Podcasts about BBC Radiophonic Workshop

The Day of the Triffids (BBC) || Conference and Confusion | Dead End || 196801:30 -- Conference and Confusion28:55 -- Dead End|| After most people in the world are blinded by an apparent meteor shower, an aggressive species of plant starts killing people.|| Broadcast by BBC Radio 4, between 20 June and 25 July 1968. It was produced by John Powell, with music by David Cain of the BBC Radiophonic Workshop.Author: John Wyndham || Publication date: December 1951: : : : :My other podcast channels include: MYSTERY x SUSPENSE -- DRAMA X THEATER -- COMEDY x FUNNY HA HA -- VARIETY X ARMED FORCES -- THE COMPLETE ORSON WELLES .Subscribing is free and you'll receive new post notifications. Also, if you have a moment, please give a 4-5 star rating and/or write a 1-2 sentence positive review on your preferred service -- that would help me a lot.Thank you for your support.https://otr.duane.media | Instagram @duane.otr#scifiradio #oldtimeradio #otr #radiotheater #radioclassics #bbcradio #raybradbury #twilightzone #horror #oldtimeradioclassics #classicradio #horrorclassics #xminusone #sciencefiction #duaneotr:::: :

The Day of the Triffids (BBC) || The End Begins | A Light in the Night | 196801:26 -- The End Begins29:36 -- A Light in the Night|| After most people in the world are blinded by an apparent meteor shower, an aggressive species of plant starts killing people.|| Broadcast by BBC Radio 4, between 20 June and 25 July 1968. It was produced by John Powell, with music by David Cain of the BBC Radiophonic Workshop.Author: John Wyndham || Publication date: December 1951: : : : :My other podcast channels include: MYSTERY x SUSPENSE -- DRAMA X THEATER -- COMEDY x FUNNY HA HA -- VARIETY X ARMED FORCES -- THE COMPLETE ORSON WELLES .Subscribing is free and you'll receive new post notifications. Also, if you have a moment, please give a 4-5 star rating and/or write a 1-2 sentence positive review on your preferred service -- that would help me a lot.Thank you for your support.https://otr.duane.media | Instagram @duane.otr#scifiradio #oldtimeradio #otr #radiotheater #radioclassics #bbcradio #raybradbury #twilightzone #horror #oldtimeradioclassics #classicradio #horrorclassics #xminusone #sciencefiction #duaneotr:::: :

Episode 162 Chapter 23, Radiophonic Music in the United Kingdom. Works Recommended from my book, Electronic and Experimental Music  This episode of the podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 23, Radiophonic Music in the United Kingdom from my book Electronic and Experimental music.   Playlist: RADIOPHONIC MUSIC IN THE UNITED KINGDOM   Time Track Time Start Introduction –Thom Holmes 01:36 00:00 1.     Daphne Oram, “Introduction to Oramics” (1960). Introduction to her Oramics studio and processes for making electronic music. Voice and musical examples by Daphne Oram, recorded in her home studio Tower Folly, Kent. 04:37 01:38 2.     Daphne Oram, “Four Aspects” (1960). Tape composition by Daphne Oram recorded in her home studio Tower Folly, Kent. 08:07 06:14 3.     Delia Derbyshire, “Doctor Who Theme” (Closing Credits) (1962). The most famous version of this theme for the popular television program, composed by Ron Grainer and realized by Derbyshire at the BBC studios. 02:23 14:20 4.     Ray Cathode (George Martin), “Time Beat” (1962). Produced at the BBC Radiophonic Workshop. Written and produced by George Martin, around the time when he was starting his production work with The Beatles. 02:11 16:40 5.     Ray Cathode (George Martin), “Waltz in Orbit” (1962). Produced at the BBC Radiophonic Workshop. Written and produced by George Martin, around the time when he was starting his production work with The Beatles. 01:52 18:52 6.     Daphne Oram, “Costain Suite” (1964). Tape composition by Daphne Oram recorded in her home studio Tower Folly, Kent. 13:17 20:44 7.     Delia Derbyshire, “Running” (1964). One of the seven parts from the “radio inventions” called "The Dreams," first broadcast on the BBC Third Programme, Sunday 5th January 1964. 08:08 34:02 8.     Delia Derbyshire, “Falling” (1964). One of the seven parts from the “radio inventions” called "The Dreams," first broadcast on the BBC Third Programme, Sunday 5th January 1964. 08:45 42:08 9.     Delia Derbyshire, “Land” (1964). One of the seven parts from the “radio inventions” called "The Dreams," first broadcast on the BBC Third Programme, Sunday 5th January 1964. 07:02 50:54 10.   Daphne Oram, “Pulse Persephone” (1965). Tape composition by Daphne Oram recorded in her home studio Tower Folly, Kent. 04:03 58:06 11.   Tristram Cary, “Sputnik Code” (1968). Cary was a British composer and pioneer of electronic music. He composed this work for a movie soundtrack. 01:50 01:02:08 12.   Lily Greenham, “ABC in Sound” (1968). Early tape work by this pioneer of electronic music in the UK. Greenham was an Austrian-born Danish visual artist, performer, composer and leading proponent of sound poetry and concrete poetry. She settled in London. 02:39 01:04:02 13.   White Noise (Delia Derbyshire, David Vorhaus, Brian Hodgson), “The Black Mass: An Electric Storm In Hell (The White Noise)” (1969). Experimental electronic music project established in London in 1968, originally as a group project between David Vorhaus and BBC Radiophonic Workshop members Delia Derbyshire and Brian Hodgson. Vocals by Annie Bird, John Whitman, Val Shaw. 07:20 01:06:40 14.   White Noise (Delia Derbyshire, David Vorhaus, Brian Hodgson), “Your Hidden Dreams” (1969). Experimental electronic music project established in London in 1968, originally as a group project between David Vorhaus and BBC Radiophonic Workshop members Delia Derbyshire and Brian Hodgson. Vocals by Annie Bird, John Whitman, Val Shaw. 04:55 01:13:58 15.   White Noise (Delia Derbyshire, David Vorhaus, Brian Hodgson), “Love Without Sound” (1969). Experimental electronic music project established in London in 1968, originally as a group project between David Vorhaus and BBC Radiophonic Workshop members Delia Derbyshire and Brian Hodgson. Vocals by Annie Bird, John Whitman, Val Shaw. 03:07 01:18:52 16.   Electrophon (Brian Hodgson, Dudley Simpson), “Arrival of the Queen of Sheba” (Händel) (1973). Electronic interpretations of classical music for various synthesizers. 03:04 01:22:00 17.   Paddy Kingsland, “Fourth Dimension” (1973). Produced by Kingsland for the BBC Radiophonic Workshop. “The synthesisers used on this disc are both British, and both made by E.M.S. of London. They are the VCS3, an amazingly versatile miniature synthesiser, and its big brother, the Synthi '100', known within the Radiophonic Workshop as 'The Delaware', after the address of the Workshop.” 02:19 01:25:02 18.   Lily Greenham, “Traffic” (1975). Realized at the Electronic Music Studio, Goldsmiths' College, University of London. Technical Assistance, Hugh Davies. 10:33 01:27:18 19.   White Noise (David Vorhaus), “Concerto Movement 1” (1975). Used what Vorhaus called the Kaleidophon Synthesizer that included two EMS VCS 3's connected via a console of electronic modules he designed. 11:33 01:37:50 20.   Delia Derbyshire, “Dreaming” (1976). Produced for the BBC Radiophonic Workshop as a work to accompany a television program. 01:13 01:49:18 21.   Glynis Jones, “Crystal City” (1976). Produced for the BBC Radiophonic Workshop as a work to accompany a television program. 01:01 01:50:30 22.   Glynis Jones, “Magic Carpet” (1976). Includes three shorts works, Magic Carpet Take-Off, Magic Carpet Flight and Magic Carpet Land. Produced for the BBC Radiophonic Workshop as sound effects. 00:50 01:51:30 23.   Brian Hodgson, “Tardis Land” (1976). Produced for the BBC Radiophonic Workshop as a sound effect. 00:23 01:52:22   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

durée : 00:04:27 - La BO du monde - Pionnier de la musique électronique, l'atelier de création sonore de la BBC a fasciné des générations de DJ's et d'adeptes du home studio. Un logiciel permet désormais d'explorer ses archives et se réapproprier son héritage.

Italian media groups filed a criminal complaint over the WhatsApp hack, EV truck maker Nikola has finally called it quits, and The BBC Radiophonic Workshop's archive is now available to sample. It's Thursday, February 20th and this is Engadget News. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Host Planet Earth (BBC) || 4. The Gemini Factor, 5. The Arrival, 6. The Price of Freedom || 196702:08 ... The Gemini Factor; 31:00 ... The Arrival; 59:00 ... The Price of Freedom Host Planet Earth was a BBC radio serial consisting of six half-hour episodes which were originally broadcast on the Light Programme between July and September 1967. It has since been rebroadcast on BBC Radio 4 Extra. Electronic sound and music was by Clive Webster of the BBC Radiophonic Workshop.It detailed the course of a strange disease which first affects scientists working on a British rocketry programme. When British astronauts fall prey to the sickness in space, can they be allowed to return?"Claire Stewart" - Brenda Bruce"Professor Ormskirk" - Clive Morton"David Holland" - Alexander John"Nat Blakey" - Nigel Anthony"Bill Cape" - Ian Thompson"Rathbone" - Timothy Bateson"Joseph Banks" - Peter Tuddenham"Mrs Hemming" - Betty Hardy"Rosemary Manning" - Barbara Mitchell"Technician" - Preston LockwoodWritten by - Anne Howell & Colin CooperProduced by - Nesta PainMusic by - Clive Webster, BBC Radiophonic Workshop: : : : :My other podcast channels include: MYSTERY x SUSPENSE -- DRAMA X THEATER -- COMEDY x FUNNY HA HA -- VARIETY X ARMED FORCES -- THE COMPLETE ORSON WELLES .Subscribing is free and you'll receive new post notifications. Also, if you have a moment, please give a 4-5 star rating and/or write a 1-2 sentence positive review on your preferred service -- that would help me a lot.Thank you for your support.https://otr.duane.media | Instagram @duane.otr#scifiradio #oldtimeradio #otr #radiotheater #radioclassics #bbcradio #raybradbury #twilightzone #horror #oldtimeradioclassics #classicradio #horrorclassics #xminusone #sciencefiction #duaneotr:::: :

In this week's episode of The Rabbit Hole Detectives, Cat, Richard, and Charles are back in search of more killer facts and pieces of ephemera. Today, Richard is tuning into the BBC Radiophonic Workshop, Cat is all a flutter with her subject, Crows, and Charles is peering into Cabinets of Curiosity.  Remember, if you'd like to suggest a rabbit hole for us to fall down then you can email us at: rabbitholedetectives@gmail.com  Plus, our book, The Rabbit Hole Book, is out now and available from all good bookshops!  To get an exclusive NordVPN deal, head to https://nordvpn.com/rabbithole to get an extra 4 months on the 2-year plan. There's no risk with Nord's 30-day money-back guarantee. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Host Planet Earth (BBC) | 1. The Beginning | 2. The Empty Minds | 3. The Pattern Emerges || Broadcast: 1967Host Planet Earth was a BBC radio serial consisting of six half-hour episodes which were originally broadcast on the Light Programme between July and September 1967. It has since been rebroadcast on BBC Radio 4 Extra. Electronic sound and music was by Clive Webster of the BBC Radiophonic Workshop.It detailed the course of a strange disease which first affects scientists working on a British rocketry programme. When British astronauts fall prey to the sickness in space, can they be allowed to return?"Claire Stewart" - Brenda Bruce"Professor Ormskirk" - Clive Morton"David Holland" - Alexander John"Nat Blakey" - Nigel Anthony"Bill Cape" - Ian Thompson"Rathbone" - Timothy Bateson"Joseph Banks" - Peter Tuddenham"Mrs Hemming" - Betty Hardy"Rosemary Manning" - Barbara Mitchell"Technician" - Preston LockwoodWritten by - Anne Howell & Colin CooperProduced by - Nesta PainMusic by - Clive Webster, BBC Radiophonic Workshop: : : : :My other podcast channels include: MYSTERY x SUSPENSE -- DRAMA X THEATER -- COMEDY x FUNNY HA HA -- VARIETY X ARMED FORCES -- THE COMPLETE ORSON WELLES .Subscribing is free and you'll receive new post notifications. Also, if you have a moment, please give a 4-5 star rating and/or write a 1-2 sentence positive review on your preferred service -- that would help me a lot.Thank you for your support.https://otr.duane.media | Instagram @duane.otr

Matthew Collin has written some of the most seminal books about electronic music culture. His latest, ”Dream Machines," captures the essence of innovators who embraced technology to shape the future of music, through looking at electronic in Britain from Doctor Who to Acid House.  Our dialogue spans the rich textures of synth-pop, the deep grooves of dub, and the raw energy of hip-hop, all set against the backdrop of social and cultural revolutions that have ignited forward facing music.Uncover the influences that have invigorated the electronic music scene, from the revolutionary tape recorders post-World War II to the democratisation of music production that gave rise to bedroom techno artists and acid house legends. Matthew sheds light on the Hartnoll brothers' epic "Chime," and how the biggest expense for the track was £3.50 for cassette. We navigate the complexity of maintaining inclusivity in an industry that's ever-evolving, especially as new technologies like generative AI continue to push the boundaries of what's possible in music innovation.We explore the intriguing connections between psychedelic music and drugs, where the tabloid frenzy around acid house and ecstasy inadvertently fuelled a cultural movement. We reflect on the indelible marks left by pioneers like Delia Derbyshire and the BBC Radiophonic Workshop on synthesizer-driven pop. Matthew and Paul muse over the challenges of chronicling iconic figures and the importance of placing them within the ever-shifting cultural landscapes.Dream Machines is available now, published by Omnibus PressPaul Hanford on InstagramLost and Sound is proudly sponsored by Audio-TechnicaPaul's debut book, Coming To Berlin: Global Journeys Into An Electronic Music And Club Culture Capital is out now on Velocity Press. Click here to find out more. Subscribe to the Lost and Sound Substack for fresh updates and writing.Lost and Sound title music by Thomas Giddins

Daphne Oram (1925-2003) was one of Britain's first electronic musicians. She co-founded the BBC Radiophonic Workshop, a leading sound effects unit known for experimental work in sound, and developed her own “drawn-sound” technique known as Oramics, which involved drawing on film strips to produce sound.  For Further Reading: Daphne Oram: Portrait of an electronic music pioneer The woman who could ‘draw' music An Individual Note of Music Sound and Electronics This month, we're talking about Women of Sound. These women dominated the airwaves: innovating, documenting, and creating the audio landscape we live in today. History classes can get a bad rap, and sometimes for good reason. When we were students, we couldn't help wondering... where were all the ladies at? Why were so many incredible stories missing from the typical curriculum? Enter, Womanica. On this Wonder Media Network podcast we explore the lives of inspiring women in history you may not know about, but definitely should. Every weekday, listeners explore the trials, tragedies, and triumphs of groundbreaking women throughout history who have dramatically shaped the world around us. In each 5 minute episode, we'll dive into the story behind one woman listeners may or may not know–but definitely should. These diverse women from across space and time are grouped into easily accessible and engaging monthly themes like Educators, Villains, Indigenous Storytellers, Activists, and many more. Womanica is hosted by WMN co-founder and award-winning journalist Jenny Kaplan. The bite-sized episodes pack painstakingly researched content into fun, entertaining, and addictive daily adventures. Womanica was created by Liz Kaplan and Jenny Kaplan, executive produced by Jenny Kaplan, and produced by Grace Lynch, Maddy Foley, Brittany Martinez, Edie Allard, Lindsey Kratochwill, Adesuwa Agbonile, Carmen Borca-Carrillo, Taylor Williamson, Sara Schleede, Paloma Moreno Jimenez, Luci Jones and Abbey Delk. Special thanks to Shira Atkins.Original theme music composed by Miles Moran.Follow Wonder Media Network: Website Instagram Twitter See omnystudio.com/listener for privacy information.

The Hobbit (part 4 of 4) | Riddles in the Dark | Strange Lodgings | Broadcast: 1968Broadcast: 1968 on BBC Radio, an adaptation of J. R. R. Tolkien's 1937 legendary children's fantasy novel.The series was adapted by Michael Kilgarriff and produced by John Powell in eight half-hour mono episodes for BBC Radio 4 broadcast from September 29 to November 17 at 8.30pm.The radio series follows the plot of the original novel (revised 1951 version) very closely, except for the addition of The Tale Bearer, a narrator whose account of the story is often interrupted and embellished by the protagonist Bilbo Baggins in the role of secondary narrator.Starring: Anthony Jackson – The Tale Bearer; Paul Daneman – Bilbo; Francis de Wolff – Smaug; John Justin – Thorin; Heron Carvic – Gandalf; Leonard Fenton – Elvenking; John Pullen – Elrond; Wolfe Morris – Gollum; Duncan McIntyre – Bombur; Lockwood West – Dwalin; Peter Pratt – Balin; Alexander John – Dori; Peter Williams – Bard the Bowman; Denis McCarthy – Great GoblinCrew: Music composed by David Cain; Performed by David Munrow with The Early Music Consort; Special sound effects and voice treatments by David Cain and Dick Mills, BBC Radiophonic Workshop; Produced by John PowellAbove info from Wikipedia: : : : :My other podcast channels include: MYSTERY x SUSPENSE -- DRAMA X THEATER -- COMEDY x FUNNY HA HA -- VARIETY X ARMED FORCES -- THE COMPLETE ORSON WELLES .Subscribing is free and you'll receive new post notifications. Also, if you have a moment, please give a 4-5 star rating and/or write a 1-2 sentence positive review on your preferred service -- that would help me a lot.Thank you for your support.https://otr.duane.media | Instagram @duane.otr

The Hobbit (part 3 of 4) | Riddles in the Dark | Strange Lodgings | Broadcast: 1968Broadcast: 1968 on BBC Radio, an adaptation of J. R. R. Tolkien's 1937 legendary children's fantasy novel.The series was adapted by Michael Kilgarriff and produced by John Powell in eight half-hour mono episodes for BBC Radio 4 broadcast from September 29 to November 17 at 8.30pm.The radio series follows the plot of the original novel (revised 1951 version) very closely, except for the addition of The Tale Bearer, a narrator whose account of the story is often interrupted and embellished by the protagonist Bilbo Baggins in the role of secondary narrator.Starring: Anthony Jackson – The Tale Bearer; Paul Daneman – Bilbo; Francis de Wolff – Smaug; John Justin – Thorin; Heron Carvic – Gandalf; Leonard Fenton – Elvenking; John Pullen – Elrond; Wolfe Morris – Gollum; Duncan McIntyre – Bombur; Lockwood West – Dwalin; Peter Pratt – Balin; Alexander John – Dori; Peter Williams – Bard the Bowman; Denis McCarthy – Great GoblinCrew: Music composed by David Cain; Performed by David Munrow with The Early Music Consort; Special sound effects and voice treatments by David Cain and Dick Mills, BBC Radiophonic Workshop; Produced by John PowellAbove info from Wikipedia: : : : :My other podcast channels include: MYSTERY x SUSPENSE -- DRAMA X THEATER -- COMEDY x FUNNY HA HA -- VARIETY X ARMED FORCES -- THE COMPLETE ORSON WELLES .Subscribing is free and you'll receive new post notifications. Also, if you have a moment, please give a 4-5 star rating and/or write a 1-2 sentence positive review on your preferred service -- that would help me a lot.Thank you for your support.https://otr.duane.media | Instagram @duane.otr

The Hobbit (part 2 of 4) | Riddles in the Dark | Strange Lodgings | Broadcast: 1968Broadcast: 1968 on BBC Radio, an adaptation of J. R. R. Tolkien's 1937 legendary children's fantasy novel.The series was adapted by Michael Kilgarriff and produced by John Powell in eight half-hour mono episodes for BBC Radio 4 broadcast from September 29 to November 17 at 8.30pm.The radio series follows the plot of the original novel (revised 1951 version) very closely, except for the addition of The Tale Bearer, a narrator whose account of the story is often interrupted and embellished by the protagonist Bilbo Baggins in the role of secondary narrator.Starring: Anthony Jackson – The Tale Bearer; Paul Daneman – Bilbo; Francis de Wolff – Smaug; John Justin – Thorin; Heron Carvic – Gandalf; Leonard Fenton – Elvenking; John Pullen – Elrond; Wolfe Morris – Gollum; Duncan McIntyre – Bombur; Lockwood West – Dwalin; Peter Pratt – Balin; Alexander John – Dori; Peter Williams – Bard the Bowman; Denis McCarthy – Great GoblinCrew: Music composed by David Cain; Performed by David Munrow with The Early Music Consort; Special sound effects and voice treatments by David Cain and Dick Mills, BBC Radiophonic Workshop; Produced by John PowellAbove info from Wikipedia: : : : :My other podcast channels include: MYSTERY x SUSPENSE -- DRAMA X THEATER -- COMEDY x FUNNY HA HA -- VARIETY X ARMED FORCES -- THE COMPLETE ORSON WELLES .Subscribing is free and you'll receive new post notifications. Also, if you have a moment, please give a 4-5 star rating and/or write a 1-2 sentence positive review on your preferred service -- that would help me a lot.Thank you for your support.https://otr.duane.media | Instagram @duane.otr

It's a classic Haunted Dickensian Cursed Objects Office Christmas Party! If you think Halloween is the spookiest time of year - you're dead wrong. We're gathering round the metaphorical office photocopier to delve into the pagan origins of festive ghost stories. What can a mysterious RNLI lifeboat poster in Kasia's hallway tell us about the ‘happy ghosts' found in the haunted house that is Cursed Objects HQ? And no festive season would be complete without a slightly tipsy guide to hauntology. Did Burial create it in a south London branch of McDonald's, or are its origins in the organic sounds of vegetables being destroyed for foley effects? Only a trip back to the 1970s and the BBC Radiophonic Workshop holds the answers. PLUS we have real-life, genuine ghost stories (well, one - about a ‘ghost plane'... oooOOoooOoo). Back by popular demand, our now-regular Christmas tradition - we are a full house ft. our whole team, sound designer Mr. Beatnick and artwork maverick Archie Bashford. Stay tuned to our Patreon for some special festive bonus content - including a reading of an M.R. James ghost story. *** IN FACT, WHY NOT join our Patreon!! *** ONLY £4 A MONTH TO SUPPORT YOUR FAVOURITE CULTURAL HISTORIANS - AND GET 20+ BONUS EPISODES AND A CURSED OBJECTS STICKER PACK! Theme music and production: Mr Beatnick Artwork: Archie Bashford

The Hobbit (part 1 of 4) | Unexpected Party | Out of the Frying Pan into the FireBroadcast: 1968 on BBC Radio, an adaptation of J. R. R. Tolkien's 1937 legendary children's fantasy novel.The series was adapted by Michael Kilgarriff and produced by John Powell in eight half-hour mono episodes for BBC Radio 4 broadcast from September 29 to November 17 at 8.30pm.The radio series follows the plot of the original novel (revised 1951 version) very closely, except for the addition of The Tale Bearer, a narrator whose account of the story is often interrupted and embellished by the protagonist Bilbo Baggins in the role of secondary narrator.Starring: Anthony Jackson – The Tale Bearer; Paul Daneman – Bilbo; Francis de Wolff – Smaug; John Justin – Thorin; Heron Carvic – Gandalf; Leonard Fenton – Elvenking; John Pullen – Elrond; Wolfe Morris – Gollum; Duncan McIntyre – Bombur; Lockwood West – Dwalin; Peter Pratt – Balin; Alexander John – Dori; Peter Williams – Bard the Bowman; Denis McCarthy – Great GoblinCrew: Music composed by David Cain; Performed by David Munrow with The Early Music Consort; Special sound effects and voice treatments by David Cain and Dick Mills, BBC Radiophonic Workshop; Produced by John PowellAbove info from Wikipedia: : : : :My other podcast channels include: MYSTERY x SUSPENSE -- DRAMA X THEATER -- COMEDY x FUNNY HA HA -- VARIETY X ARMED FORCES -- THE COMPLETE ORSON WELLES .Subscribing is free and you'll receive new post notifications. Also, if you have a moment, please give a 4-5 star rating and/or write a 1-2 sentence positive review on your preferred service -- that would help me a lot.Thank you for your support.https://otr.duane.media | Instagram @duane.otr

Episode 112 Merry Moog 2023 Holiday Music Performed on the Moog and other Synthesizers Playlist   Sounds Of Broadcasting 1, “Christmas Logos” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer. Hans Wurman, “Overture Miniature” from Electric Nutcracker (1976 Ovation). This Austrian composer made several remarkable, classically influenced Moog Modular albums from 1969 to 1976. This was one of his last big Moog projects and is difficult to find. 2:54 Hans Wurman, “Danse De La Fee-Dragee ( Sugar Plum Fairy)” from Electric Nutcracker (1976 Ovation). Moog Modular synthesizer, Hans Wurman. 1:33 Hans Wurman, “Danse Des Mirlitons (Flutes)” from Electric Nutcracker (1976 Ovation). Moog Modular synthesizer, Hans Wurman. 2:14 Emerson, Lake & Palmer, “Nutrocker” from Nutrocker / The Great Gates Of Kiev (1972 Cotillion). Arranged by, Emerson, Lake & Palmer. Written by Kim Fowley. Emerson, Lake & Palmer, “Troika” from I Believe In Father Christmas (1995 Rhino Records). Arranged by, Emerson, Lake & Palmer. Moog and effects by Keith Emerson. Sounds Of Broadcasting 2, “Night Of The Kings” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer. Jean Jacques Perrey and Sy Mann, “Jingle Bells” from Switched on Santa (1970 Pickwick). USA. Moog Modular Synthesizer. Jean Jacques Perrey and Sy Mann, “Christmas Bells” from Switched on Santa (1970 Pickwick). USA. Moog Modular Synthesizer. Douglas Leedy, “The Coventry Carol” from A Very Merry Electric Christmas to You (1970 Capitol). USA. Moog Modular Synthesizer and Buchla Synthesizer. Joseph Byrd, “Christmas in the Morning” from A Christmas Yet to Come (1975 Takoma). USA. ARP 2600 Synthesizer with an Oberheim Expander Module. Armen Ra, “O Come All Ye Faithful” from Theremin Christmas (2018 Sungod). USA. Moog Etherwave Pro Theremin. Sounds Of Broadcasting 3, “Electronic Tinsel” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer. Beck, “The Little Drum Machine Boy” from Just Say Noël (1996 Geffen). USA. Roland TR-808 Rhythm Composer. Taeko Onuki, Inori (Prayer) from We Wish You A Merry Christmas (1984 Yen). A compilation of specially recorded Christmas-themed songs from various artists on the Yen Records label. Japanese synth-pop with vocals by Onuki. Maybe Ryuichi Sakamoto on keyboards. Unknown artist, “God Rest Ye Merry Gentlemen” from Electronic Computer Christmas Music (1990 Silver Bells Music). As the name suggests, this was a label dedication mostly to producing broadcast music for the holidays. They also release several albums of nature sounds. The studio musicians go unnamed. John Baker, “Christmas Commercial” from BBC Radiophonic Music (1968 BBC Radio Enterprises). A short piece used for broadcasting that was created by tape manipulation of the sounds of a mechanical cash register. It was part of collection of short works by BBC Radiophonic composers. “This record has been produced with the intention of entertaining rather than informing: the items chosen do not necessarily represent a survey of the music created at the BBC Radiophonic Workshop. The Workshop at the BBC Music Studios in Maida Vale, London, is equipped with tape recording machines and other electronic equipment for generating and manipulating sound. The composition and realization of this music and sound is done by a small number of specialized creative staff.” Christmas Baubles, “Orch” from Christmas Baubles And Their Strange Sounds (2002 Lo Recordings). Christmas Baubles was a Russian trio comprised of Alexander Zaitsev, Gennady Pleshkov, and Ilya Baramiya, who produced and performed this track. Sounds Of Broadcasting 4, “Cutesy Christmas Logos” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer. Michael Nyman, “Cream or Christmas” from Chantons Noël - Ghosts Of Christmas Past (1981 Les Disques Du Crépuscule). From a compilation album of Christmas-related tunes. From Nyman's minimalist era before he became famous for soundtracks. Cabaret Voltaire, “Invocation” from Eight Crepuscule Tracks (1987 Interior Music). This track was originally included on the holiday album Chantons Noël - Ghosts Of Christmas Past (1981 Les Disques Du Crépuscule), which suggested to me that it should be in this holiday podcast. Any excuse for a CV track. Paul Haig, “Scottish Christmas” from Chantons Noël - Ghosts Of Christmas Past (1981 Les Disques Du Crépuscule). From a compilation album of Christmas-related tunes. Scottish songwriter, musician and singer. Les Cousins Dangereux, “What Child Is This” from Gotta Groove Records 2012 (2012 Gotta Groove Records). Holiday album with various artists. Les Cousins Dangereux is Mr. Tim Thornton. Joy Electric, “Angels We Have Heard on High” from The Magic Of Christmas (2003 Tooth & Nail Records). Joy Electric is Ronnie Martin from Ohio. American synthesizer-pop musician. Among his many releases is this crafty Christmas album. Sounds Of Broadcasting 5, “Christmas Moog Choir” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer. Edhels, “Oriental Christmas” from Oriental Christmas (1985 Cabana Music). Recorded in France. Drums, Percussion, Keyboards, Jacky Rosati; Guitar, Jean Louis Suzzoni; Guitar, Bass, Keyboards, Composed by, Marc Ceccotti; Keyboards, Noël Damon. I was sent this as a promotional album back in 1985 with a kind little note from the artists. Sorry it took me so long to put the Christmas-related track in my podcast. This is great example of synth-pop from France in the 1980s. Pac-Man, “Snowflakes And Frozen Lakes” from Pac-Man Christmas Album (1982 Kid Stuff Records). Produced, Written by, Dana Walden, Patrick McBride. “A collection of Pac-Man's favorite Christmas songs.” Need I say more? Swinging Buildings, “Praying For A Cheaper Christmas” from Chantons Noël - Ghosts Of Christmas Past (1981 Les Disques Du Crépuscule). From a compilation album of Christmas-related tunes. This group was once rumored to be New Order in disguise. But no, they were in fact The Bowling Balls in disguise. Old Man Gloom, “Valhalla and Christmas Eve Parts I and II from Christmas (2004 Tortuga Recordings). Ambient/Noise band formed in New Mexico by guitarist/vocalist Aaron Turner and drummer Santos Montano. Guitar, Drum Programming, Drums, captured and organized sound, Kurt Ballou; Performed by Aaron Turner, Caleb Scofield, Luke Scarola, Nate Newton, Santos Montano. Sounds Of Broadcasting 6, “The Joyous Moment” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer. Bernie Krause, Philip Aaberg, “Feliz Navidad” from A Wild Christmas (1994 Etherean Music ). This delightful cassette is from Bernie Krause, known for his Moog explorations with Paul Beaver back in the day. All animal and ambient sounds recorded on location worldwide by Bernie Krause with the exception of the fish (courtesy of U.S. Navy). Animal samples, Bernie Krause and Phil Aaberg. Arrangements, new materials, all keyboards (Kurzweil 2000/Emulator III) Phil Aaberg. Percussion on Feliz Navidad performed by Ben Leinbach. 5:37 John & Yoko and The Plastic Ono Band With The Harlem Community Choir (remixed by Thom Holmes in 2001), “Happy Christmas (War is Over)” (1971 Apple Records). I had a CD player that was in disrepair and decided to “perform” this remix using it. I ended up calling this the Lennon and Ono Sliding Moment remix. Opening background music: Jean Jacques Perrey and Sy Mann, “Tijuana Christmas” from Switched on Santa (1970 Pickwick). USA. Moog Modular Synthesizer. Don Voegeli, “Chanukah” from Holiday & Seasonal Music (1977 EMI). USA. Produced at the Electrosonic Studio of the University of Wisconsin-Extension. Joy Electric, “Let it Snow” from The Magic Of Christmas (2003 Tooth & Nail Records). Joy Electric is Ronnie Martin from Ohio. American synthesizer-pop musician. Christmas Baubles, “Noisy Organ” from Christmas Baubles And Their Strange Sounds (2002 Lo Recordings). Christmas Baubles was a Russian trio comprised of Alexander Zaitsev, Gennady Pleshkov, and Ilya Baramiya, who produced and performed this track.     Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.  

In celebration of Delia Derbyshire Day 2023 and the 60th Anniversary of the Doctor Who theme, Caro C is joined by fellow devotees Mark Ayres, David Butler and Cosey Fanni Tutti to discuss the Delia Derbyshire Day archives and the importance of her contributions to the development of electronic music.Chapters00:00 - Introduction01:26 - Delia Derbyshire ArchiveMark Ayres03:15 - Mark Ayres Introduction 07:44 - The Beginnings Of Electronic Music10:12 - Electronic Sound Sources13:10 - The Delia Derbyshire Archives18:40 - Favourite Piece - The Makeup Tape Of Blue Veils22:21 - The Future Of The ArchivesDavid Butler24:38 - David Butler Introduction28:59 - The Contents Of The Archives33:17 - Building A Network Of Collaborators35:03 - Methods And Techniques Revealed36:59 - Manipulating The Voice39:05 - Favourite Piece - Two Houses And Demo Cue Cosey Fanni Tutti41:42 - Cosey Fanni Tutti Introduction 43:42 - Delia Derbyshire Musical Influences45:24 - A Background In Physics48:50 - Favourite Piece - Amor Dei53:34 - The Importance Of The Archiveshttps://deliaderbyshireday.com/dd-archive/Delia Derbyshire BiogDelia Derbyshire (1937-2001) was a key figure in the development of electronic music in the UK. Born in Coventry but evacuated to Preston during the Blitz, Delia cites the sound of air raid sirens as inspiring her interest in electronic sound. She went on to study Maths and Music at Cambridge University and launched her career at the BBC in 1960 as a trainee Studio Manager. She moved to the Radiophonic Workshop in 1962, where she spent the next 11 years developing experimental sounds and music for their TV and radio shows, in addition to working as a freelancer on film, theatre and other live projects. Her most famous work is her electronic arrangement of Ron Grainer's Doctor Who theme, created in 1963.Delia composed and produced electronic music using tape, plus early synthesis and sampling methods before specific instruments were created for these purposes. Her work has influenced and inspired many modern artists including The Chemical Brothers, Aphex Twin, Portishead, Nainita Desai, Amon Tobin and Cosey Fanni Tutti, while Pink Floyd, Orbital and Hannah Peel have reinterpreted her work.Mark Ayres BiogMark Ayres is a composer, arranger, sound designer, mixer and mastering engineer. Mark wrote incidental music for Doctor Who in the 1980s. More recently he wrote the music for, sound-designed and mixed the reconstructed 'lost' Tom Baker adventure, “Shada”, and a celebratory feature length version of the original 1963 “Daleks” serial transmitted on BBC4 on 23rd November 2023, Doctor Who's 60th birthday. He has also composed for television and film including scores for 1996 feature "The Innocent Sleep" and the more recent "Scar Tissue".Mark was involved in the BBC Radiophonic Workshop's final days and went on to become their archivist. A personal friend of Delia Derbyshire, he was entrusted with her personal archive after her death in 2001, which is now on permanent loan to the University of Manchester John Rylands Library and accessible for study. He is a Trustee of the Delia Derbyshire Day Charity.His devotion to the Workshop after Doctor Who ceased broadcasting in 1989 proved vital in regenerating interest in their work, and he is now the driving force behind their live revival on the festival circuit and in the creation of new works including the score for Matthew Holness' disturbing psychological horror film, "Possum". He has produced and mastered many recordings for Silva Screen Records and others, and his work remastering classic television programmes including Doctor Who, Quatermass, and the films of Ken Russell and Alan Clarke for broadcast, DVD and Blu-ray, including 5.1 remixes of many titles, has been highly acclaimed.David Butler BiogDavid Butler is a Senior Lecturer in Drama and Film Studies at the University of Manchester. He helped to bring the Delia Derbyshire Archive  to the John Rylands Library, Manchester in 2007 and is one of the archive's lead researchers and curators. David is the chair of trustees for Delia Derbyshire Day and helped set up the charity in 2016.Cosey Fanni Tutti BiogCosey Fanni Tutti is a musician and writer, best known for her part in experimental electronic bands Throbbing Gristle and Chris & Cosey. Cosey interacted with the Delia Derbyshire Archive when she composed the soundtrack for Caroline Catz's film 'Delia Derbyshire: The Myths And The Legendary Tapes' and in the writing of her book Re-Sisters: The Lives and Recordings of Delia Derbyshire, Margery Kempe and Cosey Fanni Tutti published by Faber in 2022.https://www.coseyfannitutti.com/Caro C BiogCaro C is an artist, engineer and teacher specialising in electronic music. Her self-produced fourth album 'Electric Mountain' is out now. Described as a "one-woman electronic avalanche" (BBC), Caro started making music thanks to being laid up whilst living in a double decker bus and listening to the likes of Warp Records in the late 1990's. This 'sonic enchantress' (BBC Radio 3) has now played in most of the cultural hotspots of her current hometown of Manchester, UK. Caro is also the instigator and project manager of electronic music charity Delia Derbyshire Day.URL: http://carocsound.com/Twitter: @carocsoundInst: @carocsoundFB: https://www.facebook.com/carocsound/

The Web Planet ​ 13 February – 20 March 1965   The First Doctor (William Hartnell) and his travelling companions Ian Chesterton (William Russell), Barbara Wright (Jacqueline Hill), and Vicki (Maureen O'Brien) ally themselves with the Menoptra, the former inhabitants of the planet Vortis, as they struggle to win back the planet from the malignant Animus (Catherine Fleming) and its Zarbi slaves. ​ The Crusades ​ 27 March – 17 April 1965   The First Doctor (William Hartnell) and his travelling companions Ian Chesterton (William Russell), Barbara Wright (Jacqueline Hill), and Vicki (Maureen O'Brien) arrive in 12th century Palestine during the Third Crusade and find themselves entangled in the conflict between King Richard the Lionheart (Julian Glover) and Saladin (Bernard Kay). They also meet King Richard's sister Lady Joanna (Jean Marsh) and Saladin's brother Saphadin (Roger Avon). ​ Dr Who and the Daleks (1965) ​ is a 1965 British science fiction film directed by Gordon Flemyng and written by Milton Subotsky, and the first of two films based on the British science-fiction television series Doctor Who. It stars Peter Cushing as Dr. Who, Roberta Tovey as Susan, Jennie Linden as Barbara, and Roy Castle as Ian. It was followed by Daleks' Invasion Earth 2150 A.D. (1966). ​ The story is based on the Doctor Who television serial The Daleks, produced by the BBC. Filmed in Technicolor, it is the first Doctor Who story to be made in colour and in a widescreen format. The film was not intended to form part of the ongoing story-lines of the television series. Elements from the programme are used, however, such as various characters, the Daleks and a police box time machine, albeit in re-imagined forms. ​     Opening Credits; Introduction (.43); The Web Planet Synopsis (1.27); Television Thoughts (4.25); Let's Rate (25.04); Introducing The Crusades (27.04); The Crusades Synopsis ( 34.41); Discussing the Episode (38.15); Rating the Episodes (47.42); Film:  Doctor Who and The Daleks (1965) (53.08); Doctor Who and the Daleks (1965) Trailer (54.14); Lights, Camera, Action (57.24); How Many Stars (1:09.59); End Credits (1:14.56); Closing Credits (1:21.53)   Opening Credits– Doctor Who Theme. composer Ron Grainer and realised by Delia Derbyshire at the BBC Radiophonic Workshop. Copyright 1963 BBC World Music.   Closing Credits:  We're Not Gonna Take It by Twisted Sister.  Taken from the album Stay Hungry.  Copyright 1984 Atlantic Records ​ Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast.    All rights reserved.  Used by Kind Permission.   All songs available through Amazon Music.

The Rescue ​ 02 - 09 January 1965   On the planet Dido, the Doctor, Ian, and Barbara encounter Vicki and Bennett, two survivors of a space crash who are awaiting a rescue ship. They live in fear of Koquillion, a bipedal inhabitant who is stalking the area. The Doctor enters Bennett's room, and follows a trap door to a temple where he unmasks Koquillion as Bennett. Bennett reveals he killed a crewmember on board the ship and was arrested, but the ship crashed before the crime could be radioed to Earth. He has been using the Koquillion alias so that Vicki would back up his story, and had hoped the planet would be destroyed when his version of events was given. Just as Bennett is about to kill the Doctor, two surviving native Didonians arrive and force Bennett to his death over a ledge. With no living family and nothing left for her on Dido, Vicki is welcomed aboard the TARDIS. ​ The Romans   16 January – 6 February 1965   The First Doctor (William Hartnell) and his new companion Vicki (Maureen O'Brien) investigate intrigue surrounding the death of a lyre player en route to perform at the palace of Nero (Derek Francis) in Rome, while companion Ian Chesterton (William Russell) travels to Nero's palace to save his fellow schoolteacher Barbara Wright (Jacqueline Hill), who had been sold to Nero's wife Poppaea (Kay Patrick) as a slave.   Opening Credits; Introduction (1.27); Background History:  The Rescue (4.57); The Rescue: Plot Synopsis (5.22); Let's Discuss (7.43); Overall Thoughts (15.39); Let's Rate (17.10); Background History:  The Romans (19.38 ); The Romans:  Plot Synopsis (19.57); Let's Discuss (22.52); Let's Rate (34.18); Tune In Next Time (35.30); Closing Credits (37.11)   Opening Credits– Doctor Who Theme. composer Ron Grainer and realised by Delia Derbyshire at the BBC Radiophonic Workshop. Copyright 1963 BBC World Music.   Closing Credits:  Rescue Me by OneRepublic.  Taken from the album Human.  Copyright 2019 Interscope/Motley Records. ​ Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast.    All rights reserved.  Used with Kind Permission.   All songs available through Amazon Music.

Ben and David continue their look at the Doctor Who monthly rankings by discussing the results of the 1980s Doctors, plus the Chris Eccleston stories. We theorize to why there is so little movement in the rankings over the years and lament the voting preferences of the DWM readership. The music for this episode is from The Mark of the Rani, composed by Jonathan Gibbs of the BBC Radiophonic Workshop. We recorded this episode on 2 July 2023.

SEASON 2 ​ Planet of Giants   31 October – 14 November   The Doctor, his granddaughter Susan Foreman and her teachers Ian Chesterton and Barbara Wright  are shrunk to the size of an inch after the Doctor's time machine the TARDIS arrives in contemporary England.   The Dalek Invasion on Earth ​ 21 November – 26 December 1964   The Doctor, his granddaughter Susan Foreman and teachers Ian Chesterton and Barbara Wright  discover that the Earth in the 22nd century has been occupied by Daleks. They work with a human resistance group to stop the Daleks from mining out the Earth's core as part of their plan to pilot the planet through space.   Opening Credits; Introduction (1.24); Planet of the Giants Plot Synopsis (4.40); Let's Discuss (7.57); The Daleks Invasion on Earth Background History (1953); Plot Synopsis (20.24); Let's Discuss (23.22); Let's Rate (40.46); Tune In Next Time (42.10); Closing Credits (44.54)     Opening Credits– Doctor Who Theme. composer Ron Grainer and realised by Delia Derbyshire at the BBC Radiophonic Workshop. Copyright 1963 BBC World Music.   Closing Credits:  Giants by Calvin Harris and Rag-N-Bone Man.  Copyright 2019 Columbia Records ​ Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast.    All rights reserved.  Used with Kind Permission.   All songs available through Amazon Music.

Eerste uitzending: 7 januari 1981 'Rauhfaser', KRO radio Woensdagavond, 19:00-22:00uur --- Send in a voice message: https://podcasters.spotify.com/pod/show/bromruis/message

The designers of 1960s Doctor Who contended with small budgets and even smaller studios to create the places and alien worlds that Doctor Who and his travelling companions visited. What are our top set designs of the b&w era? Why do we think they're great? And, who designed them? Opening music is "Dalek City Corridor" created by Brian Hodgson of the BBC Radiophonic Workshop and closing music is "Space Adventure, Part 2" composed by Martin Slavin. We recorded this episode on 25 June 2023.

Episode 98 Women in Synthesis, Part 1: Managing their Musical Identities Playlist Daphne Oram, “Four Aspects” from Oramics (2007 Paradigm Discs). This piece was composed in 1960 after Oram left the BBC Radiophonic Workshop and was running her own start-up. Four Aspects uses the Oramics instrument that she invented. It demonstrated her interest in creating works that were longer than the short snippets of music that she had produced for radio and television themes. The piece was patiently crafted and is strikingly harmonic, exploring a rich tone field that lacked the herky-jerky nature of other tape music of the time. You will hear the development of musical chords and harmonic fields from monophonic tone generators that she combined during mixing, developing gradually shifting texture employing filtering and loops. 8:06 Daphne Oram, “Pulse Persephone” (1965) from Oramics (2007 Paradigm Discs). Composed, realized, and produced by Daphne Oram. This was produced for the Treasures of the Commonwealth exhibition at the Royal Academy of the Arts. 4:03 Daphne Oram, “Costain Suite” (1965) from Oramics (2007 Paradigm Discs). Composed, realized, and produced by Daphne Oram. Music for a film production, circa 1970. 13:17 Teresa Rampazzi, “Immagini Per Diana Baylon” side a (1972), from Immagini Per Diana Baylon (2016 Die Schachtel). Music realized using analogue equipment, Teresa Rampazzi. One of her three known soundtracks for art installations. The analog work she completed at her Nuove Proposte Sonore (NPS) studio had striking parallels to the work of Daphne Oram in the UK. This piece was intended to be looped for 180 minutes while visitors perused an exhibit of abstract sculptures by Diana Baylon. 16:15 Teresa Rampazzi, “With the Light Pen” (1976) from Musica Endoscopica (2008 Die Schachtel). Composed and realized by Teresa Rampazzi at the Centro di Calcolo di Ateneo, Università di Padova. This was the first work realized with the Interactive Computer Music System (ICMS), in real-time. “The timbre, made by additive synthesis, adding frequencies in algebraic sequence, was sometimes acoustically harsh. On the other hand train pulses with regular rhythms were sweetened by long harmonic, dissolving tails.” (Rampazzi). 8:43 Teresa Rampazzi, “Atmen Noch”(1980) from Musica Endoscopica (2008 Die Schachtel). Stereophonic version (quadraphonic original) realized at the CSC (Centro di Sonologia Computazionale dell'Università di Padova). Composed in 1980 at the CSC Computer Music Center in Padova. Winner of the second prize at the VIII Concours International de Musique Électroacoustique, Bourges. Based on the mathematical analysis of “intersection sets, the elements of which were timbres. It was preceded by five months of research on timbres that were obtained from multitudinous ratios between the carrier and the modulating signals and inverted relationships with the ICMS program by Graziato Tisato.” (Rampazzi). This work will not immediately strike you as computer music, which is part of its beauty and uniqueness for all time. 15:16 Ruth White, “Wings Clipped (Too Many External Involvements / Flight Stopped” from 7 Trumps From The Tarot Cards And Pinions (1969 Limelight). Produced and realized by Ruth White. Clavichord, Harpsichord, Organ, Piano, Moog Modular Synthesizer, tape operations, Ruth White. 6:04 Ruth White, “Wanting Wings (Limited Capacity / No Flight Possible” from 7 Trumps From The Tarot Cards And Pinions (1969 Limelight). Produced and realized by Ruth White. Clavichord, Harpsichord, Organ, Piano, Moog Modular Synthesizer, tape operations, Ruth White. 3:42 Ruth White, “Love Gives Wings (With Wings)” from 7 Trumps From The Tarot Cards And Pinions (1969 Limelight). Produced and realized by Ruth White. Clavichord, Harpsichord, Organ, Piano, Moog Modular Synthesizer, tape operations, Ruth White. 8:48 Opening background music: Daphe Oram, “Introduction” and “Power Tools” from Oramics (2007 Paradigm Discs). Voice and electronic realization, Daphne Oram. Ruth White, “The Litanies Of Satan” from Flowers of Evil (1969 Limelight). Ruth White, all instruments including the Moog Modular Synthesizer. Realized by Ruth White. 6:56 Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.

Reign of Terror   8 August – 12 September 1964   The Doctor, his granddaughter Susan and teachers Ian Chesterton and Barbara Wright arrive in France during the period of the French Revolution known as the Reign of Terror, where they become involved with prisoners and English spies.   Two of the six episodes remain missing after the BBC wiped them from archives. It later received several print adaptations and home media releases, with animated versions of the missing episodes constructed using off-air recordings.   Opening Credits; Introduction (1.29); Background History (4.32); Plot Synopsis (5.08); Let's Discuss (9.20); Let's Rate (24.28); Tune In Next Time (29.16); Closing Credits (30.53)   Opening Credits– Doctor Who Theme. composer Ron Grainer and realised by Delia Derbyshire at the BBC Radiophonic Workshop. Copyright 1963 BBC World Music.   Closing Credits:  Bella Ciao by Nawja.  Copyright  2019 DRO Atlantic ​ Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast.    All rights reserved.  Used with Kind Permission.   All songs available through Amazon Music.  

The Sensorites ​ 20 June – 1 August 1964   The Doctor, his granddaughter Susan Foreman and her teachers Ian Chesterton and Barbara Wright visit a planet known as the Sense-Sphere to find the cure to a disease afflicting the alien race the Sensorites.   Opening Credits; Introduction (1.29); Plot Synopsis (8.22); Let's Discuss (11.44); The Best and the Worse (27.43); Let's Rate (36.05); Tune In Next Time (41.28); Closing Credits (44.35)   Opening Credits– Doctor Who Theme. composer Ron Grainer and realised by Delia Derbyshire at the BBC Radiophonic Workshop. Copyright 1963 BBC World Music.   Closing Credits:  Senses Working Overtime by XTC.  Taken from the album English Settlement.  Copyright 1981 Virgin Records.  ​ Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast.    All rights reserved.  Used with Kind Permission.   All songs available through Amazon Music.  

The Aztecs   23 May – 13 June 1964   The Doctor, his granddaughter Susan  and teachers Ian Chesterton and Barbara Wright arrive in Mexico during the Aztec empire. Barbara becomes mistaken for the goddess Yetaxa, and accepts the identity in hope of persuading the Aztecs to give up human sacrifice, despite the Doctor's warnings about changing history.   Opening Credits; Introduction (1.29); Plot Synopsis (6.25); Let's Discuss (10.23); Favourite Character (23.05 ); Let's Rate (25.32); Tune In Next Time (26.26); Closing Credits (28.38)   Opening Credits– Doctor Who Theme. composer Ron Grainer and realised by Delia Derbyshire at the BBC Radiophonic Workshop. Copyright 1963 BBC World Music.   Closing Credits:  Human Sacrifice by Sweetbox.  Taken from the album Jade.  Copyright 2002 Avex Records. ​ Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast.    All rights reserved.  Used with Kind Permission.   All songs available through Amazon Music.  

The Keys of Marinus ​ 11 April – 16 May 1964   The First Doctor his granddaughter Susan Foreman and her teachers Ian Chesterton and Barbara Wright search for four keys to restore the Conscience of Marinus, a computer which maintains law and order. The group travel to two cities, a jungle, and an icy wasteland in search of the keys.   Opening Credits; Introduction (1.29); Plot Synopsis (15.29); Let's Discuss (18.51); Favourite Moment (27.29); Let's Rate (49.06); Tune In Next Time (50.21); Closing Credits (53.43)   Opening Credits– Doctor Who Theme. composer Ron Grainer and realised by Delia Derbyshire at the BBC Radiophonic Workshop. Copyright 1963 BBC World Music.   Closing Credits:  Keys To My Heart by Mr Dutch.  Copyright 2020 Nigerian Street Music – Afrobeats. ​ Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast.    All rights reserved.  Used with Kind Permission.   All songs available through Amazon Music.

MARCO POLO – (The Lost Story) 22 February – 4 April 1964   EPISODES: ​ The Roof of the World The Singing Sands Five Hundred Eyes The Wall of Lives Rider from Shang-Tu Mighty Kublai Khan Assassin at Peking   The story is set in Yuan-era China in the year 1289, where the Doctor , his granddaughter Susan Foreman and her teachers Ian Chesterton and Barbara Wright meet the Italian merchant-explorer Marco Polo  and Mongolian Emperor Kublai Khan.   Opening Credits; Introduction (1.29); Plot Synopsis (1.53); Let's Discuss (3.24); Amazing Design Advertisement (41.44); Tune In Next Time (42.57); Closing Credits (43.47)   Opening Credits– Doctor Who Theme. composer Ron Grainer and realised by Delia Derbyshire at the BBC Radiophonic Workshop. Copyright 1963 BBC World Music.   Closing Credits:  Marco Polo by Bow Wow featuring Soulja Boy.  Taken from the album New Jack City II.  Copyright 2009 LBW Entertainment – Columbia. ​ Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast.    All rights reserved.  Used with Kind Permission.   All songs available through Amazon Music.  

The Edge of Destruction ​ 8 February – 15 February 1964   The Doctor, his granddaughter Susan and her teachers  are in the Doctor's time and space machine the TARDIS when it appears to be taken over by an outside force. The travellers begin acting strangely and turn against each other.   Opening Credits; Introduction (1.29); Plot Synopsis (8.39); Let's Discuss (10.51); Amazing Design Advertisement (25.15); Favourite and Least Favourite Character (26.26); Tune In Next Time (32.07); Closing Credits (34.07)   Opening Credits– Doctor Who Theme. composer Ron Grainer and realised by Delia Derbyshire at the BBC Radiophonic Workshop. Copyright 1963 BBC World Music.   Closing Credits:  Elf's Lament by Barenaked Ladies with Michael Buble.  Taken from the album Barenaked For The Holidays.  Copyright 2004 Desperation Records. ​ Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast.    All rights reserved.    Used with Kind Permission.   All songs available through Amazon Music.

The Daleks – Part 2   21 December 1963 – 1 February 1964   Episodes 5 – 7   The Expedition The Ordeal The Rescue   The Doctor, his granddaughter Susan Foreman and her teachers Ian Chesterton and Barbara Wright land in an alien jungle and are captured by the Daleks, a race of mutated creatures who survive off the radiation that remains in the atmosphere after a nuclear war with their enemies. As the group attempt to escape the Daleks, they discover more about the planet and the ensuing war and attempt to broker a peace.   Opening Credits; Introduction (1.29); Plot Synopsis (8.19); Let's Discuss (10.49); Amazing Design Advertisement (57.27); Favourite and Least Favourite Character (58.39); Let's Rate (1:06.49); Tune In Next Time (1:12.41); Closing Credits (1:15.17)   Opening Credits– Doctor Who Theme. composer Ron Grainer and realised by Delia Derbyshire at the BBC Radiophonic Workshop. Copyright 1963 BBC World Music.   Closing Credits:  Cause I'm a Blonde – by Julie Brown.  Taken from the album Goddess in Progress.  Copyright 1984 Rhino Records ​ Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast.    All rights reserved .  Used with Kind Permission.   All songs available through Amazon Music.    

In his first speech since becoming Tory leader, Rishi Sunak warned that the UK faces a “profound economic challenge”. Faisal Islam, the BBC's economics editor, is back with us to help profile our next PM and explore what ‘Sunakonomics' might mean for the country and our finances. Chris, who's in Westminster, and Alex, who's been talking to voters in Wakefield, also look at what happens next in the turbulent world of British politics and whether Sunak can succeed in an area where the Liz Truss failed – uniting the various factions in the Conservative party. Today's Newscast was made by Daniel Wittenberg with Chris Flynn and Miranda Slade. The technical producer was Mike Regaard. The series producer is Tim Walklate. Thanks to the BBC Radiophonic Workshop.

The Daleks – Part 1   21 December 1963 – 1 February 1964   Episode 1 – 4: ​ The Dead Planet The Survivors The Escape The Ambush   The First Doctor, his granddaughter Susan Foreman and her teachers Ian Chesterton and Barbara Wright land in an alien jungle and are captured by the Daleks, a race of mutated creatures who survive off the radiation that remains in the atmosphere after a nuclear war with their enemies. As the group attempt to escape the Daleks, they discover more about the planet and the ensuing war, and attempt to broker a peace.   Opening Credits; Introduction (1.29(); The Daleks Part 1: Plot Synopsis (12.14); Let's Discuss (15.01); Amazing Designs Advertisement (52.48); Favourite Character, Least Favourite Character (54.00); Let's Rate (1:11.24); Tune In Next Time (1:15.36); Closing Credits (1:18.03)   Opening Credits– Doctor Who Theme. composer Ron Grainer and realised by Delia Derbyshire at the BBC Radiophonic Workshop. Copyright 1963 BBC World Music.   Closing Credits:  Doctorin' The Tardis by The Timelords – taken from the album The KLF – History of the JAM aka The Timelords.  1988 copyright TVT Records. ​ Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast.    All rights reserved.  Used with Kind Permission.   All songs available through Amazon Music.

This week, Dougray Scott, Jessica Raine and two scary skeleton creatures are all so unspeakably horny that all Nathan, Corey, Si and Pete can do is Hide. Notes and links Jessica Raine, who plays Emma in Hide will go on to play Doctor Who's first producer Verity Lambert in An Adventure in Space and Time, a drama about the origins of Doctor Who which is released a few months after this episode. But more about that later, perhaps. (Spoilers!) Sound Effects No. 13: Death & Horror was an album produced by the BBC Radiophonic Workshop in 1977 and used continuously in TV and stage productions ever since. Mary Whitehouse complained vociferously about its release, because of course she did. Christopher Nolan's Interstellar (2014) also features time-travelling astronauts with a ghostly influence on the past. It's hard to imagine that it makes that much more sense than Hide though, isn't it? I considered writing about the racist lyrics of Cole Porter's Let's Do It, but after a second's reflection, I've decided to just let you Google them for yourself. But really, don't. The Stone Tape (1972) was a made-for-TV movie written by Quatermass's Nigel Kneale and featuring Jane Asher and Doctor Who's very own Ian Cuthbertson. Like Hide, it features researchers spending the night in a house haunted by a spectral woman, but Neil Cross would like to make it very clear that for copyright purposes, it is in every way a legally distinct entity from Hide. El Sandifer is particularly scathing in her assessment of Nigel Kneale in her essay on (among other things) ITV's 1978 TV movie version of Quatermass. And finally, Whatever Happened to Susan Foreman? was an episode of a comedy radio programme called Whatever Happened To…?, first broadcast on BBC Radio 4 in June 1994 — featuring Jane Asher (again) as Susan Foreman. It was released as a special feature on the DVD of The Dalek Invasion of Earth. Actually, there is one more thing. The story from The Sarah Jane Adventures that we talk about in the tag is called Whatever Happened to Sarah Jane?. It's amazing. Go and watch it immediately. Follow us Nathan is on Twitter as @nathanbottomley, Pete is @Prof_Quiteamess, and Si is @Si_Hart. Despite what he said on the podcast, Corey does have a Twitter account, at @CoreyMcCor. The Flight Through Entirety theme was arranged by Cameron Lam. You can follow the podcast on Twitter at @FTEpodcast. We're also on Facebook, and you can check out our website at flightthroughentirety.com. Please consider rating or reviewing us on Apple Podcasts, or we'll embarrass you on your first day by inviting your great-great-great-great-great-granddaughter along. And more You can find Jodie into Terror, our flashcast on the Whittaker Era of Doctor Who, at jodieintoterror.com, at @JodieIntoTerror on Twitter, on Apple Podcasts, and wherever podcasts can be found. We'll be releasing our final episode on The Power of the Doctor some time in October, we expect. Our James Bond commentary podcast is called Bondfinger, and you can find that at bondfinger.com, at @bondfingercast on Twitter, on Apple Podcasts, and everywhere else as well. We can also be heard on the Blakes 7 podcast Maximum Power, whose coverage of Series B will be starting soon, with a Very Special Episode That I Absolutely Can't Tell You About. And finally, there's our Star Trek commentary podcast, Untitled Star Trek Project, featuring Nathan and friend-of-the-podcast Joe Ford. This week, we went back or forward in time to the first series of Star Trek: Discovery and watched Vaulting Ambition.

13 septiembre 2022 - programa #143 Hoy en Sputnik Radio 105.4FM y en www.sputnikportal.com una nueva edición de Rudy Sessions Radio Show, en la que Gus y Oscar darán un paseo por el mundo de las bandas sonoras. Llegarán con las maletas cargadas de discos franceses, italianos y de blaxplotation. PLAYLIST #143: 1. NEAL HEFTI – BATMAN THEME 2. ENNIO MORRICONE – CITTÁ VIOLENTA 3. DAVID SHIRE – TALKING PELHAM ONE, TWO, THREE 4. MANFRED HÜBLER & SIEGFRIED SHAHAB – VAMPIROS LESBOS 5. ALESSANDRO ALESSANDRONI – SANGUE DI ESBIRRO 6. BBC RADIOPHONIC WORKSHOP – DOCTOR WHO 7. ROY BUUD – GET CARTER 8. SERGE GAINSBOURG – L.A. HORSE 9. LALO SCHIFRIN – ENTER THE DRAGON 10. JOHNY PATE – SHAFT IN AFRICA 11. HENRY MANCINI – PETER GUNN 12. LUIS BACALOV – ROMA BENE 13. QUINCY JONES – THE LOST MAN 14. DANIELE PATUCCHI – LA LOCA EXTRAVAGANCIA SEXI 15. HENRY MANCINI – EXPERIMENT IN TERROR 16. DIRK SANDERS - TU SERAS TERRIBLEMENTE GENTILLE 17. RY COODER – PARIS TEXAS Desde la promotora musical RUDY SESSIONS hace algún tiempo estamos intentando activar la escena musical de la isla con nuestros conciertos de carácter internacional. Todos los martes de 20 a 21 horas les haremos partícipes de nuestro amor por la música con programas en los que varios de los socios pincharán sólo buena música de variados estilos (pop, rock, rhythm & blues, power pop, garaje, groove, folk, etc.)

SEASON 1 ​ AN UNEARTHLY CHILD  ​ Originally Aired: 23 November – 14 December 1963   Two teachers have concerns about a pupil who has alien views of England.  They visit her address to find a blue TARDIS and the pupils voice coming from inside.  William Hartnell makes his appearance as the first Dr Who, They visit the Palaeolithic tribe where fire shows who will be leader and the team get to involved in their politics to dangerous effects.   Opening Credits; Introduction (1.29); Plot Synopsis (6.16); Let's Discuss (8.35); Amazing Design Ad (1:04.39);  Favourite and Least Favourite Storyline (1:05.51); Favourite and Least Favourite Character (1:13.31 ); Let's Rate (1:1747); Tune In Next Time (1:19.56); Closing Credits (1:24.00)   Opening Credits– Doctor Who Theme. composer Ron Grainer and realised by Delia Derbyshire at the BBC Radiophonic Workshop. Copyright 1963 BBC World Music.   Closing Credits:- Right Back Where We Started From by Maxine Nightingale.  Taken from the album Right Back Where We Started From.  Copyright 1975 United Artist Records.    ​ Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast.    All rights reserved.  Used with Kind Permission.   All songs available through Amazon Music.

This week's exciting Electronically Yours episode features a truly iconic figure in the history of electronic pop music, David Vorhaus. David started his career as an early member of the BBC Radiophonic Workshop, where he met Delia Derbyshire. They went on to form White Noise, whose first album An Electric Storm was released at the peak of the psychedelic revolution in 1969 on Island Records. One if my top 3 all-time electronic albums, it still sounds like the future today… He has also designed his own instruments including the legendary Kaleidophon, and together with Mike Painter is about to release the latest White Noise album, Lightning Strikes Twice. Ladies and Gentlemen - the man who reveals your hidden dreams - David Vorhaus... If you can, please support the Electronically Yours podcast via my Patreon: https://www.patreon.com/electronicallyours

Hello and welcome to ‘Look Who's Talking! The series that delves into all and any topics of discussion! They talk with Paddy Kingsland about his life, career and contributions to the BBC Radiophonic Workshop!    If you would like to see the full filmed interview please consider supporting us on Patreon. You will also gain access to exclusive episodes/series (Reading Club), videos and other bonus content!: https://patreon.com/wccy?utm_medium=social&utm_source=twitter&utm_campaign=creatorshare www.wccy.co.uk   They would love your feedback! Please get in touch. Audio Feedback: https://speakpipe.com/whocanconvinceyou Twitter: https://twitter.com/Whocanconvince Facebook: https://fb.me/whocanconvinceyoupodcast Email: whocanconvinceyou@gmail.com Youtube: https://www.youtube.com/channel/UC6Kz8MMoNIZKvX8ZiQ3wG3A      

Today's out of this world episode of Electronically Yours features a true originator of all the electronic sounds that were part of our childhoods. Brian Hodgson was a core member of the BBC Radiophonic Workshop, most famously associated with soundtracks and sound effects for Doctor Who. Brian was not only the sound designer responsible for the TARDIS take-off and landing sounds, but also the sound of the voices of the Daleks themselves! His long and distinguished career composing for film, TV and theatre is still going, and we are very honoured that he agreed to this interview. Ladies and Gentlemen – prepare for take-off *insert sound of TARDIS here* – meet the one and only Brian Hodgson... If you can, please support the Electronically Yours podcast via my Patreon: https://www.patreon.com/electronicallyours

This episode is sponsored by Muc™ - it cuts down trees! Actor, musician and comedian Jeremy Limb is this week's special guest as we discuss the Goons' foray into television in the mid-fifties, specifically A Show Called Fred. Although few of the Fred shows survive (and none of its immediate predecessor Idiot Weekly Price 2d) Tyler and Jeremy worked with what they could get and what results is (we hope) an enjoyable and informative conversation about something the like of which which had never been seen on television up to that point, and which shows a clear line to future Python material (coconuts standing in as horses etc). We also celebrate Kenneth Connor, The Alberts and the ubiquitous (for this podcast in any case) Valentine Dyall. Jeremy also talks about his dad who was a notable figure within the BBC Radiophonic Workshop and composer of music for the likes of Box of Delights and Doctor Who. Jeremy is on Twitter @jeremylimb @goonshowpod

This week's episode looks at “Tomorrow Never Knows”, the making of Revolver by the Beatles, and the influence of Timothy Leary on the burgeoning psychedelic movement. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "Keep on Running" by the Spencer Davis Group. 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/ Errata A few things -- I say "Fairfield" at one point when I mean "Fairchild". While Timothy Leary was imprisoned in 1970 he wasn't actually placed in the cell next to Charles Manson until 1973. Sources differ on when Geoff Emerick started at EMI, and he *may* not have worked on "Sun Arise", though I've seen enough reliable sources saying he did that I think it's likely. And I've been told that Maureen Cleave denied having an affair with Lennon -- though note that I said it was "strongly rumoured" rather than something definite. Resources As usual, a mix of all the songs excerpted in this episode is available at Mixcloud.com. I have read literally dozens of books on the Beatles, and used bits of information from many of them. All my Beatles episodes refer to: The Complete Beatles Chronicle by Mark Lewisohn, All The Songs: The Stories Behind Every Beatles Release by Jean-Michel Guesdon, And The Band Begins To Play: The Definitive Guide To The Songs of The Beatles by Steve Lambley, The Beatles By Ear by Kevin Moore, Revolution in the Head by Ian MacDonald, and The Beatles Anthology. For this episode, I also referred to Last Interview by David Sheff, a longform interview with John Lennon and Yoko Ono from shortly before Lennon's death; Many Years From Now by Barry Miles, an authorised biography of Paul McCartney; and Here, There, and Everywhere: My Life Recording the Music of the Beatles by Geoff Emerick and Howard Massey. For information on Timothy Leary I used a variety of sources including The Most Dangerous Man in America by Bill Minutaglio and Steven L. Davis; Timothy Leary: Outside Looking In by Robert Forte; The Starseed Signals by Robert Anton Wilson; and especially The Harvard Psychedelic Club by Don Lattin. I also referred to both The Tibetan Book of the Dead and to The Psychedelic Experience. Leary's much-abridged audiobook version of The Psychedelic Experience can be purchased from Folkways Records. Sadly the first mono mix of "Tomorrow Never Knows" has been out of print since it was first issued. The only way to get the second mono mix is on this ludicrously-expensive out-of-print box set, but the stereo mix is easily available on Revolver. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start this episode, I'd like to note that it deals with a number of subjects some listeners might find upsetting, most notably psychedelic drug use, mental illness, and suicide. I think I've dealt with those subjects fairly respectfully, but you still may want to check the transcript if you have worries about these subjects. Also, we're now entering a period of music history with the start of the psychedelic era where many of the songs we're looking at are influenced by non-mainstream religious traditions, mysticism, and also increasingly by political ideas which may seem strange with nearly sixty years' hindsight. I'd just like to emphasise that when I talk about these ideas, I'm trying as best I can to present the thinking of the people I'm talking about, in an accurate and unbiased way, rather than talking about my own beliefs. We're going to head into some strange places in some of these episodes, and my intention is neither to mock the people I'm talking about nor to endorse their ideas, but to present those ideas to you the listener so you can understand the music, the history, and the mindset of the people involved, Is that clear? Then lets' turn on, tune in, and drop out back to 1955... [Opening excerpt from The Psychedelic Experience] There is a phenomenon in many mystical traditions, which goes by many names, including the dark night of the soul and the abyss. It's an experience that happens to mystics of many types, in which they go through unimaginable pain near the beginning of their journey towards greater spiritual knowledge. That pain usually involves a mixture of internal and external events -- some terrible tragedy happens to them, giving them a new awareness of the world's pain, at the same time they're going through an intellectual crisis about their understanding of the world, and it can last several years. It's very similar to the more common experience of the mid-life crisis, except that rather than buying a sports car and leaving their spouse, mystics going through this are more likely to found a new religion. At least, those who survive the crushing despair intact. Those who come out of the experience the other end often find themselves on a totally new path, almost like they're a different person. In 1955, when Dr. Timothy Leary's dark night of the soul started, he was a respected academic psychologist, a serious scientist who had already made several substantial contributions to his field, and was considered a rising star. By 1970, he would be a confirmed mystic, sentenced to twenty years in prison, in a cell next to Charles Manson, and claiming to different people that he was the reincarnation of Gurdjieff, Aleister Crowley, and Jesus Christ. In the fifties, Leary and his wife had an open relationship, in which they were both allowed to sleep with other people, but weren't allowed to form emotional attachments to them. Unfortunately, Leary *had* formed an emotional attachment to another woman, and had started spending so much time with her that his wife was convinced he was going to leave her. On top of that, Leary was an alcoholic, and was prone to get into drunken rows with his wife. He woke up on the morning of his thirty-fifth birthday, hung over after one of those rows, to find that she had died by suicide while he slept, leaving a note saying that she knew he was going to leave her and that her life would be meaningless without him. This was only months after Leary had realised that the field he was working in, to which he had devoted his academic career, was seriously broken. Along with a colleague, Frank Barron, he published a paper on the results of clinical psychotherapy, "Changes in psychoneurotic patients with and without psychotherapy" which analysed the mental health of a group of people who had been through psychotherapy, and found that a third of them improved, a third stayed the same, and a third got worse. The problem was that there was a control group, of people with the same conditions who were put on a waiting list and told to wait the length of time that the therapy patients were being treated. A third of them improved, a third stayed the same, and a third got worse. In other words, psychotherapy as it was currently practised had no measurable effect at all on patients' health. This devastated Leary, as you might imagine. But more through inertia than anything else, he continued working in the field, and in 1957 he published what was regarded as a masterwork -- his book Interpersonal Diagnosis of Personality: A Functional Theory and Methodology for Personality Evaluation. Leary's book was a challenge to the then-dominant idea in psychology, behaviourism, which claimed that it made no sense to talk about anyone's internal thoughts or feelings -- all that mattered was what could be measured, stimuli and responses, and that in a very real sense the unmeasurable thoughts people had didn't exist at all. Behaviourism looked at every human being as a mechanical black box, like a series of levers. Leary, by contrast, analysed human interactions as games, in which people took on usual roles, but were able, if they realised this, to change the role or even the game itself. It was very similar to the work that Eric Berne was doing at the same time, and which would later be popularised in Berne's book Games People Play. Berne's work was so popular that it led to the late-sixties hit record "Games People Play" by Joe South: [Excerpt: Joe South: "Games People Play"] But in 1957, between Leary and Berne, Leary was considered the more important thinker among his peers -- though some thought of him as more of a showman, enthralled by his own ideas about how he was going to change psychology, than a scientist, and some thought that he was unfairly taking credit for the work of lesser-known but better researchers. But by 1958, the effects of the traumas Leary had gone through a couple of years earlier were at their worst. He was starting to become seriously ill -- from the descriptions, probably from something stress-related and psychosomatic -- and he took his kids off to Europe, where he was going to write the great American novel. But he rapidly ran through his money, and hadn't got very far with the novel. He was broke, and ill, and depressed, and desperate, but then in 1959 his old colleague Frank Barron, who was on holiday in the area, showed up, and the two had a conversation that changed Leary's life forever in multiple ways. The first of the conversational topics would have the more profound effect, though that wouldn't be apparent at first. Barron talked to Leary about his previous holiday, when he'd visited Mexico and taken psilocybin mushrooms. These had been used by Mexicans for centuries, but the first publication about them in English had only been in 1955 -- the same year when Leary had had other things on his mind -- and they were hardly known at all outside Mexico. Barron talked about the experience as being the most profound, revelatory, experience of his life. Leary thought his friend sounded like a madman, but he humoured him for the moment. But Barron also mentioned that another colleague was on holiday in the same area. David McClelland, head of the Harvard Center for Personality Research, had mentioned to Barron that he had just read Diagnosis of Personality and thought it a work of genius. McClelland hired Leary to work for him at Harvard, and that was where Leary met Ram Dass. [Excerpt from "The Psychedelic Experience"] Ram Dass was not the name that Dass was going by at the time -- he was going by his birth name, and only changed his name a few years later, after the events we're talking about -- but as always, on this podcast we don't use people's deadnames, though his is particularly easy to find as it's still the name on the cover of his most famous book, which we'll be talking about shortly. Dass was another psychologist at the Centre for Personality Research, and he would be Leary's closest collaborator for the next several years. The two men would become so close that at several points Leary would go travelling and leave his children in Dass' care for extended periods of time. The two were determined to revolutionise academic psychology. The start of that revolution didn't come until summer 1960. While Leary was on holiday in Cuernavaca in Mexico, a linguist and anthropologist he knew, Lothar Knauth, mentioned that one of the old women in the area collected those magic mushrooms that Barron had been talking about. Leary decided that that might be a fun thing to do on his holiday, and took a few psilocybin mushrooms. The effect was extraordinary. Leary called this, which had been intended only as a bit of fun, "the deepest religious experience of my life". [Excerpt from "The Psychedelic Experience"] He returned to Harvard after his summer holiday and started what became the Harvard Psilocybin Project. Leary and various other experimenters took controlled doses of psilocybin and wrote down their experiences, and Leary believed this would end up revolutionising psychology, giving them insights unattainable by other methods. The experimenters included lecturers, grad students, and people like authors Allen Ginsberg and William Burroughs, jazz trumpeter Maynard Ferguson, and Alan Watts, who popularised Zen Buddhism in the West. Dass didn't join the project until early 1961 -- he'd actually been on the holiday with Leary, but had arrived a few days after the mushroom experiment, and nobody had been able to get hold of the old woman who knew where to find the mushrooms, so he'd just had to deal with Leary telling him about how great it was rather than try it himself. He then spent a semester as a visiting scholar at Berkeley, so he didn't get to try his first trip until February 1961. Dass, on his first trip, first had a revelation about the nature of his own true soul, then decided at three in the morning that he needed to go and see his parents, who lived nearby, and tell them the good news. But there was several feet of snow, and so he decided he must save his parents from the snow, and shovel the path to their house. At three in the morning. Then he saw them looking out the window at him, he waved, and then started dancing around the shovel. He later said “Until that moment I was always trying to be the good boy, looking at myself through other people's eyes. What did the mothers, fathers, teachers, colleagues want me to be? That night, for the first time, I felt good inside. It was OK to be me.” The Harvard Psilocybin Project soon became the Harvard Psychedelic Project. The term "psychedelic", meaning "soul revealing", was coined by the British psychiatrist Humphrey Osmond, who had been experimenting with hallucinogens for years, and had guided Aldous Huxley on the mescaline trip described in The Doors of Perception. Osmond and Huxley had agreed that the term "psychotomimetic", in use at the time, which meant "mimicking psychosis", wasn't right -- it was too negative. They started writing letters to each other, suggesting alternative terms. Huxley came up with "phanerothyme", the Greek for "soul revealing", and wrote a little couplet to Osmond: To make this trivial world sublime Take half a gramme of phanerothyme. Osmond countered with the Latin equivalent: To fathom hell or soar angelic Just take a pinch of psychedelic Osmond also inspired Leary's most important experimental work of the early sixties. Osmond had got to know Bill W., the founder of Alcoholics Anonymous, and had introduced W. to LSD. W. had become sober after experiencing a profound spiritual awakening and a vision of white light while being treated for his alcoholism using the so-called "belladonna cure" -- a mixture of various hallucinogenic and toxic substances that was meant to cure alcoholism. When W. tried LSD, he found it replicated his previous spiritual experience and became very evangelistic about its use by alcoholics, thinking it could give them the same kind of awakening he'd had. Leary became convinced that if LSD could work on alcoholics, it could also be used to help reshape the personalities of habitual criminals and lead them away from reoffending. His idea for how to treat people was based, in part, on the ideas of transactional analysis. There is always a hierarchical relationship between a therapist and their patient, and that hierarchical relationship itself, in Leary's opinion, forced people into particular game roles and made it impossible for them to relate as equals, and thus impossible for the therapist to truly help the patient. So his idea was that there needed to be a shared bonding experience between patient and doctor. So in his prison experiments, he and the other people involved, including Ralph Metzner, one of his grad students, would take psilocybin *with* the patients. In short-term follow-ups the patients who went through this treatment process were less depressed, felt better, and were only half as likely to reoffend as normal prisoners. But critics pointed out that the prisoners had been getting a lot of individual attention and support, and there was no control group getting that support without the psychedelics. [Excerpt: The Psychedelic Experience] As the experiments progressed, though, things were becoming tense within Harvard. There was concern that some of the students who were being given psilocybin were psychologically vulnerable and were being put at real risk. There was also worry about the way that Leary and Dass were emphasising experience over analysis, which was felt to be against the whole of academia. Increasingly it looked like there was a clique forming as well, with those who had taken part in their experiments on the inside and looking down on those outside, and it looked to many people like this was turning into an actual cult. This was simply not what the Harvard psychology department was meant to be doing. And one Harvard student was out to shut them down for good, and his name was Andrew Weil. Weil is now best known as one of the leading lights in alternative health, and has made appearances on Oprah and Larry King Live, but for many years his research interest was in mind-altering chemicals -- his undergraduate thesis was on the use of nutmeg to induce different states of consciousness. At this point Weil was an undergraduate, and he and his friend Ronnie Winston had both tried to get involved in the Harvard Psilocybin Project, but had been turned down -- while they were enthusiastic about it, they were also undergraduates, and Leary and Dass had agreed with the university that they wouldn't be using undergraduates in their project, and that only graduate students, faculty, and outsiders would be involved. So Weil and Winston had started their own series of experiments, using mescaline after they'd been unable to get any psilocybin -- they'd contacted Aldous Huxley, the author of The Doors of Perception and an influence on Leary and Dass' experiments, and asked him where they could get mescaline, and he'd pointed them in the right direction. But then Winston and Dass had become friends, and Dass had given Winston some psilocybin -- not as part of his experiments, so Dass didn't think he was crossing a line, but just socially. Weil saw this as a betrayal by Winston, who stopped hanging round with him once he became close to Dass, and also as a rejection of him by Dass and Leary. If they'd give Winston psilocybin, why wouldn't they give it to him? Weil was a writer for the Harvard Crimson, Harvard's newspaper, and he wrote a series of exposes on Leary and Dass for the Crimson. He went to his former friend Winston's father and told him "Your son is getting drugs from a faculty member. If your son will admit to that charge, we'll cut out your son's name. We won't use it in the article."  Winston did admit to the charge, under pressure from his father, and was brought to tell the Dean, saying to the Dean “Yes, sir, I did, and it was the most educational experience I've had at Harvard.” Weil wrote about this for the Crimson, and the story was picked up by the national media. Weil eventually wrote about Leary and Dass for Look magazine, where he wrote “There were stories of students and others using hallucinogens for seductions, both heterosexual and homosexual.” And this seems actually to have been a big part of Weil's motivation. While Dass and Winston always said that their relationship was purely platonic, Dass was bisexual, and Weil seems to have assumed his friend had been led astray by an evil seducer. This was at a time when homophobia and biphobia were even more prevalent in society than they are now, and part of the reason Leary and Dass fell out in the late sixties is that Leary started to see Dass' sexuality as evil and perverted and something they should be trying to use LSD to cure. The experiments became a national scandal, and one of the reasons that LSD was criminalised a few years later. Dass was sacked for giving drugs to undergraduates; Leary had gone off to Mexico to get away from the stress, leaving his kids with Dass. He would be sacked for going off without permission and leaving his classes untaught. As Leary and Dass were out of Harvard, they had to look for other sources of funding. Luckily, Dass turned William Mellon Hitchcock, the heir to the Mellon oil fortune, on to acid, and he and his brother Tommy and sister Peggy gave them the run of a sixty-four room mansion, named Millbrook. When they started there, they were still trying to be academics, but over the five years they were at Millbrook it became steadily less about research and more of a hippie commune, with regular visitors and long-term residents including Alan Ginsberg, William Burroughs, and the jazz musician Maynard Ferguson, who would later get a small amount of fame with jazz-rock records like his version of "MacArthur Park": [Excerpt: Maynard Ferguson, "MacArthur Park"] It was at Millbrook that Leary, Dass, and Metzner would write the book that became The Psychedelic Experience. This book was inspired by the Bardo Thödol, a book allegedly written by Padmasambhava, the man who introduced Buddhism to Tibet in the eighth century, though no copies of it are known to have existed before the fourteenth century, when it was supposedly discovered by Karma Lingpa. Its title translates as Liberation Through Hearing During the Intermediate State, but it was translated into English under the name The Tibetan Book of the Dead, as Walter Evans-Wentz, who compiled and edited the first English translation was, like many Westerners who studied Buddhism in the early part of the twentieth century, doing so because he was an occultist and a member of the Theosophical Society, which believes the secret occult masters of the world live in Tibet, but which also considered the Egyptian Book of the Dead -- a book which bears little relationship to the Bardo Thödol, and which was written thousands of years earlier on a different continent -- to be a major religious document. So it was through that lens that Evans-Wentz was viewing the Bardo Thödol, and he renamed the book to emphasise what he perceived as its similarities. Part of the Bardo Thödol is a description of what happens to someone between death and rebirth -- the process by which the dead person becomes aware of true reality, and then either transcends it or is dragged back into it by their lesser impulses -- and a series of meditations that can be used to help with that transcendence. In the version published as The Tibetan Book of the Dead, this is accompanied by commentary from Evans-Wentz, who while he was interested in Buddhism didn't actually know that much about Tibetan Buddhism, and was looking at the text through a Theosophical lens, and mostly interpreting it using Hindu concepts. Later editions of Evans-Wentz's version added further commentary by Carl Jung, which looked at Evans-Wentz's version of the book through Jung's own lens, seeing it as a book about psychological states, not about anything more supernatural (although Jung's version of psychology was always a supernaturalist one, of course). His Westernised, psychologised, version of the book's message became part of the third edition. Metzner later said "At the suggestion of Aldous Huxley and Gerald Heard we began using the Bardo Thödol ( Tibetan Book of the Dead) as a guide to psychedelic sessions. The Tibetan Buddhists talked about the three phases of experience on the “intermediate planes” ( bardos) between death and rebirth. We translated this to refer to the death and the rebirth of the ego, or ordinary personality. Stripped of the elaborate Tibetan symbolism and transposed into Western concepts, the text provided a remarkable parallel to our findings." Leary, Dass, and Metzner rewrote the book into a form that could be used to guide a reader through a psychedelic trip, through the death of their ego and its rebirth. Later, Leary would record an abridged audiobook version, and it's this that we've been hearing excerpts of during this podcast so far: [Excerpt: The Psychedelic Experience "Turn off your mind, relax, float downstream" about 04:15] When we left the Beatles, they were at the absolute height of their fame, though in retrospect the cracks had already begun to show.  Their second film had been released, and the soundtrack had contained some of their best work, but the title track, "Help!", had been a worrying insight into John Lennon's current mental state. Immediately after making the film and album, of course, they went back out touring, first a European tour, then an American one, which probably counts as the first true stadium tour. There had been other stadium shows before the Beatles 1965 tour -- we talked way back in the first episodes of the series about how Sister Rosetta Tharpe had a *wedding* that was a stadium gig. But of course there are stadiums and stadiums, and the Beatles' 1965 tour had them playing the kind of venues that no other musician, and certainly no other rock band, had ever played. Most famously, of course, there was the opening concert of the tour at Shea Stadium, where they played to an audience of fifty-five thousand people -- the largest audience a rock band had ever played for, and one which would remain a record for many years. Most of those people, of course, couldn't actually hear much of anything -- the band weren't playing through a public address system designed for music, just playing through the loudspeakers that were designed for commentating on baseball games. But even if they had been playing through the kind of modern sound systems used today, it's unlikely that the audience would have heard much due to the overwhelming noise coming from the crowd. Similarly, there were no live video feeds of the show or any of the other things that nowadays make it at least possible for the audience to have some idea what is going on on stage. The difference between this and anything that anyone had experienced before was so great that the group became overwhelmed. There's video footage of the show -- a heavily-edited version, with quite a few overdubs and rerecordings of some tracks was broadcast on TV, and it's also been shown in cinemas more recently as part of promotion for an underwhelming documentary about the Beatles' tours -- and you can see Lennon in particular becoming actually hysterical during the performance of "I'm Down", where he's playing the organ with his elbows. Sadly the audio nature of this podcast doesn't allow me to show Lennon's facial expression, but you can hear something of the exuberance in the performance. This is from what is labelled as a copy of the raw audio of the show -- the version broadcast on TV had a fair bit of additional sweetening work done on it: [Excerpt: The Beatles, "I'm Down (Live at Shea Stadium)"] After their American tour they had almost six weeks off work to write new material before going back into the studio to record their second album of the year, and one which would be a major turning point for the group. The first day of the recording sessions for this new album, Rubber Soul, started with two songs of Lennon's. The first of these was "Run For Your Life", a song Lennon never later had much good to say about, and which is widely regarded as the worst song on the album. That song was written off a line from Elvis Presley's version of "Baby Let's Play House", and while Lennon never stated this, it's likely that it was brought to mind by the Beatles having met with Elvis during their US tour. But the second song was more interesting. Starting with "Help!", Lennon had been trying to write more interesting lyrics. This had been inspired by two conversations with British journalists -- Kenneth Allsop had told Lennon that while he liked Lennon's poetry, the lyrics to his songs were banal in comparison and he found them unlistenable as a result, while Maureen Cleave, a journalist who was a close friend with Lennon, had told him that she hadn't noticed a single word in any of his lyrics with more than two syllables, so he made more of an effort with "Help!", putting in words like "independence" and "insecure". As he said in one of his last interviews, "I was insecure then, and things like that happened more than once. I never considered it before. So after that I put a few words with three syllables in, but she didn't think much of them when I played it for her, anyway.” Cleave may have been an inspiration for "Norwegian Wood (This Bird Has Flown)". There are very strong rumours that Lennon had an affair with Cleave in the mid-sixties, and if that's true it would definitely fit into a pattern. Lennon had many, many, affairs during his first marriage, both brief one-night stands and deeper emotional attachments, and those emotional attachments were generally with women who were slightly older, intellectual, somewhat exotic looking by the standards of 1960s Britain, and in the arts. Lennon later claimed to have had an affair with Eleanor Bron, the Beatles' co-star in Help!, though she always denied this, and it's fairly widely established that he did have an affair with Alma Cogan, a singer who he'd mocked during her peak of popularity in the fifties, but who would later become one of his closest friends: [Excerpt: Alma Cogan, "Why Do Fools Fall in Love?"] And "Norwegian Wood", the second song recorded for Rubber Soul, started out as a confession to one of these affairs, a way of Lennon admitting it to his wife without really admitting it. The figure in the song is a slightly aloof, distant woman, and the title refers to the taste among Bohemian British people at the time for minimalist decor made of Scandinavian pine -- something that would have been a very obvious class signifier at the time. [Excerpt: The Beatles, "Norwegian Wood (This Bird Has Flown)"] Lennon and McCartney had different stories about who wrote what in the song, and Lennon's own story seems to have changed at various times. What seems to have happened is that Lennon wrote the first couple of verses while on holiday with George Martin, and finished it off later with McCartney's help. McCartney seems to have come up with the middle eight melody -- which is in Dorian mode rather than the Mixolydian mode of the verses -- and to have come up with the twist ending, where the woman refuses to sleep with the protagonist and laughs at him, he goes to sleep in the bath rather than her bed, wakes up alone, and sets fire to the house in revenge. This in some ways makes "Norwegian Wood" the thematic centrepiece of the album that was to result, combining several of the themes its two songwriters came back to throughout the album and the single recorded alongside it. Like Lennon's "Run For Your Life" it has a misogynistic edge to it, and deals with taking revenge against a woman, but like his song "Girl", it deals with a distant, unattainable, woman, who the singer sees as above him but who has a slightly cruel edge -- the kind of girl who puts you down when friends are there,  you feel a fool, is very similar to the woman who tells you to sit down but has no chairs in her minimalist flat. A big teaser who takes you half the way there is likely to laugh at you as you crawl off to sleep in the bath while she goes off to bed alone. Meanwhile, McCartney's two most popular contributions to the album, "Michelle" and "Drive My Car", also feature unattainable women, but are essentially comedy songs -- "Michelle" is a pastiche French song which McCartney used to play as a teenager while pretending to be foreign to impress girls, dug up and finished for the album, while "Drive My Car" is a comedy song with a twist in the punchline, just like "Norwegian Wood", though "Norwegian Wood"s twist is darker. But "Norwegian Wood" is even more famous for its music than for its lyric. The basis of the song is Lennon imitating Dylan's style -- something that Dylan saw, and countered with "Fourth Time Around", a song which people have interpreted multiple ways, but one of those interpretations has always been that it's a fairly vicious parody of "Norwegian Wood": [Excerpt: Bob Dylan, "Fourth Time Around"] Certainly Lennon thought that at first, saying a few years later "I was very paranoid about that. I remember he played it to me when he was in London. He said, what do you think? I said, I don't like it. I didn't like it. I was very paranoid. I just didn't like what I felt I was feeling – I thought it was an out and out skit, you know, but it wasn't. It was great. I mean he wasn't playing any tricks on me. I was just going through the bit." But the aspect of "Norwegian Wood" that has had more comment over the years has been the sitar part, played by George Harrison: [Excerpt: The Beatles, "Norwegian Wood"] This has often been called the first sitar to be used on a rock record, and that may be the case, but it's difficult to say for sure. Indian music was very much in the air among British groups in September 1965, when the Beatles recorded the track. That spring, two records had almost simultaneously introduced Indian-influenced music into the pop charts. The first had been the Yardbirds' "Heart Full of Soul", released in June and recorded in April. In fact, the Yardbirds had actually used a sitar on their first attempt at recording the song, which if it had been released would have been an earlier example than the Beatles: [Excerpt: The Yardbirds, "Heart Full of Soul (first version)"] But in the finished recording they had replaced that with Jeff Beck playing a guitar in a way that made it sound vaguely like a sitar, rather than using a real one: [Excerpt: The Yardbirds, "Heart Full of Soul (single)"] Meanwhile, after the Yardbirds had recorded that but before they'd released it, and apparently without any discussion between the two groups, the Kinks had done something similar on their "See My Friends", which came out a few weeks after the Yardbirds record: [Excerpt: The Kinks, "See My Friends"] (Incidentally, that track is sometimes titled "See My Friend" rather than "See My Friends", but that's apparently down to a misprint on initial pressings rather than that being the intended title). As part of this general flowering of interest in Indian music, George Harrison had become fascinated with the sound of the sitar while recording scenes in Help! which featured some Indian musicians. He'd then, as we discussed in the episode on "Eight Miles High" been introduced by David Crosby on the Beatles' summer US tour to the music of Ravi Shankar. "Norwegian Wood" likely reminded Harrison of Shankar's work for a couple of reasons. The first is that the melody is very modal -- as I said before, the verses are in Mixolydian mode, while the middle eights are in Dorian -- and as we saw in the "Eight Miles High" episode Indian music is very modal. The second is that for the most part, the verse is all on one chord -- a D chord as Lennon originally played it, though in the final take it's capoed on the second fret so it sounds in E. The only time the chord changes at all is on the words "once had" in the phrase “she once had me” where for one beat each Lennon plays a C9 and a G (sounding as a D9 and A). Both these chords, in the fingering Lennon is using, feel to a guitarist more like "playing a D chord and lifting some fingers up or putting some down" rather than playing new chords, and this is a fairly common way of thinking about stuff particularly when talking about folk and folk-rock music -- you'll tend to get people talking about the "Needles and Pins" riff as being "an A chord where you twiddle your finger about on the D string" rather than changing between A, Asus2, and Asus4. So while there are chord changes, they're minimal and of a kind that can be thought of as "not really" chord changes, and so that may well have reminded Harrison of the drone that's so fundamental to Indian classical music. Either way, he brought in his sitar, and they used it on the track, both the version they cut on the first day of recording and the remake a week later which became the album track: [Excerpt: The Beatles, "Norwegian Wood (This Bird Has Flown)"] At the same time as the group were recording Rubber Soul, they were also working on two tracks that would become their next single -- released as a double A-side because the group couldn't agree which of the two to promote. Both of these songs were actual Lennon/McCartney collaborations, something that was increasingly rare at this point. One, "We Can Work it Out" was initiated by McCartney, and like many of his songs of this period was inspired by tensions in his relationship with his girlfriend Jane Asher -- two of his other songs for Rubber Soul were "I'm Looking Through You" and "You Won't See Me".  The other, "Day Tripper",  was initiated by Lennon, and had other inspirations: [Excerpt: The Beatles, "Day Tripper"] John Lennon and George Harrison's first acid trip had been in spring of 1965, around the time they were recording Help! The fullest version of how they came to try it I've read was in an interview George Harrison gave to Creem magazine in 1987, which I'll quote a bit of: "I had a dentist who invited me and John and our ex-wives to dinner, and he had this acid he'd got off the guy who ran Playboy in London. And the Playboy guy had gotten it off, you know, the people who had it in America. What's his name, Tim Leary. And this guy had never had it himself, didn't know anything about it, but he thought it was an aphrodisiac and he had this girlfriend with huge breasts. He invited us down there with our blonde wives and I think he thought he was gonna have a scene. And he put it in our coffee without telling us—he didn't take any himself. We didn't know we had it, and we'd made an arrangement earlier—after we had dinner we were gonna go to this nightclub to see some friends of ours who were playing in a band. And I was saying, "OK, let's go, we've got to go," and this guy kept saying, "No, don't go, finish your coffee. Then, 20 minutes later or something, I'm saying, "C'mon John, we'd better go now. We're gonna miss the show." And he says we shouldn't go 'cause we've had LSD." They did leave anyway, and they had an experience they later remembered as being both profound and terrifying -- nobody involved had any idea what the effects of LSD actually were, and they didn't realise it was any different from cannabis or amphetamines. Harrison later described feelings of universal love, but also utter terror -- believing himself to be in hell, and that world war III was starting. As he said later "We'd heard of it, but we never knew what it was about and it was put in our coffee maliciously. So it really wasn't us turning each other or the world or anything—we were the victims of silly people." But both men decided it was an experience they needed to have again, and one they wanted to share with their friends. Their next acid trip was the one that we talked about in the episode on "Eight Miles High", with Roger McGuinn, David Crosby, and Peter Fonda. That time Neil Aspinall and Ringo took part as well, but at this point Paul was still unsure about taking it -- he would later say that he was being told by everyone that it changed your worldview so radically you'd never be the same again, and he was understandably cautious about this. Certainly it had a profound effect on Lennon and Harrison -- Starr has never really talked in detail about his own experiences. Harrison would later talk about how prior to taking acid he had been an atheist, but his experiences on the drug gave him an unshakeable conviction in the existence of God -- something he would spend the rest of his life exploring. Lennon didn't change his opinions that drastically, but he did become very evangelistic about the effects of LSD. And "Day Tripper" started out as a dig at what he later described as weekend hippies, who took acid but didn't change the rest of their lives -- which shows a certain level of ego in a man who had at that point only taken acid twice himself -- though in collaboration with McCartney it turned into another of the rather angry songs about unavailable women they were writing at this point. The line "she's a big teaser, she took me half the way there" apparently started as "she's a prick teaser": [Excerpt: The Beatles, "Day Tripper"] In the middle of the recording of Rubber Soul, the group took a break to receive their MBEs from the Queen. Officially the group were awarded these because they had contributed so much to British exports. In actual fact, they received them because the Prime Minister, Harold Wilson, had a government with a majority of only four MPs and was thinking about calling an election to boost his majority. He represented a Liverpool constituency, and wanted to associate his Government and the Labour Party with the most popular entertainers in the UK. "Day Tripper" and "We Can Work it Out" got their TV premiere on a show recorded for Granada TV,  The Music of Lennon and McCartney, and fans of British TV trivia will be pleased to note that the harmonium Lennon plays while the group mimed "We Can Work it Out" in that show is the same one that was played in Coronation Street by Ena Sharples -- the character we heard last episode being Davy Jones' grandmother. As well as the Beatles themselves, that show included other Brian Epstein artists like Cilla Black and Billy J Kramer singing songs that Lennon and McCartney had given to them, plus Peter Sellers, the Beatles' comedy idol, performing "A Hard Day's Night" in the style of Laurence Olivier as Richard III: [Excerpt: Peter Sellers, "A Hard Day's Night"] Another performance on the show was by Peter and Gordon, performing a hit that Paul had given to them, one of his earliest songs: [Excerpt: Peter and Gordon, "A World Without Love"] Peter Asher, of Peter and Gordon, was the brother of Paul McCartney's girlfriend, the actor Jane Asher. And while the other three Beatles were living married lives in mansions in suburbia, McCartney at this point was living with the Asher family in London, and being introduced by them to a far more Bohemian, artistic, hip crowd of people than he had ever before experienced. They were introducing him to types of art and culture of which he had previously been ignorant, and while McCartney was the only Beatle so far who hadn't taken LSD, this kind of mind expansion was far more appealing to him. He was being introduced to art film, to electronic composers like Stockhausen, and to ideas about philosophy and art that he had never considered. Peter Asher was a friend of John Dunbar, who at the time was Marianne Faithfull's husband, though Faithfull had left him and taken up with Mick Jagger, and of Barry Miles, a writer, and in September 1965 the three men had formed a company, Miles, Asher and Dunbar Limited, or MAD for short, which had opened up a bookshop and art gallery, the Indica Gallery, which was one of the first places in London to sell alternative or hippie books and paraphernalia, and which also hosted art events by people like members of the Fluxus art movement. McCartney was a frequent customer, as you might imagine, and he also encouraged the other Beatles to go along, and the Indica Gallery would play an immense role in the group's history, which we'll look at in a future episode. But the first impact it had on the group was when John and Paul went to the shop in late 1965, just after the recording and release of Rubber Soul and the "Day Tripper"/"We Can Work It Out" single, and John bought a copy of The Psychedelic Experience by Leary, Dass, and Metzner. He read the book on a plane journey while going on holiday -- reportedly while taking his third acid trip -- and was inspired. When he returned, he wrote a song which became the first track to be recorded for the group's next album, Revolver: [Excerpt: The Beatles, "Tomorrow Never Knows"] The lyrics were inspired by the parts of The Psychedelic Experience which were in turn inspired by the Tibetan Book of the Dead. Now, it's important to put it this way because most people who talk about this record have apparently never read the book which inspired it. I've read many, many, books on the Beatles which claim that The Psychedelic Experience simply *is* the Tibetan Book of the Dead, slightly paraphrased. In fact, while the authors use the Tibetan Book of the Dead as a structure on which to base their book, much of the book is detailed descriptions of Leary, Dass, and Metzner's hypotheses about what is actually happening during a psychedelic trip, and their notes on the book -- in particular they provide commentaries to the commentaries, giving their view of what Carl Jung meant when he talked about it, and of Evans-Wentz's opinions, and especially of a commentary by Anagarika Govinda, a Westerner who had taken up Tibetan Buddhism seriously and become a monk and one of its most well-known exponents in the West. By the time it's been filtered through so many different viewpoints and perspectives, each rewriting and reinterpreting it to suit their own preconceived ideas, they could have started with a book on the habitat of the Canada goose and ended with much the same result. Much of this is the kind of mixture between religious syncretism and pseudoscience that will be very familiar to anyone who has encountered New Age culture in any way, statements like "The Vedic sages knew the secret; the Eleusinian Initiates knew it; the Tantrics knew it. In all their esoteric writings they whisper the message: It is possible to cut beyond ego-consciousness, to tune in on neurological processes which flash by at the speed of light, and to become aware of the enormous treasury of ancient racial knowledge welded into the nucleus of every cell in your body". This kind of viewpoint is one that has been around in one form or another since the nineteenth century religious revivals in America that led to Mormonism, Christian Science, and the New Thought. It's found today in books and documentaries like The Secret and the writings of people like Deepak Chopra, and the idea is always the same one -- people thousands of years ago had a lost wisdom that has only now been rediscovered through the miracle of modern science. This always involves a complete misrepresentation of both the lost wisdom and of the modern science. In particular, Leary, Dass, and Metzner's book freely mixes between phrases that sound vaguely scientific, like "There are no longer things and persons but only the direct flow of particles", things that are elements of Tibetan Buddhism, and references to ego games and "game-existence" which come from Leary's particular ideas of psychology as game interactions. All of this is intermingled, and so the claims that some have made that Lennon based the lyrics on the Tibetan Book of the Dead itself are very wrong. Rather the song, which he initially called "The Void", is very much based on Timothy Leary. The song itself was very influenced by Indian music. The melody line consists of only four notes -- E, G, C, and B flat, over a space of an octave: [Demonstrates] This sparse use of notes is very similar to the pentatonic scales in a lot of folk music, but that B-flat makes it the Mixolydian mode, rather than the E minor pentatonic scale our ears at first make it feel like. The B-flat also implies a harmony change -- Lennon originally sang the whole song over one chord, a C, which has the notes C, E, and G in it, but a B-flat note implies instead a chord of C7 -- this is another one of those occasions where you just put one finger down to change the chord while playing, and I suspect that's what Lennon did: [Demonstrates] Lennon's song was inspired by Indian music, but what he wanted was to replicate the psychedelic experience, and this is where McCartney came in. McCartney was, as I said earlier, listening to a lot of electronic composers as part of his general drive to broaden his mind, and in particular he had been listening to quite a bit of Karlheinz Stockhausen. Stockhausen was a composer who had studied with Olivier Messiaen in the 1940s, and had then become attached to the Groupe de Recherche de Musique Concrète along with Messiaen, Pierre Boulez, Edgard Varese and others, notably Pierre Schaeffer and Pierre Henry. These composers were interested in a specific style of music called musique concrète, a style that had been pioneered by Schaeffer. Musique concrète is music that is created from, or at least using, prerecorded sounds that have been electronically altered, rather than with live instruments. Often this would involve found sound -- music made not by instruments at all, but by combining recorded sounds of objects, like with the first major work of musique concrète, Pierre Schaeffer's Cinq études de bruits: [Excerpt: Pierre Schaeffer, "Etude aux Chemins de faire" (from Cinq études de bruits)] Early on, musique concrète composers worked in much the same way that people use turntables to create dance music today -- they would have multiple record players, playing shellac discs, and a mixing desk, and they would drop the needle on the record players to various points, play the records backwards, and so forth. One technique that Schaeffer had come up with was to create records with a closed groove, so that when the record finished, the groove would go back to the start -- the record would just keep playing the same thing over and over and over. Later, when magnetic tape had come into use, Schaeffer had discovered you could get the same effect much more easily by making an actual loop of tape, and had started making loops of tape whose beginnings were stuck to their ending -- again creating something that could keep going over and over. Stockhausen had taken up the practice of using tape loops, most notably in a piece that McCartney was a big admirer of, Gesang der Jeunglinge: [Excerpt: Karlheinz Stockhausen, "Gesang der Jeunglinge"] McCartney suggested using tape loops on Lennon's new song, and everyone was in agreement. And this is the point where George Martin really starts coming into his own as a producer for the group. Martin had always been a good producer, but his being a good producer had up to this point mostly consisted of doing little bits of tidying up and being rather hands-off. He'd scored the strings on "Yesterday", played piano parts, and made suggestions like speeding up "Please Please Me" or putting the hook of "Can't Buy Me Love" at the beginning. Important contributions, contributions that turned good songs into great records, but nothing that Tony Hatch or Norrie Paramor or whoever couldn't have done. Indeed, his biggest contribution had largely been *not* being a Hatch or Paramor, and not imposing his own songs on the group, letting their own artistic voices flourish. But at this point Martin's unique skillset came into play. Martin had specialised in comedy records before his work with the Beatles, and he had worked with Peter Sellers and Spike Milligan of the Goons, making records that required a far odder range of sounds than the normal pop record: [Excerpt: The Goons, "Unchained Melody"] The Goons' radio show had used a lot of sound effects created by the BBC Radiophonic Workshop, a department of the BBC that specialised in creating musique concrète, and Martin had also had some interactions with the Radiophonic Workshop. In particular, he had worked with Maddalena Fagandini of the Workshop on an experimental single combining looped sounds and live instruments, under the pseudonym "Ray Cathode": [Excerpt: Ray Cathode, "Time Beat"] He had also worked on a record that is if anything even more relevant to "Tomorrow Never Knows". Unfortunately, that record is by someone who has been convicted of very serious sex offences. In this case, Rolf Harris, the man in question, was so well-known in Britain before his arrest, so beloved, and so much a part of many people's childhoods, that it may actually be traumatic for people to hear his voice knowing about his crimes. So while I know that showing the slightest consideration for my listeners' feelings will lead to a barrage of comments from angry old men calling me a "woke snowflake" for daring to not want to retraumatise vulnerable listeners, I'll give a little warning before I play the first of two segments of his recordings in a minute. When I do, if you skip forward approximately ninety seconds, you'll miss that section out. Harris was an Australian all-round entertainer, known in Britain for his novelty records, like the unfortunately racist "Tie Me Kangaroo Down Sport" -- which the Beatles later recorded with him in a non-racist version for a BBC session. But he had also, in 1960, recorded and released in Australia a song he'd written based on his understanding of Aboriginal Australian religious beliefs, and backed by Aboriginal musicians on didgeridoo. And we're going to hear that clip now: [Excerpt. Rolf Harris, "Sun Arise" original] EMI, his British label, had not wanted to release that as it was, so he'd got together with George Martin and they'd put together a new version, for British release. That had included a new middle-eight, giving the song a tiny bit of harmonic movement, and Martin had replaced the didgeridoos with eight cellos, playing a drone: [Excerpt: Rolf Harris, "Sun Arise", 1962 version ] OK, we'll just wait a few seconds for anyone who skipped that to catch up... Now, there are some interesting things about that track. That is a track based on a non-Western religious belief, based around a single drone -- the version that Martin produced had a chord change for the middle eight, but the verses were still on the drone -- using the recording studio to make the singer's voice sound different, with a deep, pulsating, drum sound, and using a melody with only a handful of notes, which doesn't start on the tonic but descends to it. Sound familiar? Oh, and a young assistant engineer had worked with George Martin on that session in 1962, in what several sources say was their first session together, and all sources say was one of their first. That young assistant engineer was Geoff Emerick, who had now been promoted to the main engineer role, and was working his first Beatles session in that role on “Tomorrow Never Knows”. Emerick was young and eager to experiment, and he would become a major part of the Beatles' team for the next few years, acting as engineer on all their recordings in 1966 and 67, and returning in 1969 for their last album. To start with, the group recorded a loop of guitar and drums, heavily treated: [Excerpt: "Tomorrow Never Knows", loop] That loop was slowed down to half its speed, and played throughout: [Excerpt: "Tomorrow Never Knows", loop] Onto that the group overdubbed a second set of live drums and Lennon's vocal. Lennon wanted his voice to sound like the Dalai Lama singing from a mountaintop, or like thousands of Tibetan monks. Obviously the group weren't going to fly to Tibet and persuade monks to sing for them, so they wanted some unusual vocal effect. This was quite normal for Lennon, actually. One of the odd things about Lennon is that while he's often regarded as one of the greatest rock vocalists of all time, he always hated his own voice and wanted to change it in the studio. After the Beatles' first album there's barely a dry Lennon solo vocal anywhere on any record he ever made. Either he would be harmonising with someone else, or he'd double-track his vocal, or he'd have it drenched in reverb, or some other effect -- anything to stop it sounding quite so much like him. And Geoff Emerick had the perfect idea. There's a type of speaker called a Leslie speaker, which was originally used to give Hammond organs their swirling sound, but which can be used with other instruments as well. It has two rotating speakers inside it, a bass one and a treble one, and it's the rotation that gives the swirling sound. Ken Townsend, the electrical engineer working on the record, hooked up the speaker from Abbey Road's Hammond organ to Lennon's mic, and Lennon was ecstatic with the sound: [Excerpt: The Beatles, "Tomorrow Never Knows", take one] At least, he was ecstatic with the sound of his vocal, though he did wonder if it might be more interesting to get the same swirling effect by tying himself to a rope and being swung round the microphone The rest of the track wasn't quite working, though, and they decided to have a second attempt. But Lennon had been impressed enough by Emerick that he decided to have a chat with him about music -- his way of showing that Emerick had been accepted. He asked if Emerick had heard the new Tiny Tim record -- which shows how much attention Lennon was actually paying to music at this point. This was two years before Tim's breakthrough with "Tiptoe Through the Tulips", and his first single (unless you count a release from 1963 that was only released as a 78, in the sixties equivalent of a hipster cassette-only release), a version of "April Showers" backed with "Little Girl" -- the old folk song also known as "In the Pines" or "Where Did You Sleep Last Night?": [Excerpt: Tiny Tim, "Little Girl"] Unfortunately for Emerick, he hadn't heard the record, and rather than just say so he tried bluffing, saying "Yes, they're great". Lennon laughed at his attempt to sound like he knew what he was talking about, before explaining that Tiny Tim was a solo artist, though he did say "Nobody's really sure if it's actually a guy or some drag queen". For the second attempt, they decided to cut the whole backing track live rather than play to a loop. Lennon had had trouble staying in sync with the loop, but they had liked the thunderous sound that had been got from slowing the tape down. As Paul talked with Ringo about his drum part, suggesting a new pattern for him to play, Emerick went down into the studio from the control room and made some adjustments. He first deadened the sound of the bass drum by sticking a sweater in it -- it was actually a promotional sweater with eight arms, made when the film Help! had been provisionally titled Eight Arms to Hold You, which Mal Evans had been using as packing material. He then moved the mics much, much closer to the drums that EMI studio rules allowed -- mics can be damaged by loud noises, and EMI had very strict rules about distance, not allowing them within two feet of the drum kit. Emerick decided to risk his job by moving the mics mere inches from the drums, reasoning that he would probably have Lennon's support if he did this. He then put the drum signal through an overloaded Fairfield limiter, giving it a punchier sound than anything that had been recorded in a British studio up to that point: [Excerpt: The Beatles, "Tomorrow Never Knows", isolated drums] That wasn't the only thing they did to make the record sound different though.  As well as Emerick's idea for the Leslie speaker, Ken Townsend had his own idea of how to make Lennon's voice sound different. Lennon had often complained about the difficulty of double-tracking his voice, and so Townsend had had an idea -- if you took a normal recording, fed it to another tape machine a few milliseconds out of sync with the first, and then fed it back into the first, you could create a double-tracked effect without having to actually double-track the vocal. Townsend suggested this, and it was used for the first time on the first half of "Tomorrow Never Knows", before the Leslie speaker takes over. The technique is now known as "artificial double-tracking" or ADT, but the session actually gave rise to another term, commonly used for a similar but slightly different tape-manipulation effect that had already been used by Les Paul among others. Lennon asked how they'd got the effect and George Martin started to explain, but then realised Lennon wasn't really interested in the technical details, and said "we take the original image and we split it through a double-bifurcated sploshing flange". From that point on, Lennon referred to ADT as "flanging", and the term spread, though being applied to the other technique. (Just as a quick aside, some people have claimed other origins for the term "flanging", and they may be right, but I think this is the correct story). Over the backing track they added tambourine and organ overdubs -- with the organ changing to a B flat chord when the vocal hits the B-flat note, even though the rest of the band stays on C -- and then a series of tape loops, mostly recorded by McCartney. There's a recording that circulates which has each of these loops isolated, played first forwards and then backwards at the speed they were recorded, and then going through at the speed they were used on the record, so let's go through these. There's what people call the "seagull" sound, which is apparently McCartney laughing, very distorted: [Excerpt: Tomorrow Never Knows loop] Then there's an orchestral chord: [Excerpt: Tomorrow Never Knows loop] A mellotron on its flute setting: [Excerpt: Tomorrow Never Knows loop] And on its string setting: [Excerpt: Tomorrow Never Knows loop] And a much longer loop of sitar music supplied by George: [Excerpt: Tomorrow Never Knows loop] Each of these loops were played on a different tape machine in a different part of Abbey Road -- they commandeered the entire studio complex, and got engineers to sit with the tapes looped round pencils and wine-glasses, while the Beatles supervised Emerick and Martin in mixing the loops into a single track. They then added a loop of a tamboura drone played by George, and the result was one of the strangest records ever released by a major pop group: [Excerpt: The Beatles, "Tomorrow Never Knows"] While Paul did add some backwards guitar -- some sources say that this is a cut-up version of his solo from George's song "Taxman", but it's actually a different recording, though very much in the same style -- they decided that they were going to have a tape-loop solo rather than a guitar solo: [Excerpt: The Beatles, "Tomorrow Never Knows"] And finally, at the end, there's some tack piano playing from McCartney, inspired by the kind of joke piano parts that used to turn up on the Goon Show. This was just McCartney messing about in the studio, but it was caught on tape, and they asked for it to be included at the end of the track. It's only faintly audible on the standard mixes of the track, but there was actually an alternative mono mix which was only released on British pressings of the album pressed on the first day of its release, before George Martin changed his mind about which mix should have been used, and that has a much longer excerpt of the piano on it. I have to say that I personally like that mix more, and the extra piano at the end does a wonderful job of undercutting what could otherwise be an overly-serious track, in much the same way as the laughter at the end of "Within You, Without You", which they recorded the next year. The same goes for the title -- the track was originally called "The Void", and the tape boxes were labelled "Mark One", but Lennon decided to name the track after one of Starr's malapropisms, the same way they had with "A Hard Day's Night", to avoid the track being too pompous. [Excerpt: Beatles interview] A track like that, of course, had to end the album. Now all they needed to do was to record another thirteen tracks to go before it. But that -- and what they did afterwards, is a story for another time. [Excerpt, "Tomorrow Never Knows (alternate mono mix)" piano tag into theme music]

Today's Electronically Yours guest is Mark Ayres, member of the legendary BBC Radiophonic Workshop, most famous for their TV work in particular Doctor Who. Mark is also the driving force behind the renaissance of the BBC Radiophonic Workshop's recent live shows. He is also helping to preserve their magnificent legacy… Ladies and gentlemen - makers of some of the most exciting and innovative electronic music - Mark Ayres of the BBC Radiophonic Workshop... If you can, please support the Electronically Yours podcast via my Patreon: https://www.patreon.com/electronicallyours

Are you obsessed with early electronic music?? We started a private group for people like you. https://www.facebook.com/groups/cosmictapemusicclub/ Thanks for joining us for Episode 9 of the Cosmic Tape Music Club Podcast! Join your hosts Jacqueline and Augustus of the experimental pop band The Galaxy Electric as they get cosmic on the topic of Delia Derbyshire. Delia was a key member of the BBC Radiophonic Workshop and a Tape Music genius. She was best known for composing the original theme to the popular Sci-Fi television series Dr. Who. However, that was just one of many breathtaking tape pieces. Some say her education as a Mathematician played a seminal role in her ability to compose strictly with chopped up bits of tape. We have a lovely chat about all things Delia and more.    Personal Music section: Løgan Mccurter - Primitive Baptist & The Oldest Time Traveler in the World - Primitive Baptist https://loganmccurter.bandcamp.com/track/primitive-baptist Michael Vallone - The Tara Experiment - Sensory Deprivation and Mind Control - Further https://thetaraexperiment.bandcamp.com/track/further Cool Podcasts: Source of Uncertainty: A Buchla podcast 4U https://sourceofuncertainty.audio Join Hosts and Group Members Robert and Kyle as they talk about all things Buchla Electronic Instruments

What else is there to listen to beyond Andy Serkis' reading of The Lord of the Rings? Julia Golding takes us on a tour of the main audiobooks of Tolkien's works, first of all calling in on The Hobbit and then going to the Unfinished Tales and other works. Where can you find Saruman (aka Christopher Lee) as your reader? Or Sir Derek Jacobi? Did you know Brian Blessed, your favourite 'shouty' actor (Gordon's alive!), also took a role. The BBC Radiophonic Workshop, famous for the Doctor Who theme, also gets involved. Hats off to the father and son duo, Timothy and Sam West, for their reading of the works edited by Christopher Tolkien, making a really enjoyable listening experience. And who comes away with the prize for the best audiobook? Well, Julia admits to a childhood crush on the actor so listen to find out! You will also find out where in all the fantasy worlds is the best place to be a singer.

1. The People's Forest - Mount Maxwell 2. The Albert Dock, Hull - Chris Watson 3. Memories of Now- Yaw Evans 4. Takk... - Sigur Rós 5. Dr. Who (1980) - BBC Radiophonic Workshop 6. Pieces of Mind - Simon McCorry 7. When Everyone's Asleep - Plone 8. Druid Arps - Lone Bison 9. Madness - Muse 10. Esperanto - Elektric Music 11. U.F.O. - Spacebuoy 12. I Don't Rate You (Orbital Remix) - Sleaford Mods

The nail-biting series finale. Peter heads out to meet a missing episode hunter after hearing the news we've all been waiting for! Features a rare BBC Radiophonic Workshop track from Is It My Birthday?, an earth-shattering Big Interview, and your own correspondence.Help Peter's search for his programmes by leaving a review of this podcast, or donate to help his archivist pay his bills: https://ko-fi.com/peterflemingtv.Twitter: @PeterFlemingTVFacebook: /PeterFlemingTVArtwork by Soggy Milk Design. See acast.com/privacy for privacy and opt-out information.

After hello's and a brief detour into electric vehicle sounds, we talk of the Akai MPC Live - leaked by the FCC website, then Samsung's $8 bill acquisition of Harman, Adobe's project VoCo, Dr Who sounds from the the BBC Radiophonic Workshop and finally Tim Exile's S L O W Reaktor plug-in.

Former live drummer of The Prodigy Kieron Pepper discusses his incredible career. Kieron passes advice to young musicians drawn from his experience from having spent a decade playing to huge audiences worldwide as live member of one of the most groundbreaking UK acts in modern times. Kieron also reveals the often unseen challenges of touring and tells us about his many other impressive current projects including his role as member of the legendary BBC Radiophonic Workshop. #bass #music #musicpodcast #podcast #musicians #bassist #bassists #guitar #guitarist #guitars #guitarists #musiccommentary #drums #drummer #drummers #theprodigy

The BBC Radiophonic workshop,opened in 1958 with an aim to experiment and produce original music for various iconic BBC programmes. It was shut down 40 years later by Director General John Birt. In an edition recorded just as the Workshop prepare to release a new album, and tour the UK, Matthew Sweet brings together Radiophonic Workshop members Dick Mills, Paddy Kingsland, Roger Limb, Peter Howells, and Mark Ayres to reflect on the days and nights they spent in the workshop, coaxing ageing machines into otherworldly life, and pioneering electronic music.

Dick Mills (born 1936) is a British sound engineer, specialising in  sound effects which he produced at the . Mills was one of the original staff at the Radiophonic Workshop, joining in 1958 as a technical assistant. At first he was employed to handle the hardware of the Workshop but soon found himself recording effects. Some of his earliest, uncredited sound work was on the 1958  science-fiction serial . Another of his prominent early recordings was the "'s Stomach" sound effect, a significant part of the popular . Although he recorded much in those early years, it is his later work on  for which he most remembered. In 1972, he took over from fellow BBC Radiophonic Workshop sound effects producer , whom he had sometimes previously assisted, and continued providing "special sound" for every episode of the programme, with the exception of two four-part stories, until it ended in 1989. He also provided special sound for the Doctor Who spin-off . As such, he has the distinction of having more on-screen credits than anyone else in the history of the series. Owing to his technical know-how, he managed to bring to the position new methods of recording sound effects quicker than before. Besides his sound effects on Doctor Who, he also produced and compiled the first of the programme's music compilations,  and . Over the years, many of his own sound effects have also appeared on various compilations. Other sound effects he provided included material for the cult series , produced in 1973 by then-Doctor Who producer , and also occasionally sounds for . Mills' work was acknowledged in a Doctor Who documentary broadcast on  in 1977. The same year, he appeared on the BBC's children's magazine programme  to demonstrate how some of the Doctor Who effects were realised and how children could make their own sound effects at home. He also appeared in the 2004 BBC Radiophonic Workshop  documentaryAlchemists of Sound. He is also the author of many books on  and tropical fish, as well as a former editor of The Aquarist and Pondkeeper magazine and a member of the Federation of British Aquatic Societies Council