John Lodge was the bassist and a singer and composer for The Moody Blues. Their big hits included “Go Now” and “Nights In White Satin”. John's hits included “Ride My See Saw” and “I'm Just A Singer In A Rock And Roll Band”.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.—----------------------------------------ROBERT'S RECENT SINGLES:“MOON SHOT” is Robert's latest single, reflecting his Jazz Rock Fusion roots. The track features Special Guest Mark Lettieri, 5x Grammy winning guitarist who plays with Snarky Puppy and The Fearless Flyers. The track has been called “Firey, Passionate and Smokin!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS____________________“ROUGH RIDER” has got a Cool, ‘60s, “Spaghetti Western”, Guitar-driven, Tremolo sounding, Ventures/Link Wray kind of vibe!CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------“LOVELY GIRLIE” is a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------“SOSTICE” is Robert's single with a rockin' Old School vibe. Called “Stunning!”, “A Gem!”, “Magnificent!” and “5 Stars!”.Click HERE for all links.—---------------------------------“THE GIFT” is Robert's ballad arranged by Grammy winning arranger Michael Abene and turned into a horn-driven Samba. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES”. Robert's Jazz Fusion “Tone Poem”. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com 

We both first heard Graham Nash just over 60 years ago when the Hollies' Just One Look was on the BBC's swinging Light Programme and we've followed him ever since, not least his transformational shift in the late-‘60s from suburban Salford to the wood cabins of Laurel Canyon. He's touring the UK in October, An Evening of Songs and Stories with Peter Asher in support, and looks back here at the first shows he ever saw and played, which involves … … Bill Haley in 1958 – “he opened the curtains and said ‘See yer later, alligator!', and I've never been the same since.” … meeting his heroes the Everly Brothers when he was 18. … the talent contest he won with Allan Clarke in 1959 beating Freddie Garrity, the future Billy Fury and Johnny And the Moondogs. ... the early days of the Hollies – “my acoustic was never plugged in”. … supporting Little Richard the night he screamed at his soon-to-be-famous guitarist, “never play the guitar behind the back of your head again!” …. making ‘Two Yanks in England' with the Everlys, Reg Dwight, Jimmy Page and John Paul Jones. … playing Woodstock – “it's hard to reach the back row when it's raining and two miles away.” … the songs he always plays and talks about onstage, Marrakesh Express, Our House and Teach Your Children among them. Order Graham Nash tickets here:https://grahamnash.com/tour-dates/page/2/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

We both first heard Graham Nash just over 60 years ago when the Hollies' Just One Look was on the BBC's swinging Light Programme and we've followed him ever since, not least his transformational shift in the late-‘60s from suburban Salford to the wood cabins of Laurel Canyon. He's touring the UK in October, An Evening of Songs and Stories with Peter Asher in support, and looks back here at the first shows he ever saw and played, which involves … … Bill Haley in 1958 – “he opened the curtains and said ‘See yer later, alligator!', and I've never been the same since.” … meeting his heroes the Everly Brothers when he was 18. … the talent contest he won with Allan Clarke in 1959 beating Freddie Garrity, the future Billy Fury and Johnny And the Moondogs. ... the early days of the Hollies – “my acoustic was never plugged in”. … supporting Little Richard the night he screamed at his soon-to-be-famous guitarist, “never play the guitar behind the back of your head again!” …. making ‘Two Yanks in England' with the Everlys, Reg Dwight, Jimmy Page and John Paul Jones. … playing Woodstock – “it's hard to reach the back row when it's raining and two miles away.” … the songs he always plays and talks about onstage, Marrakesh Express, Our House and Teach Your Children among them. Order Graham Nash tickets here:https://grahamnash.com/tour-dates/page/2/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

We both first heard Graham Nash just over 60 years ago when the Hollies' Just One Look was on the BBC's swinging Light Programme and we've followed him ever since, not least his transformational shift in the late-‘60s from suburban Salford to the wood cabins of Laurel Canyon. He's touring the UK in October, An Evening of Songs and Stories with Peter Asher in support, and looks back here at the first shows he ever saw and played, which involves … … Bill Haley in 1958 – “he opened the curtains and said ‘See yer later, alligator!', and I've never been the same since.” … meeting his heroes the Everly Brothers when he was 18. … the talent contest he won with Allan Clarke in 1959 beating Freddie Garrity, the future Billy Fury and Johnny And the Moondogs. ... the early days of the Hollies – “my acoustic was never plugged in”. … supporting Little Richard the night he screamed at his soon-to-be-famous guitarist, “never play the guitar behind the back of your head again!” …. making ‘Two Yanks in England' with the Everlys, Reg Dwight, Jimmy Page and John Paul Jones. … playing Woodstock – “it's hard to reach the back row when it's raining and two miles away.” … the songs he always plays and talks about onstage, Marrakesh Express, Our House and Teach Your Children among them. Order Graham Nash tickets here:https://grahamnash.com/tour-dates/page/2/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

This all episodes in one! 1/2/3Allan Clarke talks about the early years , a Grand father that played for Wolverhampton Wanderers and how he almost joined Aston Villa.... as we take a trip down memory lane in My 70s, some great stories in this epic interviewInterviewed By Paul CollinsProduced for SRBMedia by Chris BrowneSupport this show http://supporter.acast.com/srbmedia. Hosted on Acast. See acast.com/privacy for more information.

With the aid of the match programme I take a look back at the First Division match betweenFulham and Sheffield Wednesday played on theevening of 28th February 1968.

In this episode of the LEGENDS: Podcast by All Day Vinyl, host Scott Dudelson sits down with Rock and Roll Hall of Fame inductee, co-founder and lead singer of The Hollies, Allan Clarke. This in-depth interview takes us through the early days of Allan's musical journey with Graham Nash in the late 1950's, the formation of The Hollies, his experiences with legendary artists including The Rolling Stones (who he recorded with), The Beatles, Crosby, Stills, Nash and the incredible evolution of The Hollies during the 1960's and 1970's. We discuss the creation of iconic hits like "Long Cool Woman in a Black Dress," "Bus Stop," "The Air That I Breathe," and "He Ain't Heavy, He's My Brother," the impact of Graham Nash leaving the band in the late 60's and Allan's return to music in 2019 after nearly 30 years away from the scene.  And there is so much more in-between that we discuss. Allan is one of the early innovators of rock and roll history and his story is amazing and so important to music history.  His music has brought me so much joy over the years and I loved chatting with him and I hope you also love the stories he shares, i was in awe listening to them. If you like the podcast episode please rate, subscribe and share.  I appreciate the support!  

Allan Clarke is a British musician celebrated for his role as the lead vocalist of the legendary rock band, The Hollies. With a career spanning decades, Clarke's distinctive tenor voice and songwriting prowess have left an indelible mark on the history of rock and roll. Clarke co-founded The Hollies in the early 1960s with childhood friends Graham Nash, Eric Haydock, Tony Hicks, and Don Rathbone. Their harmonious blend and melodic pop-rock sound catapulted them to international stardom. Hits like "Bus Stop," "Carrie Anne," and "He Ain't Heavy, He's My Brother" became anthems of the era, showcasing Clarke's emotive vocals and contributing to the band's enduring legacy. As a songwriter, Clarke collaborated with Nash and Hicks to pen some of The Hollies' most iconic songs. His ability to craft timeless tunes solidified the band's chart-topping success and earned them a permanent place in the pantheon of rock music. In 1971, Allan Clarke briefly embarked on a solo career, releasing albums such as "My Real Name Is 'Arold" and "Headroom." Despite the solo endeavor, Clarke rejoined The Hollies in 1973, and the band continued to produce hits, notably "The Air That I Breathe." Beyond his musical achievements, Clarke's enigmatic stage presence and charisma made him a captivating performer. His influence transcends generations, and The Hollies' catalogue remains a testament to his enduring impact on the world of music. Clarke's return to The Hollies in the '70s marked another chapter in their success, with a continued string of hits. His distinct vocal style, characterized by soulful nuances and emotional depth, remains a defining element of The Hollies' sound. Allan Clarke's legacy extends beyond his contributions to The Hollies, encompassing solo ventures, songwriting brilliance, and a significant footprint in the evolution of rock music. His name is synonymous with harmony, melody, and the timeless resonance of classic rock—a testament to a remarkable career that has left an indelible mark on the global music landscape. Allan has recently released a new album - Resurgence - fulfilling a long time dream to collaborate again with Graham Nash.  The album comes after he, his wife and his daughter all battled with cancer and as a result, finds Allan unable to hit the high notes that he's become so famous for. Determined to continue doing what he loves, Allan has penned many of the tracks on this album so that he's able to sing in a lower key. The result is simply stunning. I am excited to have Allan Clarke in conversation in this episode, sharing stories from his incredible musical journey. I know you'll enjoy hearing his tales too. If you'd like to know more about Allan, head for his website https://www.allan-clarke.co.uk/ and if you have any requests for future guests on A Breath of Fresh Air, please get in touch with me through my website https://www.abreathoffreshair.com.au  

Doing podcasts with therapists is very therapeutic, this weeks guest is Allan Clarke, therapist and fellow Kildare man. Enjoy!

THE ARWEN LEWIS SHOW - Featuring Carla Olson Carla Olson is a songwriter, performer, and record producer. Carla Olson will release the third in her series of "duet" albums “Have Harmony, Will Travel 3” via BFD Records/The Orchard on October 20, 2023. The new album includes appearances by Texas guitar heroes Eric Johnson, Jake Andrews, and Gary Myrick along with guitarists Craig Ross (Broken Homes, Lenny Kravitz,) Todd Wolfe (Sheryl Crow,) Laurence Juber (Paul McCartney and Wings) and legendary harmonica player Mickey Raphael (Willie Nelson.) Guest vocalists include B.J. Thomas, Allan Clarke (The Hollies,) Harvey Shield (The Mighty Echoes,) Robert Rex Waller Jr. and Shawn Barton Vach.  Closing the album are three (previously unreleased) live tracks recorded with Gene Clark (The Byrds.) Songs on the album include classics written by Mick Jagger and Keith Richards, Pete Townshend, Gene Clark, and others, along with two new songs written by Carla Olson and Allan Clarke. https://www.carlaolson.com The Arwen Lewis Show Host | Arwen Lewis Executive Producer | Jeremiah D. Higgins Producer - Sound Engineer - Richard “Dr. D” Dugan https://arwenlewismusic.com/ The Arwen Lewis Show is Brought to you by John DeNicola and Omad Records https://www.omadrecords.com/ On Instagram, Follow Arwen Lewis Here: @thearwenlewisshow @arwenlewis www.thejeremiahshow.com On Instagram @jeremiahdhiggins https://linktr.ee/jeremiahdhiggins

In this episode, I speak with Allan Clarke (MSc) on the topic of the validating experience of being diagnosed with autism, what he learned from having an alcoholic father, self esteem exercises and a working definition for the term love.★ Allan's Bio: ★ Allan is the proprietor of Kildare Psychotherapy & Counselling and former host of the Straight Talking Mental Health podcast (which ran for 3 years and 125 episodes). He holds a BSc (Honours) degree in Counselling & Psychotherapy and an MSc in Child & Adolescent Psychotherapy. His Masters dissertation was on Video Game Addiction and his own study area of interest is in neuroscience and trauma. He am also a Certified Trauma Specialist with the Trauma Institute International.He is a highly sought speaker and delivers lectures and workshops to parents, schools, health groups and also presents corporate workshops on mindfulness. As a male therapist he is frequently asked to deliver talks to groups on men's mental health.His down to earth explanation of complex issues, his thousands of client hours experience and his sense of humour means he is able to discuss the presenting issues in a relatable manner.He is a self-confessed nerd, stand up comedy lover, frustrated golfer, Formula 1 fanatic and will forever be a 90's hip hop kid at heart. He's been playing video games since the Spectrum 48k and when he finds the time he indulges in his other love – acting. In 2012 he won Best Actor at the All Ireland Drama finals.Connect with Allan:http://stmhpodcast.com/

Jeff Fenech is a three time world champion, a Boxing Hall of Famer and a man not frightened to say what he thinks. In a candid chat with Brian and Kevin, he talks about his near death experience and what waiting 30 years for the Azuma Nelson fight decision has meant to his life.  Musically, hear legendary Hollies singer Allan Clarke talk about their classic hits He Ain't Heavy He's My Brother and Long Cool Woman in a Black Dress plus his battles with his voice and rekindling his passion for making records.  And to finish something from the Mannix Music Vault.   Thanks to Murcotts Driving Excellence. One phone call could make such a difference to your life. Call them on 1300 555 576 to become a better driver or give a gift certificate to someone you care about. Visit murcotts.edu.au today    See omnystudio.com/listener for privacy information.

Sherbet's Tony Mitchell returns for part two of his recollections of the days of screaming girls, nude photo shoots, the Skyhooks rivalry and writing Howzat.  Eve von Bibra plays the new Chantoozies single Every Night (which she wrote) and talks Golden Gaytimes and doggie CPR. There's also a preview of Kev's chat with Allan Clarke - lead singer of The Hollies - remembering their days at the pointy end of the British invasion with hits like Bus Stop, Long Cool Woman in a Black Dress and He Ain't Heavy He's My Brother .   Thanks to Murcotts Driving Excellence. One phone call could make such a difference to your life. Call them on 1300 555 576 to become a better driver or give a gift certificate to someone you care about. Visit murcotts.edu.au todaySee omnystudio.com/listener for privacy information.

Harold Allan Clarke (born 5 April 1942) is an English rock singer, who was one of the founding members and the original lead singer of the Hollies. He achieved international hit singles with the group and is credited as co-writer on several of their best-known songs, including "On a Carousel", "Carrie Anne", "Jennifer Eccles" and "Long Cool Woman in a Black Dress". Clarke retired from performing in 1999, but returned to the music industry in 2019. Clarke was inducted into the Rock and Roll Hall of Fame in 2010.Alan sits down with Dino Bedrocker to chat about coming out of retirement after 17 years, making new music with The Hollies bandmate and lifelong friend Graham Nash, reminiscing about the good old days, recording at Abbey Road,  The Everly Brothers, Elton John, Eric Clapton, John Paul Jones, forging a legacy with just 5 Rock n Roll chords, learning new technology, and more.Support the show

Allan Clark was the lead singer of and a composer for The Hollies, one of the great British Invasion bands of the 1960s that set the music world on fire. He co-founded the band with Graham Nash. Allan co-wrote a number of their hits including “On A Carousel”, “Carrie Ann” and “Long Cool Woman In A Black Dress” and he was the lead singer on so many hits including “He Ain't Heavy, He's My Brother”. Allan and The Hollies were inducted into the Rock and Roll Hall Of Fame in 2010.My featured song is my band's cover of “He Ain't Heavy, He's My Brother” from the Spring Dance album by Project Grand Slam. Spotify link.—--------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------Allan and I discuss the following:Met Graham Nash at age 6 and became good friendsNamed the band after Buddy HollyHis happy, working class childhoodPlayed in many bandsCavern ClubFirst album - 24 songs“Pay You Back With Interest”“Long Cool Woman” storyNash leaving the band for Crosby, Stills & Nash“Long Cool Woman”Rock and Roll Hall Of Fame in 2010“Buddy's Back”“Journey Of Regret”“I'm Coming Home” “BOBBY M AND THE PAISLEY PARADE” is Robert's new album. Featuring 10 songs and guest appearances by John Helliwell (Supertramp), Tony Carey (Rainbow) and international sitar sensation Deobrat Mishra. Produced by Tony Carey. Called "ALBUM OF THE YEAR!" by Indie Shark and “One of the great rock sets of the year!” by Big Celebrity Buzz. "Catchy and engaging with great tunes!" - Steve Hackett (Genesis)"This album has life and soul!" - John Helliwell (Supertramp)"Bobby M rocks!" - Gary Puckett (Union Gap)"Nice cool bluesy album!" - Jim McCarty (The Yardbirds)"Robert really really really rocks!" - Peter Yarrow (Peter Paul & Mary)"Great songs. Great performances. It's a smash!" - David Libert (The Happenings)Click here for all streaming links. Download here.LIVE AT STEELSTACKS is the 5-song EP by Robert and his band, Project Grand Slam. The release captures the band at the top of their game and shows off the breadth, scope and sound of the band. The EP has been highly praised by musicians and reviewers alike. “Captivating!” Elliott Randall (Steely Dan) “PGS burns down the house!” Tony Carey (Rainbow)“Full of life!” Alan Hewitt (The Moody Blues) “Virtuoso musicians!” (Melody Maker) “Such a great band!” (Hollywood Digest) The album can be streamed on Spotify, Amazon, Apple and all the other streaming platforms, and can be downloaded at The PGS Store.ALL OF THE TIME is Robert's recent single by his band Project Grand Slam. It's a playful, whimsical love song that's light and airy and exudes the happiness and joy of being in love. “Pure bliss…An intimate sound with abundant melodic riches!” Melody Maker/5 Stars) “Ecstasy…One of the best all-around bands working today!” (Pop Icon/5 Stars) “Excellence…A band in full command of their powers!” (Mob York City)Watch the video here. You can stream “All Of The Time” on Spotify, Apple or any of the other streaming platforms. And you can download it here.THE SHAKESPEARE CONCERT is the album by Robert's band, Project Grand Slam, recorded "live" in the studio. It's been praised by Mark Farner (Grand Funk Railroad), Jim Peterik (Ides Of March), Joey Dee (Peppermint Twist), Elliott Randall (Steely Dan) and Sarah Class (British composer). Reviews: “Perfection!”, “5 Stars!”, “Thrilling!”, and “A Masterpiece!”. The album can be streamed on Spotify, Apple and all the other streaming services. You can watch the Highlight Reel HERE. And you can purchase a digital download or autographed CD of the album HERE. THE FALL OF WINTER is Robert's single in collaboration with legendary rocker Jim Peterik of the Ides Of March and formerly with Survivor. Also featuring renowned guitarist Elliott Randall (Steely Dan/Doobie Brothers) and keyboard ace Tony Carey (Joe Cocker/Eric Burden). “A triumph!” (The Indie Source). “Flexes Real Rock Muscle!” (Celebrity Zone). Stream it on Spotify or Apple. Watch the lyric video here. Download it here.FOLLOW YOUR DREAM HANDBOOK is Robert's Amazon #1 Bestseller. It's a combination memoir of his unique musical journey and a step by step how-to follow and succeed at your dream. Available on Amazon and wherever books are sold.  Audio production:Jimmy RavenscroftKymera Films Connect with Allan at:https://www.allan-clarke.co.uk/https://twitter.com/AllanClarke_ Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comFacebook - www.facebook.com/followyourdreampodcastEmail Robert - robert@followyourdreampodcast.com Listen to the Follow Your Dream Podcast on these podcast platforms:CastBoxSpotifyApple Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comInstagramPGS Store - www.thePGSstore.comYouTubeFacebook - www.facebook.com/projectgrandslamSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

#60smusic #grahamnash  #theholliesAllan Discloses a Secret About This Classic Rock Song!Allan Clarke Co-Founder Lead Vocalist of The HolliesI'll Never Forget - forthcoming album out April 7th. Includes new single 'Buddy's Back' out now.Allan Clarke, one of the most distinguished voices in British music history, is set for a dramatic return to the musical frontline. Clarke's place in pop-rock folklore is unshakeable. As co-founder and lead vocalist with the mighty Hollies, he was the frontman of such indelible singles as 'He Ain't Heavy, He's My Brother,' 'The Air That I Breathe,' 'I'm Alive', 'Long Cool Woman' and dozens more. Between 1963 and 1988, the Rock and Roll Hall of Fame inductees amassed an incredible 18 top ten and 30 top 40 UK hits and sold scores of millions of singles and albums all over the world. Pre Order Now: https://allanclarke.lnk.to/IllNeverForgetTWWatch FULL EPISODE UNEDITED with Allan in ADIKA's VIP All Access ➜ https://www.patreon.com/The_adika_group?fan_landing=true********************************************************************************************************************************************* The New Website ➜ https://www.adikalive.com/Merchandise ➜https://adika-live.creator-spring.comThe Ultimate VIP ALL ACCESS BACKSTAGE PASSFull episodes can be seen in Patreon! Get exclusive content and entry into the vinyl games on Patreon: ➜ https://www.patreon.com/The_adika_group?fan_landing=trueYour Donation Helps Support your Favorite Show & Channel ➜ https://www.paypal.me/stephenadika1AMAZON WISHLIST ➜ https://www.amazon.com/hz/wishlist/ls/30GQNR69L9048?ref_=wl_shareCLICK TO SUBSCRIBE ➜  https://www.youtube.com/c/TheAdikaGroup?sub_confirmation=1Artists on Record |  ADIKA Live The PodcastApple ➜ https://podcasts.apple.com/us/podcast/coffee-talk-with-adika-live/id1529816802?uo=4Spotify ➜ https://open.spotify.com/show/2lXgg3NVdnU3LmXgCrgHwk iHeartRadio ➜ https://www.iheart.com/podcast/269-coffee-talk-with-adika-liv-71566693/*Follow ADIKA Live on Tik Tok: ➜https://vm.tiktok.com/TTPdMmEfFm/ADIKA Live on Twitter➜ https://twitter.com/TalkAdikaThank you for your support!_____________________________________________Artists On Record: ➜https://m.facebook.com/profile.php?id=868952540607953&ref=content_filterTheme Song - Mark SlaughterWebsite:  ➜ https://www.markslaughter.com/Support the show

National Gof for broke day. Pop culture 1986. Todays birthdays - Booker T. Washington, Spenser Tracy, Bette Davis, Pocahantas, Gregory Peck, Agnetha Falstskog, Pharrell Williams, Allan Clarke, Troy Williams.

#60smusic #grahamnash  #buddyhollyAllan Clarke Co-Founder Lead Vocalist of The HolliesCo-founder and lead vocalist of The Hollies. I'll Never Forget - forthcoming album out April 7th. Includes new single 'Buddy's Back' out now.After returning unexpectedly from a 20-year retirement with successful comeback album Resurgence in 2019, the voice of The Hollies – Allan Clarke – is back with a stunning new record. I'll Never Forget reunites Allan with his old Hollies bandmate, Graham Nash of Crosby, Stills And Nash fame.The two old friends from Manchester began writing together during the pandemic after over 40 years, resulting in the effortlessly catchy Buddy's Back, a tribute to the rock & roll great The Hollies were named after.Allan Clarke, one of the most distinguished voices in British music history, is set for a dramatic return to the musical frontline. Clarke's place in pop-rock folklore is unshakeable. As co-founder and lead vocalist with the mighty Hollies, he was the frontman of such indelible singles as 'He Ain't Heavy, He's My Brother,' 'The Air That I Breathe,' 'I'm Alive', 'Long Cool Woman' and dozens more. Between 1963 and 1988, the Rock and Roll Hall of Fame inductees amassed an incredible 18 top ten and 30 top 40 UK hits and sold scores of millions of singles and albums all over the world. Pre Order Now: https://allanclarke.lnk.to/IllNeverForgetTWWatch FULL EPISODE UNEDITED with Allan in ADIKA's VIP All Access ➜ https://www.patreon.com/The_adika_group?fan_landing=true********************************************************************************************************************************************* The New Website ➜ https://www.adikalive.com/Merchandise ➜https://adika-live.creator-spring.comThe Ultimate VIP ALL ACCESS BACKSTAGE PASSFull episodes can be seen in Patreon! Get exclusive content and entry into the vinyl games on Patreon: ➜ https://www.patreon.com/The_adika_group?fan_landing=trueYour Donation Helps Support your Favorite Show & Channel ➜ https://www.paypal.me/stephenadika1AMAZON WISHLIST ➜ https://www.amazon.com/hz/wishlist/ls/30GQNR69L9048?ref_=wl_shareCLICK TO SUBSCRIBE ➜  https://www.youtube.com/c/TheAdikaGroup?sub_confirmation=1Artists on Record |  ADIKA Live The PodcastApple ➜ https://podcasts.apple.com/us/podcast/coffee-talk-with-adika-live/id1529816802?uo=4Spotify ➜ https://open.spotify.com/show/2lXgg3NVdnU3LmXgCrgHwk iHeartRadio ➜ https://www.iheart.com/podcast/269-coffee-talk-with-adika-liv-71566693/*Follow ADIKA Live on Tik Tok: ➜https://vm.tiktok.com/TTPdMmEfFm/ADIKA Live on Twitter➜ https://twitter.com/TalkAdikaThank you for your support!_____________________________________________Artists On Record: ➜https://m.facebook.com/profile.php?id=868952540607953&ref=content_filterTheme Song - Mark SlaughterWebsite:  ➜ https://www.markslaughter.com/Support the show

What an honor to have ALLAN CLARKE as our special guest on the Rick Flynn Presents podcast. 'BUDDY'S BACK' is the new single from the legendary ALLAN CARKE and GRAHAM NASH, made all the more special and poignant, as it's the first time they have been heard harmonizing on a new track together in decades.  The song is written by Graham and reflects their childhood friendship and musical influences.  Both from Salford, Allan and Graham were founder members and original vocalists of Manchester band, THE HOLLIES. They went on to shape pop music throughout the 1960s and became one of the most successful bands of all time, enjoying hit after hit, with top chart singles such as  'He Ain't Heavy, He's My Brother', 'The Air That I Breathe', 'Bus Stop and 'Carrie Anne'. In fact in 1978, The Guinness Book of British Hit Singles confirmed that The Hollies had achieved "more hits than any other British group" (even more than The Beatles!). Graham famously left The Hollies in 1968 to pursue a massively successful career with David Crosby, Stephen Stills and Neil Young, plus as a solo artist. The Hollies' music is still as much loved today as it was back in the 1960's and 1970s.  The Hollies were inducted into the Rock and Roll Hall of Fame in 2010. --- Support this podcast: https://podcasters.spotify.com/pod/show/rick-flynn/support

We feel Buddy Holly's impact even 64 years after his passing! On this Catching A Wave, we spin an instrumental rocker from Buddy (with extra backing by The Fireballs) as well as a Link Wray cover on a Buddy classic and a NEW tune from The Hollies alumni Allan Clarke from his new album (also featuring former Hollies bandmate Graham Nash) on a song ABOUT Buddy! Beth Riley has another cool deep track from The Beach Boys in her Surf's Up: Beth's Beach Boys Break. Our Good Time segment has a track from a Man Or Astro-Man? album that celebrates it's 30th anniversary this year and we'll drop a coin in the Jammin' James Jukebox to hear our selection of the week (The Tremolo Beer Gut). Plus, there's rockers from Pollo Del Mar (surfy tribute to Keith Richards), The Atlantics, The Courettes, Black Valley Moon, Colony House, Jon & The Nightriders, Summer Salt, Rufus Lee King & The Dream, The Sandbanks, Andy Summers, Wanted Man and the del roswells!   Intro music bed: "Catch A Wave"- The Beach Boys   Black Valley Moon- "White Wedding" The Courettes- "Tough Like That" The Atlantics- "Fireball Express" the del roswells- "Earth vs. The Roswells" Wanted Man- "Volleyball"   "Good Time" segment: Man Or Astro-Man? 30th Anniversary of Is It...Man Or Astro-Man? (1993) Man Or Astro-Man?- "Clean Up On Aisle #9 (Turn Up The Monitors)"   Colony House- "Landlocked Surf Rock" Andy Summers- "Monk Hangs Ten"   Surf's Up: Beth's Beach Boys Break: The Beach Boys- "Lookin' At Tomorrow (A Welfare Song)" Follow "Surf's Up: Beth's Beach Boys Break" HERE   Summer Salt- "Campanita" Pollo Del Mar- "Surfin' With Keith" The Sandbanks- "Waves"   You're The Inspiration (Buddy Holly): Buddy Holly- "Holly Hop" (overdubs by The Fireballs) Allan Clarke- "Buddy's Back" (with Graham Nash) Link Wray- "That'll Be The Day"   Jammin' James Jukebox selection of the week: The Tremolo Beer Gut- "While Squaresville Is Watching From Afar"   Jon & The Nightriders- "Surfin' and Spyin'" (live) Rufus Lee King and The Dream- "Sister Mary Sunshine"   Outro music bed: Eddie Angel- "Deuces Wild"

Recorded for release W/C 27th March 2023 This week  Allan Clarke from The Hollies lets us know about his latest project with Graham Nash, Jean Martyn tells us about the midlands gigs, we find out about Sarchitects at the Lichfield Garrick, Angelical Bell talks moneysaving with household appliances and we get some tips to avoid food waste from Jacqueline Jossa.

This Saturday on Beyond The Vibe Podcast, I'm joined by Rock & Roll Hall of Famer

Maverick Tales with John Giles, Tony Currie, Alan Hudson, Allan Clarke, Barry Silkman and Malcolm Macdonald, Sit back and enjoy episode two of " The Maverick Tales"With Paul CollinsEdited/Produced by Chris Brownewww.patreon.com/srbmedia www.srbmedia.co.uk Support this show http://supporter.acast.com/srbmedia. Hosted on Acast. See acast.com/privacy for more information.

In this podcast we sit down with Allan Clarke to discuss his highly anticipated album, I'll Never Forget. The post Allan Clarke appeared first on The Strange Brew .

Allan Clarke – Launch of new album 'I'll never forget' and single 'Buddy's Back'...with TRE's Hannah Murray

Today's Guest Episode features a psychotherapist/fellow podcast creator Who hails all the way from Ireland. Allan Clarke is the creator, producer, and host of the "Straight Talking Mental Health" podcast, and has a personality like no other!This episode was originally recorded in August 2022. Our host first met Allan when he sat with him on his platform sometime last year, but we felt that the things discussed on Allan's sit-down with us on the TWHC platform was just as relevant, but we will definitely be sharing Arys' appearance on his show very soon! Until then, enjoy this man-to-man discussion about relationships, therapy, mental health, and the power of decisions! Get to know Allan and his platform below!https://stmhpodcast.com/-----------------------------------------------------------------------------Thank you to those who supported us at this year's Podcamp Toronto conference. It was such a beautiful event, and we can't wait to see you all next year! Podcamp: https://2023.podcamptoronto.com/The Safe Room Podcast: https://linktr.ee/Shon.Williams-----------------------------------------------------------------------------The Who & How Club is sponsored by BetterHelpGet 10% off your first month with BetterHelp when you use our code: WHOHOW - https://www.betterhelp.com/whohowFeeling stressed? Dealing with anxiety or problems from your past? Ready to learn how to forgive? Choose BetterHelp and find your own online therapist to start your journey to therapy today.------------------------------------------------------------------------------Follow and Subscribe! The Who & How Club:https://linktr.ee/whohowclubArys Déjan:https://linktr.ee/only1arys

Long Cool Memories! Legendary singer, Rock & Roll Hall of Famer, Allan Clarke of The Hollies, reflects on his life and long career in music! This weeks extended interview includes stories about his friendship since the age of 6 with Graham Nash and the devastation he felt when Graham left the band, the VERY early days of The Hollies, working on songs with The Beatles, his hits including 'Long Cool Woman in a Black Dress', and how he was inducted into the Rock and Roll Hall of Fame. He also tells the stories of how his family's battles with cancer changed their lives, how he felt he was unable to ever sing again and a funny story about a trip to Las Vegas to see Elvis Presley! Learn more about your ad choices. Visit megaphone.fm/adchoices

Maverick Tales with John Giles, Tony Currie, Alan Hudson, Allan Clarke, Barry Silkman and Malcolm Macdonald, Sit back and enjoy episode two of " The Maverick Tales"With Paul CollinsEdited/Produced by Chris BrowneFull version can be found at: www.patreon.com/srbmedia www.srbmedia.co.uk Support this show http://supporter.acast.com/srbmedia. Hosted on Acast. See acast.com/privacy for more information.

In Episode 136 of Terry Curran's The Curran View ..Regular features inc Topics of the week Magic Moments Book Corner in association with My Football Books Star of the 70s is Roberto Rivellino Strange but True On this Day Mavericks Tales & Football Forecast .... #thecurranview #terrycurran #srbmediaWith Paul CollinsEdited/Produced by Chris BrowneFull podcast with extra content plus Maverick tale form Allan Clarke is available to Patrons at www.patreon.com/srbmediawww.srbmedia.co.ukSupport this show http://supporter.acast.com/srbmedia. Hosted on Acast. See acast.com/privacy for more information.

In Episode 131 of Terry Curran's The Curran View ..Regular features inc Topics of the week Alan Hudson joins us to talk about Ronaldo Magic Moments Book Corner in association with My Football Books Star of the 70s is Allan Clarke Strange but True On this Day Tales that Mavericks Tell & Football Forecast .... #thecurranview #terrycurran #srbmediaFull episode includes interviews with Alan Hudson and Allan Clarke at: www.patreon.com/srbmediaWith Paul CollinsEdited/Produced by Chris Brownewww.srbmedia.co.ukSupport this show http://supporter.acast.com/srbmedia. Hosted on Acast. See acast.com/privacy for more information.

On this Episode, I talk to renowned therapist and super Nerd Allan Clark about video game addiction, what video games to play to relax and we create our ideal video games soundtrack. All this and more on this episode of the ProNerd Report! Our guest on this episode is the host of the Straight Talking Mental Health podcast, Allan Clarke!   All this and more on this Episode of the ProNerd Report Podcast!

Allan Clarke has always felt different, somehow. "Like an alien on earth," he describes. Finally, at age 44, he was diagnosed with autism, and many of those pieces fell into place. Listen in as psychiatrist, Dr. Jennifer Reid, MD, speaks with Allan Clarke, MSc, psychotherapist, host of The Straight Talking Mental Health Podcast, former DJ, rapper and award-winning actor. He opens up about his difficult childhood in poverty, his reasons for escaping into music and acting, and how his recent autism diagnosis has affected his relationships, including with his children. Straight Talking Mental Health Podcast on Instagram: @stmhpodcast Jennifer Reid, MD on Instagram: @TheReflectiveDocLooking for more from The Reflective Doc? Subscribe today so you don't miss out!Also check out Dr. Reid's regular contributions to Psychology Today: Think Like a Shrink**********************Seeking a mental health provider? Try Psychology TodayNational Suicide Prevention Lifeline: 1-800-273-8255SAMHSA's National Helpline - 1-800-662-HELP (4357)-a free, confidential, 24/7, 365-day-a-year treatment referral and information service (in English and Spanish) for individuals and families facing mental and/or substance use disorders.Thank you to Brendan Callahan for the original music featured on the podcast.Disclaimer:The information and other content provided on this podcast or in any linked materials, are not intended and should not be construed as medical advice, nor is the information a substitute for professional medical expertise or treatment. All content, including text, graphics, images and information, contained on or available through this website is for general information purposes only.If you or any other person has a medical concern, you should consult with your health care provider or seek other professional medical treatment. Never disregard professional medical advice or delay in seeking it because of something that have read on this website, blog or in any linked materials. If you think you may have a medical emergency, call your doctor or emergency services (911) immediately. You can also access the National Suicide Help Line at 1-800-273-8255

Thirty years ago three children disappeared from the same street in a small town in New South Wales. They became known as the Bowraville Three: Sixteen-year-olds Colleen Walker-Craig and Clinton Speedy-Duroux and four-year-old Evelyn Greenup. One man was considered the main suspect in all three murders - he was tried and aquitted over two murders, but the three deaths were never heard together in one trial. Director Allan Clarke spent years documenting the Aboriginal community's long fight for justice - talking to family members about the disappearances, the initial investigation, trials and attempts to change the law. The result is The Bowraville Murders, which premiered late last year in Australia and is screening now in New Zealand as part of the DocEdge festival.

Wild Tales begins at an impasse. At the tail end of the 60s, Graham Nash writes, his time in The Hollies had seemingly run its course. A trip to the U.S. to visit his then-girlfriend, Joni Mitchell, found him harmonizing with a pair of musicians who had recently left their own iconic groups. That particular story has a happy ending, of course. Crosby, Stills, Nash (and sometimes Young) played a central role in defining the following decade. Nash's first two solo albums, released concurrently with the CSN's early days, are the subject of his new album, which finds him revisiting the work in a live setting. He's a loyal person (he's about to go into the studio to record songs with Hollies' singer Allan Clarke, as we speak), but not necessarily a nostalgic one. Thankfully, those songs from 50 years ago still pack a proper punch. See acast.com/privacy for privacy and opt-out information.

Wild Tales begins at an impasse. At the tail end of the 60s, Graham Nash writes, his time in The Hollies had seemingly run its course. A trip to the U.S. to visit his then-girlfriend, Joni Mitchell, found him harmonizing with a pair of musicians who had recently left their own iconic groups. That particular story has a happy ending, of course. Crosby, Stills, Nash (and sometimes Young) played a central role in defining the following decade. Nash's first two solo albums, released concurrently with the CSN's early days, are the subject of his new album, which finds him revisiting the work in a live setting. He's a loyal person (he's about to go into the studio to record songs with Hollies' singer Allan Clarke, as we speak), but not necessarily a nostalgic one. Thankfully, those songs from 50 years ago still pack a proper punch.

Graham Nash, Allan Clarke and Tony Hicks, The Hollies

The film ‘The Bowraville Murders' by investigative journalist and filmmaker Allan Clarke recounts the epic battle for justice by the families of three Aboriginal children murdered in a rural NSW town. The film shines the light on the systemic racism inside the justice system. The film will premiere at the Sydney Film Festival this Saturday 13/11/2021

Episode 129 of A History of Rock Music in Five Hundred Songs looks at “(I Can't Get No) Satisfaction” by the Rolling Stones, and how they went from being a moderately successful beat group to being the only serious rivals to the Beatles. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have an eleven-minute bonus episode available, on "I'll Never Find Another You" by the Seekers. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. i used a lot of resources for this episode. Two resources that I've used for this and all future Stones episodes — The Rolling Stones: All The Songs by Phillipe Margotin and Jean-Michel Guesden is an invaluable reference book, while Old Gods Almost Dead by Stephen Davis is the least inaccurate biography. When in doubt, the version of the narrative I've chosen to use is the one from Davis' book. I've also used Andrew Loog Oldham's autobiography Stoned, and Keith Richards' Life, though be warned that both casually use slurs. Sympathy for the Devil: The Birth of the Rolling Stones and the Death of Brian Jones by Paul Trynka is, as the title might suggest, essentially special pleading for Jones. It's as well-researched and well-written as a pro-Jones book can be, and is worth reading for balance, though I find it unconvincing. This web page seems to have the most accurate details of the precise dates of sessions and gigs. And this three-CD set contains the A and B sides of all the Stones' singles up to 1971, including every Stones track I excerpt in this episode. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today, we're going to look at one of the most important riffs in rock and roll history -- the record that turned the distorted guitar riff into the defining feature of the genre, even though the man who played that riff never liked it. We're going to look at a record that took the social protest of the folk-rock movement, aligned it with the misogyny its singer had found in many blues songs, and turned it into the most powerful expression of male adolescent frustration ever recorded to that point. We're going to look at "Satisfaction" by the Rolling Stones: [Excerpt: The Rolling Stones, "Satisfaction"] A note before we start this -- this episode deals with violence against women, and with rape. If you're likely to be upset hearing about those things, you might want to either skip this episode, or read the transcript on the website first. The relevant section comes right at the end of the episode, so you can also listen through to the point where I give another warning, without missing any of the rest of the episode. Another point I should make here -- most of the great sixties groups have very accurate biographies written about them. The Stones, even more than the Beatles, have kept a surprising amount of control over their public image, with the result that the only sources about them are either rather sanitised things made with their co-operation, or rather tabloidy things whose information mostly comes from people who are holding a grudge or have a particular agenda. I believe that everything in this episode is the most likely of the various competing narratives, but if you check out the books I used, which are listed on the blog post associated with this episode, you'll see that there are several different tellings of almost every bit of this story. So bear that in mind as you're listening. I've done my best. Anyway, on with the episode.  When we left the Rolling Stones, they were at the very start of their recording career, having just released their first big hit single, a version of "I Wanna Be Your Man", which had been written for them by Lennon and McCartney.  The day after they first appeared on Top of the Pops, they were back in the recording studio, but not to record for themselves. The five Stones, plus Ian Stewart, were being paid two pounds a head by their manager/producer Andrew Oldham to be someone else's backing group. Oldham was producing a version of "To Know Him is to Love Him", the first hit by his idol Phil Spector, for a new singer he was managing named Cleo Sylvester: [Excerpt: Cleo, "To Know Him is to Love Him"] In a further emulation of Spector, the B-side was a throwaway instrumental. Credited to "the Andrew Oldham Orchestra", and with Mike Leander supervising, the song's title, "There Are But Five Rolling Stones", gave away who the performers actually were: [Excerpt: The Andrew Oldham Orchestra, "There Are But Five Rolling Stones"] At this point, the Stones were still not writing their own material, but Oldham had already seen the writing on the wall -- there was going to be no place in the new world opened up by the Beatles for bands that couldn't generate their own hits, and he had already decided who was going to be doing that for his group.  It would have been natural for him to turn to Brian Jones, still at this point the undisputed leader of the group, and someone who had a marvellous musical mind. But possibly in order to strengthen the group's identity as a group rather than a leader and his followers -- Oldham has made different statements about this at different points -- or possibly just because they were living in the same flat as him at the time, while Jones was living elsewhere, he decided that the Rolling Stones' equivalent of Lennon and McCartney was going to be Jagger and Richards. There are several inconsistencies in the stories of how Jagger and Richards started writing together -- and things like what the actual first song they wrote together was, or when they wrote it, will probably always be lost to the combination of self-aggrandisement and drug-fuelled memory loss that makes it difficult to say anything definitive about much of their career. But we do know that one of the earliest songs they wrote together was "As Tears Go By", a song that wasn't considered suitable for the group -- though they did later record a version of it -- and was given instead to Marianne Faithfull, a young singer with whom Jagger was about to enter into a relationship: [Excerpt: Marianne Faithfull, "As Tears Go By"] It's not entirely clear who wrote what on that song -- it's usually referred to as a Jagger/Richards collaboration, but it's credited to Jagger, Richards, and Oldham, and at least one source claims it was actually written by Jagger and the session guitarist Big Jim Sullivan -- and if so, this would be the first time of many that a song written by Jagger or Richards in collaboration with someone else would be credited to Jagger and Richards without any credit going to their co-writer. But the consensus story, as far as there is a consensus, seems to be that Oldham locked Jagger and Richards into a kitchen, and told them they weren't coming out until they had a song written. And it had to be a proper song, not a pastiche of something else, and it had to be the kind of song you could release as a single, not a blues song. After spending all night in the kitchen, Richards eventually got bored of being stuck in there, and started strumming his guitar and singing "it is the evening of the day", and the two of them quickly came up with the rest of the song. After "As Tears Go By", they wrote a lot of songs that they didn't feel were right for the group, but gave them away to other people, like Gene Pitney, who recorded "That Girl Belongs to Yesterday": [Excerpt: Gene Pitney, "That Girl Belongs to Yesterday"] Pitney, and his former record producer Phil Spector, had visited the Stones during the sessions for their first album, which started the day after that Cleo session, and had added a little piano and percussion to a blues jam called "Little by Little", which also featured Allan Clarke and Graham Nash of the Hollies on backing vocals. The songwriting on that track was credited to Spector and Nanker Phelge, a group pseudonym that was used for jam sessions and instrumentals. It was one of two Nanker Phelge songs on the album, and there was also an early Jagger and Richards song, "Tell Me", an unoriginal Merseybeat pastiche: [Excerpt: The Rolling Stones, "Tell Me"] But the bulk of the album was made up of cover versions of songs by Bo Diddley, Chuck Berry, Rufus Thomas, Marvin Gaye, and other Black American musicians. The album went to number one in the UK album charts, which is a much more impressive achievement than it might sound. At this point, albums sold primarily to adults with spending money, and the album charts changed very slowly. Between May 1963 and February 1968, the *only* artists to have number one albums in the UK were the Beatles, the Stones, Dylan, the Monkees, the cast of The Sound of Music, and Val Doonican. And between May 63 and April 65 it was *only* the Beatles and the Stones. But while they'd had a number one album, they'd still not had a number one single, or even a top ten one. "I Wanna Be Your Man" had been written for them and had hit number twelve, but they were still not writing songs that they thought were suited for release as singles, and they couldn't keep asking the Beatles to help them out, so while Jagger and Richards kept improving as songwriters, for their next single they chose a Buddy Holly B-side: [Excerpt: Buddy Holly, "Not Fade Away"] The group had latched on to the Bo Diddley rhythm in that song, along with its machismo -- many of the cover versions they chose in this period seem to have not just a sexual subtext but to be overtly bragging, and if Little Richard is to be believed on the subject, Holly's line "My love is bigger than a Cadillac" isn't that much of an exaggeration. It's often claimed that the Stones exaggerated and emphasised the Bo Diddley sound, and made their version more of an R&B number than Holly's, but if anything their version owes more to someone else.  The Stones' first real UK tour had been on a bill with Mickie Most, Bo Diddley, Little Richard, and the Everly Brothers, and Keith Richards in particular had been amazed by the Everlys. He said later "The best rhythm guitar playing I ever heard was from Don Everly. Nobody ever thinks about that, but their rhythm guitar playing is perfect". Don Everly, of course, was himself very influenced by Bo Diddley, and learned to play in open-G tuning from Diddley -- and several years later, Keith Richards would make that tuning his own, after being inspired by Everly and Ry Cooder.  The Stones' version of "Not Fade Away" owes at least as much to Don Everly's rhythm guitar style as to that of Holly or Diddley. Compare, say, the opening of "Wake Up Little Suzie": [Excerpt: The Everly Brothers, "Wake Up Little Suzie"] The rhythm guitar on the Stones version of "Not Fade Away" is definitely Keith Richards doing Don Everly doing Bo Diddley: [Excerpt: The Rolling Stones, "Not Fade Away"] That was recorded during the sessions for their first album, and was, depending on whose story you believe, another track that featured Phil Spector and Gene Pitney on percussion, recorded at the same session as "Little by Little", which became its B-side. Bill Wyman, who kept copious notes of the group's activities, has always said that the idea that it was recorded at that session was nonsense, and that it was recorded weeks later, and Oldham merely claimed Spector was on the record for publicity purposes. On the other hand, Gene Pitney had a very strong memory of being at that session. Spector had been in the country because the Ronettes had been touring the UK with the Stones as one of their support acts, along with the Swinging Blue Jeans and Marty Wilde, and Spector was worried that Ronnie might end up with one of the British musicians. He wasn't wrong to worry -- according to Ronnie's autobiography, there were several occasions when she came very close to sleeping with John Lennon, though they never ended up doing anything and remained just friends, while according to Keith Richards' autobiography he and Ronnie had a chaste affair on that tour which became less chaste when the Stones later hit America. But Spector had flown over to the UK to make sure that he remained in control of the young woman who he considered his property. Pitney, meanwhile, according to his recollection, turned up to the session at the request of Oldham, as the group were fighting in the studio and not getting the track recorded. Pitney arrived with cognac, telling the group that it was his birthday and that they all needed to get drunk with him. They did, they stopped fighting, and they recorded the track: [Excerpt: The Rolling Stones, "Not Fade Away"] "Not Fade Away" made number three on the UK charts, and also became the first Stones record to chart in the US at all, though it only scraped its way to number forty-eight, not any higher. But in itself that was a lot -- it meant that the Stones had a record doing well enough to justify them going to the US for their first American tour.  But before that, they had to go through yet another UK tour -- though this isn't counted as an official tour in the listings of their tours, it's just a bunch of shows, in different places, that happened to be almost every night for a couple of months. By this time, the audience response was getting overwhelming, and shows often had to be cut short to keep the group safe. At one show, in Birkenhead, the show had to be stopped after the band played *three bars*, with the group running off stage after that as the audience invaded the stage. And then it was off to the US, where they were nowhere near as big, though while they were over there, "Tell Me" was also released as a single to tie in with the tour, and that did surprisingly well, making number twenty-four. The group's first experience of the US wasn't an entirely positive one -- there was a disastrous appearance on the Dean Martin Show on TV, with Martin mocking the group both before and after their performance, to the extent that Bob Dylan felt moved to write in the liner notes to his next album “Dean Martin should apologise t'the Rolling Stones”. But on the other hand, there were some good experiences. They got to see James Brown at the Apollo, and Jagger started taking notes -- though Richards also noted *what* Jagger was noting, saying "James wanted to show off to these English folk. He's got the Famous Flames, and he's sending one out for a hamburger, he's ordering another to polish his shoes and he's humiliating his own band. To me, it was the Famous Flames, and James Brown happened to be the lead singer. But the way he lorded it over his minions, his minders and the actual band, to Mick was fascinating" They also met up with Murray the K, the DJ who had started the career of the Ronettes among others. Murray had unilaterally declared himself "the fifth Beatle", and was making much of his supposed connections with British pop stars, most of whom either had no idea who he was or actively disliked him (Richards, when talking about him, would often replace the K with a four-letter word usually spelled with a "c"). The Stones didn't like him any more than any of the other groups did, but Murray played them a record he thought they'd be interested in -- "It's All Over Now" by the Valentinos, the song that Bobby Womack had written and which was on Sam Cooke's record label: [Excerpt: The Valentinos, "It's All Over Now"] They decided that they were going to record that, and handily Oldham had already arranged some studio time for them. As Giorgio Gomelsky would soon find with the Yardbirds, Oldham was convinced that British studios were simply unsuitable for recording loud blues-based rock and roll music, and Phil Spector had suggested to him that if the Stones loved Chess records so much, they might as well record at Chess studios.  So while the group were in Chicago, they were booked in for a couple of days in the studio at Chess, where they were horrified to discover that their musical idol Muddy Waters was earning a little extra cash painting the studio ceiling and acting as a roadie, helping them in with their equipment.  (It should be noted here that Marshall Chess, Leonard Chess' son who worked with the Stones in the seventies, has denied this happened. Keith Richards insists it did.) But after that shock, they found working at Chess a great experience. Not only did various of their musical idols, like Willie Dixon and Chuck Berry, as well as Waters, pop in to encourage them, and not only were they working with the same engineer who had recorded many of those people's records, but they were working in a recording studio with an actual multi-track system rather than a shoddy two-track tape recorder. From this point on, while they would still record in the UK on occasion, they increasingly chose to use American studios.  The version of "It's All Over Now" they recorded there was released as their next single. It only made the top thirty in the US -- they had still not properly broken through there -- but it became their first British number one: [Excerpt: The Rolling Stones, "It's All Over Now"] Bobby Womack was furious that the Stones had recorded his song while his version was still new, but Sam Cooke talked him down, explaining that if Womack played his cards right he could have a lot of success through his connection with these British musicians. Once the first royalty cheques came in, Womack wasn't too upset any more. When they returned to the UK, they had another busy schedule of touring and recording -- and not all of it just for Rolling Stones work. There was, for example, an Andrew Oldham Orchestra session, featuring many people from the British session world who we've noted before -- Joe Moretti from Vince Taylor's band, John Paul Jones, Jimmy Page, Andy White, Mike Leander, and more. Mick Jagger added vocals to their version of "I Get Around": [Excerpt: The Andrew Oldham Orchestra, "I Get Around"] It's possible that Oldham had multiple motives for recording that -- Oldham was always a fan of Beach Boys style pop music more than he was of R&B, but he also was in the process of setting up his own publishing company, and knew that the Beach Boys' publishers didn't operate in the UK. In 1965, Oldham's company would become the Beach Boys' UK publishers, and he would get a chunk of every cover version of their songs, including his own. There were also a lot of demo sessions for Jagger/Richards songs intended for other artists, with Mick and Keith working with those same session musicians -- like this song that they wrote for the comedian Jimmy Tarbuck, demoed by Jagger and Richards with Moretti, Page, Jones, John McLaughlin, Big Jim Sullivan, and Andy White: [Excerpt: Mick Jagger and Keith Richards, "We're Wastin' Time"] But of course there were also sessions for Rolling Stones records, like their next UK number one single, "Little Red Rooster": [Excerpt: The Rolling Stones, "Little Red Rooster"] "Little Red Rooster" is a song that is credited to Willie Dixon, but which actually combines several elements from earlier blues songs, including a riff inspired by the one from Son House's "Death Letter Blues": [Excerpt: Son House, "Death Letter Blues"] A melody line and some lines of lyric from Memphis Minnie's "If You See My Rooster": [Excerpt: Memphis Minnie, "If You See My Rooster"] And some lines from Charley Patton's "Banty Rooster Blues": [Excerpt: Charley Patton, "Banty Rooster Blues"] Dixon's resulting song had been recorded by Howlin' Wolf in 1961: [Excerpt: Howlin' Wolf, "Little Red Rooster"] That hadn't been a hit, but Sam Cooke had recorded a cover version, in a very different style, that made the US top twenty and proved the song had chart potential: [Excerpt: Sam Cooke, "Little Red Rooster"] The Rolling Stones version followed Howlin' Wolf's version very closely, except that Jagger states that he *is* a cock -- I'm sorry, a rooster -- rather than that he merely has one. And this would normally be something that would please Brian Jones immensely -- that the group he had formed to promote Delta and Chicago blues had managed to get a song like that to number one in the UK charts, especially as it was dominated by his slide playing. But in fact the record just symbolised the growing estrangement between Jones and the rest of his band. When he turned up at the session to record "Little Red Rooster", he was dismayed to find out that the rest of the group had deliberately told him the wrong date. They'd recorded the track the day before, without him, and just left a note from Jagger to tell him where to put his slide fills. They spent the next few months ping-ponging between the UK and the US. In late 1964 they made another US tour, during which at one point Brian Jones collapsed with what has been variously reported as stress and alcohol poisoning, and had to miss several shows, leaving the group to carry on without him. There was much discussion at this point of just kicking him out of the band, but they decided against it -- he was still perceived as the group's leader and most popular member. They also appeared on the TAMI show, which we've mentioned before, and which we'll look at in more detail when we next look at James Brown, but which is notable here for two things. The first is that they once again saw how good James Brown was, and at this point Jagger decided that he was going to do his best to emulate Brown's performance -- to the extent that he asked a choreographer to figure out what Brown was doing and teach it to him, but the choreographer told Jagger that Brown moved too fast to figure out all his steps. The other is that the musical director for the TAMI Show was Jack Nitzsche, and this would be the start of a professional relationship that would last for many years. We've seen Nitzsche before in various roles -- he was the co-writer of "Needles and Pins", and he was also the arranger on almost all of Phil Spector's hits. He was so important to Spector's sound that Keith Richards has said “Jack was the Genius, not Phil. Rather, Phil took on Jack's eccentric persona and sucked his insides out.” Nitzsche guested on piano when the Stones went into the studio in LA to record a chunk of their next album, including the ballad "Heart of Stone", which would become a single in the US. From that point on, whenever the Stones recorded in LA, Nitzsche would be there, adding keyboards and percussion and acting as an uncredited co-producer and arranger. He was apparently unpaid for this work, which he did just because he enjoyed being around the band. Nitzsche would also play on the group's next UK single, recorded a couple of months later. This would be their third UK number one, and the first one credited to Jagger and Richards as songwriters, though the credit is a rather misleading one in this case, as the chorus is taken directly from a gospel song by Pops Staples, recorded by the Staple Singers: [Excerpt: The Staple Singers, "This May Be The Last Time"] Jagger and Richards took that chorus and reworked it into a snarling song whose lyrics were based around Jagger's then favourite theme -- how annoying it is when women want to do things other than whatever their man wants them to do: [Excerpt: The Rolling Stones, "The Last Time"] There is a deep, deep misogyny in the Stones' lyrics in the mid sixties, partly inspired by the personas taken on by some blues men (though there are very few blues singers who stuck so unrelentingly to a single theme), and partly inspired by Jagger's own relationship with Chrissie Shrimpton, who he regarded as his inferior, even though she was his superior in terms of the British class system. That's even more noticeable on "Play With Fire", the B-side to "The Last Time". "The Last Time" had been recorded in such a long session that Jones, Watts, and Wyman went off to bed, exhausted. But Jagger and Richards wanted to record a demo of another song, which definitely seems to have been inspired by Shrimpton, so they got Jack Nitzsche to play harpsichord and Phil Spector to play (depending on which source you believe) either a bass or a detuned electric guitar: [Excerpt: The Rolling Stones, "Play With Fire"] The demo was considered good enough to release, and put out as the B-side without any contribution from the other three Stones. Other songs Chrissie Shrimpton would inspire over the next couple of years would include "Under My Thumb", "19th Nervous Breakdown", and "Stupid Girl". It's safe to say that Mick Jagger wasn't going to win any boyfriend of the year awards. "The Last Time" was a big hit, but the follow-up was the song that turned the Stones from being one of several British bands who were very successful to being the only real challengers to the Beatles for commercial success. And it was a song whose main riff came to Keith Richards in a dream: [Excerpt: The Rolling Stones, "(I Can't Get No) Satisfaction)"] Richards apparently had a tape recorder by the side of his bed, and when the riff came to him he woke up enough to quickly record it before falling back to sleep with the tape running. When he woke up, he'd forgotten the riff, but found it at the beginning of a recording that was otherwise just snoring. For a while Richards was worried he'd ripped the riff off from something else, and he's later said that he thinks that it was inspired by "Dancing in the Street". In fact, it's much closer to the horn line from another Vandellas record, "Nowhere to Run", which also has a similar stomping rhythm: [Excerpt: Martha and the Vandellas, "Nowhere to Run"] You can see how similar the two songs are by overlaying the riff from “Satisfaction” on the chorus to “Nowhere to Run”: [Excerpt “Nowhere to Run”/”Satisfaction”] "Nowhere to Run" also has a similar breakdown. Compare the Vandellas: [Excerpt: Martha and the Vandellas, "Nowhere to Run"] to the Stones: [Excerpt: The Rolling Stones, "(I Can't Get No) Satisfaction"] So it's fairly clear where the song's inspiration came from, but it's also clear that unlike a song like "The Last Time" this *was* just inspiration, rather than plagiarism.  The recorded version of "Satisfaction" was never one that its main composer was happy with. The group, apart from Brian Jones, who may have added a harmonica part that was later wiped, depending on what sources you read, but is otherwise absent from the track, recorded the basic track at Chess studios, and at this point it was mostly acoustic. Richards thought it had come out sounding too folk-rock, and didn't work at all. At this point Richards was still thinking of the track as a demo -- though by this point he was already aware of Andrew Oldham's tendency to take things that Richards thought were demos and release them. When Richards had come up with the riff, he had imagined it as a horn line, something like the version that Otis Redding eventually recorded: [Excerpt: Otis Redding, "(I Can't Get No) Satisfaction"] So when they went into the studio in LA with Jack Nitzsche to work on some tracks there including some more work on the demo for “Satisfaction”, as well as Nitzsche adding some piano, Richards also wanted to do something to sketch out what the horn part would be. He tried playing it on his guitar, and it didn't sound right, and so Ian Stewart had an idea, went to a music shop, and got one of the first ever fuzz pedals, to see if Richards' guitar could sound like a horn. Now, people have, over the years, said that "Satisfaction" was the first record ever to use a fuzz tone. This is nonsense. We saw *way* back in the episode on “Rocket '88” a use of a damaged amp as an inspired accident, getting a fuzzy tone, though nobody picked up on that and it was just a one-off thing. Paul Burlison, the guitarist with the Rock 'n' Roll Trio, had a similar accident a few years later, as we also saw, and went with it, deliberately loosening tubes in his amp to get the sound audible on their version of "Train Kept A-Rollin'": [Excerpt: Johnny Burnette and the Rock 'n' Roll Trio, "Train Kept A-Rollin'"] A few years later, Grady Martin, the Nashville session player who was the other guitarist on that track, got a similar effect on his six-string bass solo on Marty Robbins' "Don't Worry", possibly partly inspired by Burlison's sound: [Excerpt: Marty Robbins, "Don't Worry"] That tends to be considered the real birth of fuzz, because that time it was picked up by the whole industry. Martin recorded an instrumental showing off the technique: [Excerpt: Grady Martin, "The Fuzz"] And more or less simultaneously, Wrecking Crew guitarist Al Casey used an early fuzz tone on a country record by Sanford Clark: [Excerpt: Sanford Clark, "Go On Home"] And the pedal steel player Red Rhodes had invented his own fuzz box, which he gave to another Wrecking Crew player, Billy Strange, who used it on records like Ann-Margret's "I Just Don't Understand": [Excerpt: Ann-Margret, "I Just Don't Understand"] All those last four tracks, and many more, were from 1960 or 1961. So far from being something unprecedented in recording history, as all too many rock histories will tell you, fuzz guitar was somewhat passe by 1965 -- it had been the big thing on records made by the Nashville A-Team and the Wrecking Crew four or five years earlier, and everyone had moved on to the next gimmick long ago. But it was good enough to use to impersonate a horn to sketch out a line for a demo. Except, of course, that while Jagger and Richards disliked the track as recorded, the other members of the band, and Ian Stewart (who still had a vote even though he was no longer a full member) and Andrew Oldham all thought it was a hit single as it was. They overruled Jagger and Richards and released it complete with fuzz guitar riff, which became one of the most well-known examples of the sound in rock history. To this day, though, when Richards plays the song live, he plays it without the fuzztone effect. Lyrically, the song sees Mick Jagger reaching for the influence of Bob Dylan and trying to write a piece of social commentary. The title line seems, appropriately for a song partly recorded at Chess studios, to have come from a line in a Chuck Berry record, "Thirty Days": [Excerpt: Chuck Berry, "Thirty Days"] But the sentiment also owes more than a little to another record by a Chess star, one recorded so early that it was originally released when Chess was still called Aristocrat Records -- Muddy Waters'  "I Can't Be Satisfied": [Excerpt: Muddy Waters, "I Can't Be Satisfied"] “Satisfaction” is the ultimate exercise in adolescent male frustration. I once read something, and I can't for the life of me remember where or who the author was, that struck me as the most insightful critique of the sixties British blues bands I've ever heard. That person said that by taking the blues out of the context in which the music had been created, they fundamentally changed the meaning of it -- that when Bo Diddley sang "I'm a Man", the subtext was "so don't call me 'boy', cracker". Meanwhile, when some British white teenagers from Essex sang the same words, in complete ignorance of the world in which Diddley lived, what they were singing was "I'm a man now, mummy, so you can't make me tidy my room if I don't want to". But the thing is, there are a lot of teenagers out there who don't want to tidy their rooms, and that kind of message does resonate. And here, Jagger is expressing the kind of aggressive sulk that pretty much every teenager, especially every frustrated male teenager will relate to. The protagonist is dissatisfied with everything in his life, so criticism of the vapidity of advertising is mixed in with sexual frustration because women won't sleep with the protagonist when they're menstruating: [Excerpt: The Rolling Stones, "(I Can't Get No) Satisfaction"] It is the most adolescent lyric imaginable, but pop music is an adolescent medium. The song went to number one in the UK, and also became the group's first American number one. But Brian Jones resented it, so much so that when they performed the song live, he'd often start playing “I'm Popeye the Sailor Man”. This was partly because it wasn't the blues he loved, but also because it was the first Stones single he wasn't on (again, at least according to most sources. Some say he played acoustic rhythm guitar, but most say he's not on it and that Richards plays all the guitar parts). And to explain why, I have to get into the unpleasant details I talked about at the start. If you're likely to be upset by discussion of rape or domestic violence, stop the episode now. Now, there are a number of different versions of this story. This is the one that seems most plausible to me, based on what else I know about the Stones, and the different accounts, but some of the details might be wrong, so I don't want anyone to think that I'm saying that this is absolutely exactly what happened. But if it isn't, it's the *kind* of thing that happened many times, and something very like it definitely happened. You see, Brian Jones was a sadist, and not in a good way. There are people who engage in consensual BDSM, in which everyone involved is having a good time, and those people include some of my closest friends. This will never be a podcast that engages in kink-shaming of consensual kinks, and I want to make clear that what I have to say about Jones has nothing to do with that. Because Jones was not into consent. He was into physically injuring non-consenting young women, and he got his sexual kicks from things like beating them with chains. Again, if everyone is involved is consenting, this is perfectly fine, but Jones didn't care about anyone other than himself. At a hotel in Clearwater, Florida, on the sixth of May 1965, the same day that Jagger and Richards finished writing "Satisfaction", a girl that Bill Wyman had slept with the night before came to him in tears. She'd been with a friend the day before, and the friend had gone off with Jones while she'd gone off with Wyman. Jones had raped her friend, and had beaten her up -- he'd blackened both her eyes and done other damage. Jones had hurt this girl so badly that even the other Stones, who as we have seen were very far from winning any awards for being feminists of the year, were horrified. There was some discussion of calling the police on him, but eventually they decided to take matters into their own hands, or at least into one of their employees' hands. They got their roadie Mike Dorsey to teach him a lesson, though Oldham was insistent that Dorsey not mess up Jones' face. Dorsey dangled Jones by his collar and belt out of an upstairs window and told Jones that if he ever did anything like that again, he'd drop him. He also beat him up, cracking two of Jones' ribs. And so Jones was not in any state to play on the group's first US number one, or to play much at all at the session, because of the painkillers he was on for the cracked ribs.  Jones would remain in the band for the next few years, but he had gone from being the group's leader to someone they disliked and were disgusted by. And as we'll see the next couple of times we look at the Stones, he would only get worse.

Violence erupts as Brisbane's frustrated Murri community march on police headquarters. And a controversial government watchdog is put in charge of investigating the arrest and death of Daniel Yock.

Joseph Blair was the sole eyewitness as Daniel Yock lay dying in the back of a police van. Now, he breaks his silence about the moments leading up to Daniel's death. NB: Aboriginal and Torres Strait Islander people are warned that the following image depicts a person who has died.

Tensions worsen when six police officers are accused of kidnapping three Aboriginal children and dumping them twelve kilometres away. We take a detour to look at the infamous 'Pinkenba Six' incident - and two of the boys speak publicly for the first time in 26 years.

The Criminal Justice Commission inquiry into the arrest and death of Daniel Yock begins — without a final autopsy report. But, from the outset, the inquiry seems to be divided into two camps — the police on one side, and the Brisbane Murri community on the other.

Commissioner Wyvill delivers his report into the death of Daniel Yock and what he finds will confound Daniel's family and friends. Although the inquiry wraps up and the case is closed — it's not the end of the story.

Daniel Yock and his mates are sitting in Brisbane's Musgrave Park when they notice a police van. What happens next triggers a dramatic chain of events.

In this very special episode of Always Was, Always Will be our stories, I sit down with Gomeroi and Muruwari filmmaker and journalist, Allan Clarke to discuss his new project, 'The Bowraville Murders.' This documentary investigates one of Australia's worst unsolved murder cases that has been marred by systemic racism – the 1990-91 serial killings of three Aboriginal children, Evelyn, Colleen and Clinton. They were all taken from the same street in the rural town of Bowraville NSW, all killed within five months of each other and all of their remains found off the same dirt track. For 30 years, the victims' families have fought a courageous battle for justice that is now being passed to the next generation. In recent weeks, with the surge of the black lives matter movement and discussions of injustice faced by Aboriginal and Torres Strait Islander people in our country today, many have come looking for ways to truly make a difference - as you will hear Allan say, truth telling about cases such as these is a vital first step. Which can also followed by financially supporting projects such as this. The documentary team require a further $20k to make this production a reality, that will be broadcast on SBS in 2021, so if you are moved and haunted by this story, as we are, we ask that you donate any amount you can to the Bowraville Murders documentary crowdfunding campaign here: https://documentaryaustralia.com.au/project/the-bowraville-murders/ Thank you to Allan and the whole team behind the Bowraville Murders Documentary, for your dedication to truth telling and justice. Our deepest condolences are with the families of these victims and we are hopeful that this will bring some peace and sense of justice. To watch the trailer and read more, head to @bowravilledoco on social media. . . . Always Was, Always Will Be Our Stories is Written, Hosted, Produced and Edited by Marlee Silva, on the unceded lands of the Dharrawal people. We pay our deepest respects to those people and their Elders past and present, whose connection to this place has remained unbroken for over 60 thousand years. . . . Theme Music: 'Run' by Tristan Barton Podcast Artwork: @wuruhi.auaha . . .

It's the Holiday Deeper Dig! Christian gets in deep with Allan Clarke, one of the founders of an original British Invasion band, The Hollies! The Hollies are a British rock group best known for their pioneering and distinctive three-part vocal harmony style. The Hollies became one of the leading British groups of the 1960s (231 weeks on the UK singles charts during the 1960s, the 9th highest of any artist of the decade) and into the mid 1970s. The band was formed by Allan Clarke and Graham Nash in 1962 as a Merseybeat-type music group in Manchester, although some of the band members came from towns further north in East Lancashire. Graham Nash left the group in 1968 to form the supergroup Crosby, Stills & Nash.They enjoyed considerable popularity in many countries (at least 60 singles or EPs and 26 albums charting somewhere in the world, spanning over five decades), although they did not achieve major US chart success until 1966 with "Bus Stop". The Hollies had over 30 charting singles on the UK Singles Chart, and 22 on the Billboard Hot 100, with major hits on both sides of the Atlantic that included "Just One Look", "Look Through Any Window", "I Can't Let Go", "Bus Stop", "Stop Stop Stop", "On a Carousel", "Carrie Anne", "Jennifer Eccles", and later "He Ain't Heavy, He's My Brother", "Long Cool Woman in a Black Dress", and "The Air That I Breathe".The Hollies are one of the few UK groups of the early 1960s, along with the Rolling Stones, that have never disbanded and continue to record and perform. In recognition of their achievements, the Hollies were inducted into the Rock and Roll Hall of Fame in 2010.Harold Allan Clarke is an English pop rock singer, who was one of the founding members and the original lead singer of The Hollies and as inducted into the Rock and Roll Hall of Fame in 2010 . He retired from performing in 1999, due in part to ongoing medical problems with his vocal cords, while at the same time his wife since 1964, Jennifer Bowstead Clarke experienced a recurrence of Cancer. In the autumn of 2019 Allan returned with a new album on BMG, appropriately titled ‘Resurgence'.https://www.allan-clarke.co.uk

It's the Holiday Deeper Dig!  Christian gets in deep with Allan Clarke, one of the founders of an original British Invasion band, The Hollies! The Hollies are a British rock group best known for their pioneering and distinctive three-part vocal harmony style. The Hollies became one of the leading British groups of the 1960s (231 weeks on the UK singles charts during the 1960s, the 9th highest of any artist of the decade) and into the mid 1970s. The band was formed by Allan Clarke and Graham Nash in 1962 as a Merseybeat-type music group in Manchester, although some of the band members came from towns further north in East Lancashire. Graham Nash left the group in 1968 to form the supergroup Crosby, Stills & Nash.They enjoyed considerable popularity in many countries (at least 60 singles or EPs and 26 albums charting somewhere in the world, spanning over five decades), although they did not achieve major US chart success until 1966 with "Bus Stop". The Hollies had over 30 charting singles on the UK Singles Chart, and 22 on the Billboard Hot 100, with major hits on both sides of the Atlantic that included "Just One Look", "Look Through Any Window", "I Can't Let Go", "Bus Stop", "Stop Stop Stop", "On a Carousel", "Carrie Anne", "Jennifer Eccles", and later "He Ain't Heavy, He's My Brother", "Long Cool Woman in a Black Dress", and "The Air That I Breathe".The Hollies are one of the few UK groups of the early 1960s, along with the Rolling Stones, that have never disbanded and continue to record and perform. In recognition of their achievements, the Hollies were inducted into the Rock and Roll Hall of Fame in 2010.Harold Allan Clarke is an English pop rock singer, who was one of the founding members and the original lead singer of The Hollies and as inducted into the Rock and Roll Hall of Fame in 2010 . He retired from performing in 1999, due in part to ongoing medical problems with his vocal cords, while at the same time his wife since 1964, Jennifer Bowstead Clarke experienced a recurrence of Cancer. In the autumn of 2019 Allan returned with a new album on BMG, appropriately titled ‘Resurgence'.https://www.allan-clarke.co.uk

"Bush Court" is based on a simple premise. If you live in a remote Australia, you won't be forced to travel to the city to seek justice. Instead, justice will come to you. It's kind of like a judicial roadshow with a judge, prosecutor, and defence team touring 30 Indigenous communities across the Northern Territory each year. Unfortunately, despite having dozens of matters to resolve, they don't stay longer than a day or two. But does the fast food of justice deliver the best outcomes? Allan Clarke investigates.

On New Year's Eve, 1983, the driver of a train passing through Kempsey in NSW made a grim discovery. The body of Lewis "Buddy" Kelly was strewn across the tracks. Police said the 16-year-old's death was an accident, but his family suspects foul play. The case is one of three eerily similar mysteries. Is there a pattern here? Allan Clarke investigates.

30 years after a young Aboriginal boy was found dead on the train tracks in the NSW town of Tamworth, the cause of his death remains a mystery. After a botched police investigation, his family decided to seek answers on their own – with devastating consequences. This week Background Briefing brings you a special investigation in collaboration with the Unravel True Crime podcast, prising open a thirty year old cold case. Reporter Allan Clarke has spent five years of his life covering this case, revealing a police investigation overshadowed by the politics of race.