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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.
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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
From music hall to Red Dwarf, pantomime to Absolutely Fabulous, we look at the history of British comedy, the names, shows, and historical events that made it what it is today. Like what you hear? Become a patron of the arts for as little as $2 a month! Or buy the book or some merch. Hang out with your fellow Brainiacs. Reach out and touch Moxie on Facebook, Twitter, or Instagram. Music: Kevin MacLeod, Steve Oxen, David Fesliyan. . Reach out and touch Moxie on Facebook, Twitter, or Instagram. Links to all the research resources are on the website. Podchaser: Moxie got me through 2,500 miles. I listened to every episode regardless of audio quality from the vault. I got my fix of facts with a personality that kept me entertained the entire time. I shared it with everyone I knew that would appreciate the facts, wit and hilariously subtle segues. Profile avatar 2 months ago byBoredatwork23 Book: David Nowlin 5.0 out of 5 stars Be prepared to be amazed at what you needed know, but did not. Reviewed in the United States on October 31, 2021 Great book. Read it cover to cover, but am planning to reread it again and again. It is so full of such wonderful pieces of information that I use to interject conversations whenever I can. Thank you Moxie for such a wonderful gift, and the book is great too Gift and merch “The story so far: In the beginning the Universe was created. This has made a lot of people very angry and been widely regarded as a bad move.” Thus begins Douglas Adams' Restaurant at the End of the Universe, sequel to his culture touchstone The Hitchhiker's Guide to the Galaxy. That's the book that gave us the answer to life, the universe and everything, though not the question. Welcome to episode number 42, which I have decided to devote to [drumroll] the history of British comedy. That means we're going to try to cram hundreds of years, thousands of performers, and a dozen mediums into a half-hour show. But don't panic. My name's Moxie and this is your brain on facts. British comedy history is measured in centuries, from chase scenes and beatings into Shakespeare's comedies to the misadventures of Mr. Bean. Even as times, tastes, and technologies changes, some themes are eternal. Innuendo, for example, has been a staple in the literature as far back as Beowulf and Chaucer, and is prevalent in many British folk songs. King Charles II was such a fan of innuendo that he encouraged it to the point that Restoration comedy became not only its own genre, but an explicit one at that. The repressive Victorian period gave us burlesque, though not in the same form as the shows you can see today - more vaudeville than striptease. Absurdism and the surreal had always been an undercurrent, which firmly took root in the 1950's, leading Red Dwarf, The Mighty Boosh, and Count Duckula. Though the British Empire successfully conquered ¼ of the globe, but its individual people struggled and suffered. Plagues, wars, poverty, class oppression, and filthy cities gave rise to, and a need for, black humor, in which topics and events that are usually treated seriously are treated in a humorous or satirical manner. The class system, especially class tensions between characters, with pompous or dim-witted members of the upper/middle classes or embarrassingly blatant social climbers, has always provided ample material, which we can see in modern shows like Absolutely Fabulous, Keeping Up Appearances, and Blackadder. The British also value finding humor in everyday life, which we see in shows like Father Ted, The IT Crowd, and Spaced, which also incorporates a fair amount of absurdity. But there's nothing the Brits do better than satire and nobody does it better than the Brits. “The British, being cynical and sarcastic by nature do have a natural flair for satire,” says BBCAmerica.com writer Fraser McAlpine. “There's a history of holding up a mirror to society and accentuating its least attractive qualities that goes back hundreds of years...Sometimes the satire is biting and cold, sometimes it's warm and encouraging, but if you want someone who can say a thing that isn't true, but also somehow IS true in a really profound way. You need look no further.” There are three principal forms of satire. Menippean satire uses fantasy realms that reflect back on modern society. Everything from Alice in Wonderland to the works of Terry Pratchett fit here, as would Dr. Who. Horatian satire skewers cultural moments of silliness using parodic humor. These are the kind of thing you tend to see most of in comedy TV shows, like The Office. We're laughing at people being inept and harassed, but not evil. Juvenalian satire skewers everything with abrasive, often bleak, wit. If there's an element of horror at the topic being discussed, that's a clue that it's Juvenalian. John Oliver is a fair hand with Juvenalian satire. Most political cartoon and black humor fall under this heading. Though comedy is as old as laughter, we're going to begin today's time travel with the music hall. (FYI, the narrative today is going to overall linear, but there will be a fair amount of bouncing around.) Music halls sprang up as an answer to proper theater, which was at the time heavily monitored and censored by the government. It took place in humble venues like the backs of pubs and coffee houses. By the 1830s taverns had rooms devoted to musical clubs. They presented Saturday evening Sing-songs and “Free and Easies”. These became so popular that entertainment was put on two or three times a week. Music in the form of humorous songs was a key element because dialogue was forbidden. Dialogue was for the theater and if you had speaking parts, you'd be subject to censorship. The Theatrical Licensing Act of 1737 empowered the Lord Chamberlain's Office to censor plays; this act would be in force until 1968. So, no speaking parts, less, though still some censorship. Music halls also allowed drinking and smoking, which legitimate theaters didn't. As the shows became more popular, they moved from the pubs into venues of their own. Tavern owners, therefore, often annexed buildings adjoining their premises as music halls. The usual show consisted of six to eight acts, possibly including a comedy skit (low comedy to appeal to the working class), a juggling act, a magic act, a mime, acrobats, a dancing act, a singing act, and perhaps a one-act play. In the states, this format was essentially vaudeville. The music hall era was a heyday for female performers, with headliners like Gracie Fields, Lillie Langtry, and Vesta Tilley. The advent of the talking motion picture in the late 1920s caused music halls to convert into cinemas to stay in business. To keep comedians employed, a mixture of films and songs called cine-variety was introduced. The other critically important tradition of that era was panto or pantomime, but not the Marcel Marceau type of pantomime you might be picturing, but a type of theatrical musical comedy designed for family entertainment. Modern pantomime includes songs, gags, slapstick comedy, dancing, and gender-crossing actors. It combines topical humour with well-known stories like fables and folk tales. It is a participatory form of theatre, in which the audience is expected to sing along with certain parts of the music and shout out phrases to the performers. It's traditionally quite popular around Christmas and New Years. In early 19th century England, pantomime acquired its present form and featured the first mainstream clown Joseph Grimaldi, while comedy routines also featured heavily in British music halls. British comedians who honed their skills at pantomime and music hall sketches include Charlie Chaplin and Stan Laurel. The influential English music hall comedian and theatre impresario Fred Karno developed a form of sketch comedy without dialogue in the 1890s, and Chaplin and Laurel were among the young comedians who worked for him as part of "Fred Karno's Army". VODACAST Hopping back to famous ladies of music hall, one such was Lily Harley, though her greatest claim to fame is having given birth to Charles Spencer Chaplin. When Lily inexplicably lost her voice in the middle of a show, the production manager pushed the five-year-old Charlie, whom he'd heard sing, onto the stage to replace her. Charlie lit up the audience, wowing them with his natural comedic presence. Sadly, Lily's voice never recovered, and she was unable to support her two sons, who were sent to a workhouse. For those of us who don't know workhouses outside of one reference in A Christmas Carol, think an orphanage or jail with indentured servitude. Young Charlie took whatever jobs he could find to survive as he fought his way back to the stage. His acting debut was as a pageboy in a production of Sherlock Holmes. From there he toured with a vaudeville outfit named Casey's Court Circus and in 1908 teamed up with the Fred Karno pantomime troupe, where Chaplin became one of its stars as the Drunk in the comedic sketch A Night in an English Music Hall. With the Karno troupe, Chaplin got his first taste of the United States, where he caught the eye of a film producer who signed Chaplin to a contract for a $150 a week, equivalent to over three-grand today. During his first year with the company, Chaplin made 14 films, including The Tramp, which established Chaplin's trademark character and his role as the unexpected hero. By the age of 26, Chaplin, just three years removed from his vaudeville days, was a superstar. He'd moved over to the Mutual Company, which paid him a whopping $670,000 a year to make now-classics like Easy Street. Chaplin came to be known as a grueling perfectionist. His love for experimentation often meant countless takes, and it was not uncommon for him to order the rebuilding of an entire set or begin filming with one leading actor, realize he'd made a mistake in his casting and start again with someone new. But you can't argue with results. During the 1920s Chaplin's career blossomed even more, with landmark films, like The Kid, and The Gold Rush, a movie Chaplin would later say he wanted to be remembered by. We'll leave Chaplin's story while he's on top because his private life from here on out gets, in a word, sordid. Though Chapin was English, his film were American. British cinema arguably lagged decades behind, but they began to close the gap in the 1940's. Films by Ealing Studios, particularly their comedies like Hue & Cry, Whisky Galore! and The Ladykillers began to push the boundaries of what could be done in cinema, dealing with previously taboo topics like crime in comedic ways. Kitchen sink dramas followed soon after, portraying social realism, with the struggles of working class Britons on full display, living in cramped rented accommodation and spending their off-hours drinking in grimy pubs, to explore controversial social and political issues ranging from abortion to homelessness. These contrasted sharply with the idea of cinema as escapism. This was the era of such notable stars as actor/comedian/singer-songwriter Norman Wisdom. Beginning with 1953's Trouble in the Store, for which he won a BAFTA (the British equivalent to an Oscar), his films were among Britain's biggest box-office successes of their day. Wisdom gained celebrity status in lands as far apart as South America, Iran and many Eastern Bloc countries, particularly in Albania where his films were the only ones by Western actors permitted by dictator Enver Hoxha to be shown. He also played one of the best characters in one of my favorite and most hard to find films, “The Night They Raided Minsky's.” There are few institutions in British history that have had such a massive role in shaping the daily lives of British citizens as the British Broadcasting Corporation, which for decades meant the wireless radio. “For many it is an ever-present companion: from breakfast-time to bedtime, from childhood through to old age, there it is telling us about ourselves and the wider world, amusing and entertaining us,” says Robin Aitkin, a former BBC reporter and journalist. The BBC solidified its place in the public consciousness from its beginnings in 1922 to the end of the Second World War in 1945 is of special interest because these pivotal years helped redefine what it means to be British in modern society. This was especially true during the high unemployment of the 1920's, when other forms of entertainment were unaffordable. The BBC was formed from the merger of several major radio manufacturers in 1922, receiving a royal charter in 1927, and governmental protection from foreign competition made it essentially a monopoly. Broadcasting was seen as a public service; a job at the BBC carried similar gravitas to a government job. Classical music and educational programs were its bedrock, with radio plays added to bring theater to the wireless. The BBC strove to be varied but balanced in its offerings, neutral but universal; some people found it elitist nonetheless. Expansion in offerings came slowly, if at all, in the early years. Trying to bring only the best of culture to the people meant that bawdy music hall acts had little to no place on the radio. Obscenity was judged by laws passed as early as 1727. British libel and slander laws are more strict than in the US, so making fun of public figures was taboo even in forms that would have been legal. And blasphemy? Lord, no. In 1949, the BBC issued to comedy writers and producers the Variety Programmes Policy Guide For Writers and Producers, commonly known as "the Green Book." Among things absolutely banned were jokes about lavatories, effeminacy in men, immorality of any kind, suggestive references to honeymoon couples, chambermaids, fig leaves, ladies' underwear, prostitution, and the vulgar use of words such as "basket". (Not an actual basket, the Polari word “basket,” meaning the bulge in a gentleman's trousers. More on that later.) The guidelines also stipulated that "..such words as God, Good God, My God, Blast, Hell, Damn, Bloody, Gorblimey, Ruddy, etc etc should be deleted from scripts and innocuous expressions substituted." Where the independently tun music halls gave people what they wanted, BBC radio gave people what it felt they needed. But comedy writers are nothing if not clever and there is always a way to slip past the censors if you try. In the very beginning of radio, comedies lampooned the poor, because only those with money had radios. As radio ownership grew, the topics of shows broadened. First half-hour comedy program in 1938, Band Wagon, included musical interludes, was effectively a sitcom and set the stage for much of what came after. By then, nearly every household had a radio. WWII had an enormous impact on British comedy and entertainment in general. Unlike WWI, which was fought on the continent, WWII was right on top of them, with the Blitz, blackouts, rationing, et al. All places of amusement, which by their nature meant lots of people would gather and could be a target for bombings, were closed. But the government soon realized comedy had an important role to play in helping its people to keep calm and carry on. Bonus fact: The iconic 'Keep Calm and Carry On' poster was designed months before WWII began, but was never officially sanctioned for display. It only achieved its prominent position in the public imagination after its rediscovery in 2001. All the parody t-shirts still annoy me though. Theater was allowed to continue, but television service was suspended. This brought radio back to the forefront for communication and diversion. The most popular show was It's That Man Again, which ran on BBC radio from ‘39-'49. It's humor was a great unifier during the war, helping people to laugh at the things they were scared of. People would often listen huddled around their radio during a blackout. In its character archetypes, it offered a more comprehensive range of social representation than what had come before it, with characters ranging from east end charwomen to the upper class. It was so universally popular that supposedly its catch-phrases, which is regarded as the first to really succeed with, were used to test suspected German spies. If you didn't know who said what, they'd be shot. During the war, Britain fought back against the Nazi propagandists' ferocious scaremongering with things like a song about the fact that Hitler may or may not have only one testicle, the other of which we were storing in a London theatre for safe keeping. This attitude, combined with having had enough authority to last them a while, would extend to their own government at the start of the 1960's when Peter Cook, Dudley Moore, Alan Bennett, and Jonathan Miller made fun of the prime minister in their stage show Beyond The Fringe, with the PM in the audience. This would open the door for satirical news programs like 1962's That Was The Week That Was, grandfather to The Daily Show and The Colbert Report. There was also The Frost Report, whose staff of writers included five names many of know well and you know we're going to get into more detail on - Chapman, Jones, Idle, Palin, and Cleese. The war would remain subject to comedy, either as the primary setting or a recurring plot point for decades to come in shows like Dad's Army, Allo Allo, and even Are You Being Served?, one of my personal favorites. If you've ever seen me at my customer service day jobs, I pattern my behavior on Mrs. Slocombe, though I don't reference my pussy as often. [clip] Experiences in the war led to the prominence of absurdism/surrealism, because nothing could match what they men had been through. One of the most famous example was The Goon Show, with Spike Milligan, Harry Secombe, and Peter Sellers. The scripts mixed ludicrous plots with surreal humour, puns, catchphrases and an array of bizarre sound effects. Some of the later episodes feature electronic effects devised by the fledgling BBC Radiophonic Workshop, who also created the theme to Dr Who. The Goon Show and other such programs were popular with those who were students at the time, seeding their sense of humor into the next generation. Spike Milligan in particular had wide-reaching cultural influence. The Goon Show was cited as a major influence by The Beatles, the American comedy team The Firesign Theatre, as well as, among many others, Monty Python. PATREON Do you remember how I said in episode #39, Short-Lived, Long Remembered that Jackie Gleason's Honeymooner's was the first TV sitcom? I was mistaken and I don't mind issuing a correction. Pinwright's Progress, which ran for ten episodes starting in 1946, was the first half-hour television sitcom, telling the tale of a beleaguered shop-owner, his hated rival and his unhelpful staff. By 1955, ⅓ of British households had a TV. That year saw the launch of ITV, I for independent, because it was *not run by BBC with its war vets with good-school educations, but by showmen and entertainers. Where the BBC did comedies for and about the middle-class, ITV brought full-blooded variety to TV. The BBC was forced to loosen its tie a bit to keep up. ITV also had commercials, which BBC shows never did -a concept that is quite foreign to the American brain- so writers had to learn to pace their shows differently to allow for the break. One stand-out was Hancock's Half-hour, which began on radio and moved to TV. Fom 54-61, it pushed sitcoms with a focus on character development, rather than silly set-ups, musical interludes, and funny voices of radio plays. Two writers on the show, Ray Galton and Alan Simpson, would leave to create Comedy Playhouse in 1961, ten half-hour plays. One of these grew into the TV show Steptoe and Son (1962–74), about two rag and bone men, father and son, who live together in a squalid house in West London. This was the basis for the American series Sanford and Son, as well as version in Sweden, Netherlands and Portugal. For those not in the know, a rag and bone man collected salvageable rubbish from the streets, making it a bizarre name choice for a clothing company but oh well. The tone and offerings changed considerably with the cultural revolution of the 1960's. Rock music, the birth control pill, civil rights, everything was changing. Round The Horne, which aired on BBC radio on Sunday afternoons was chock full of brazen innuendos and double-entendres. Some of them were risque to the point of being ironically safe -- people who would have objected to them were not of the sensibility to catch the joke it the first place. Their most remarkable characters were Julian and Sandy, two very obviously gay characters in a time when it was still illegal to be gay in Britain. Julian and Sandy got away with the bawdiest of their jokes because they spoke Polari, a pidgin language made up a words from Romani, French, Italian, theater and circus slang and even words spelled backwards. They might refer to someone's dirty dishes and the squares would have no idea that “dish” meant derriere. Bonus fact: You probably use Polari words without even realizing it, if you describe a masculine person as “butch” or something kitchy as “camp,” even “drag” meaning clothes, particularly women's. The Carry On Films, a franchise that put out nearly a movie a year for three decades and spun off a TV series, held up a cartoonish mirror to the depressed and repressed Britain of the 1950s and 1960s. They blended the rapid-fire pace of music hall sketches with topicality and a liberating sense of directness. Carry On also filled the gap left as music halls as an institution collapsed. Monty Python's Flying Circus aired from 69-74 and enjoyed a unique watershed success not just for British comedy but also for television comedy around the world. Monty Python was unlike anything that had appeared on television, and in many ways it was both a symbol and a product of the social upheaval and youth-oriented counterculture of the late 1960s. The show's humour could be simultaneously sarcastic, scatological, and intellectual. The series was a creative collaboration between Graham Chapman, John Cleese, Eric Idle, Terry Jones, Michael Palin, and Terry Gilliam, the sole American in a group of Oxford and Cambridge graduates. The five Brits played most of the roles, with Gilliam primarily contributing eccentric animations. Although sketch comedy shows were nothing new, television had never broadcast anything as untraditional and surreal, and its importance to television is difficult to overstate. Their free-form sketches seldom adhered to any particular theme and disregarded the conventions of comedy that writers, performers and audiences had been accustomed to for generations. Even the opening title sequence didn't follow the rules; it might run in the middle of the show or be omitted entirely. Over the run of the series, a *few characters recurred, but most were written solely for one sketch. The show spun-off a number of feature films, like Monty Python and the Holy Grail (1975), Life of Brian (1979), and the Meaning of Life (1983) and even a Tony Award-winning musical comedy Spamalot, first produced in 2005, as well as books and albums like Instant Record Collection. Decades after the show's initial run, the mere mention of some dead parrots, silly ways, Spam or the Spanish Inquisition is enough to prompt laughter from even casual fans. All the members who continue on to successful careers, but let's follow John Cleese to his next best-known project. I put my favorite sketch in Vodacast; see if you can guess it before you look. And tell me yours, soc med. Fawlty Towers has been described as the sitcom by which other sitcoms must be measured, voted number one in the BFI's 100 Greatest British Television Programmes in 2000. Its main character, Basil Fawlty, was inspired by a seethingly rude hotel proprietor John Cleese encountered while filming abroad with the Monty Python team. Cleese actually tested the character on another show in 1971, Doctor At Large, a comedy about newly-graduated doctors, based on the books of Richard Gordon. The setting for Fawlty Towers was a painfully ordinary hotel that Basil constantly struggling to inject a touch of class into. His escapades included trying to hide a rat from a hygiene inspector, keeping a dead customer hidden, and pretending that his wife Sybil was ill during their anniversary party, when in fact she's walked out on him). Basil was the perfect vehicle for Cleese's comic talents: mixing the biting verbal tirades against his wife and guests with the physical dexterity utilised to charge about between self-induced disasters. Part of the success of the show is arguably the fact that it ran for a mere twelve episodes, so never ran out of steam. It's been remade in other countries, but those version never really capture the success of the original. That's one of the key differences between British and American TV series. A British show might have 2 writers for a season of 6-10 episodes, whereas an American show will have a team of writers for a season of 13-25 episodes. Quality over quantity, I suppose. In part, this is a reflection of the difference between the size of the TV audience in the two countries, and the economics of television production; for decades sitcoms on US television that delivered the highest ratings, whereas; in Britain the highest ratings figures were normally for soap operas. The tone shifted again as the 60's gave way to the 70's. The anger of 60's revolution gave way to a more comfortable feeling in the 70's. One of the stand-outs of the decade, which continued into the 80's, was The Two Ronnies. A sketch show starring Ronnies Barker and Corbett, it moved away from the long-standing comic and straight-man format. It was the BBC's flagship of light entertainment, the longest running show of its genre. If we're talking modern comedy duos, we need to talk about Dawn French and Jennifer Saunders. Even in alternative comedy scenes, women had trouble gaining the same notoriety as their male peers. A step in the right direction was 1987's French and Saunders, a sketch show that displayed the wilful amateurishness of much alternative comedy, but shunned both the violence and scatology or the strident politics that were staples of the big-name performers. The duo's humour was distinctively female, but not feminist, and most of their jokes were at the expense of themselves or each other. As audiences and budgets grew, the pair increasingly favoured elaborate spoofs of pop stars and blockbuster movies. After the show French starred in The Vicar of Dibley and Saunders to the role she's probably best known for, Edina in Absolutely Fabulous. And that's where we run out of ideas, at least for today. Don't be surprised if this topic spawns a sequel. I left out Punch and Judy, skipped right over literature, had to forgo luminaries like Morecambe and Wise, didn't get to the panel show format, and said nothing of Stephen Fry and Hugh Laurie, which may actually be a crime, I'm not sure. Well, it's like they say in the biz, always leave them wanting more. Thanks for spending part of your day with em. Sources: https://www.iwm.org.uk/history/truth-behind-keep-calm-and-carry-on https://www.theguardian.com/stage/2016/feb/17/the-five-stages-of-british-gags-silliness-repression-anger-innuendo-fear https://en.wikipedia.org/wiki/The_Goon_Show https://en.wikipedia.org/wiki/Norman_Wisdom https://en.wikipedia.org/wiki/Hancock%27s_Half_Hour https://www.theguardian.com/commentisfree/2008/apr/17/gender.filmnews https://en.wikipedia.org/wiki/Round_the_Horne http://www.screenonline.org.uk/film/id/1011109/index.html https://www.britannica.com/topic/Monty-Pythons-Flying-Circus https://en.wikipedia.org/wiki/Galton_and_Simpson http://www.bbc.co.uk/comedy/fawltytowers/ http://www.bbcamerica.com/anglophenia/2014/06/history-brits-better-satire https://www.britannica.com/art/music-hall-and-variety https://www.biography.com/people/charlie-chaplin-9244327 https://cupola.gettysburg.edu/cgi/viewcontent.cgi?referer=https://www.google.com/&httpsredir=1&article=1107&context=ghj https://www.youtube.com/watch?v=U77CXPANrCc&list=PL9e1sByp65ixpMQlW9hpMMdomwSwGK9-Y
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.
What time is it? Time to listen to this special time travel themed episode of Muggle with a Mic! On this episode Kaiti and Phil discuss time travel theories and their opinions on the theories and execution within multiple different movies. Movies news is discussed, including Harry Potter, Dune and more. Phil and Kaiti also discuss the movie The Tomorrow War, where Chris Pratt and others must travel into the future to save the entire human race from extinction. As usual, Kaiti tests Phil's movie knowledge with a time travel themed quiz. All this and more, in this episode of Muggle with a Mic! Music: "Take a Chance" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ Grainer, Ron. (1963). Doctor Who [Delia Derbyshire]. On Doctor Who. BBC Radiophonic Workshop (1963) Sound from Zapsplat.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/mugglewithamic/support
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
Never fear, Reality Bomb listeners. There's nothing wrong with your podcast! The gang from Deeper Cuts -- Shannon Dohar, Rob Jones and Reality Bomb's very own Graeme Burk -- have been timescooped over to Reality Bomb's feed (in honour of the Deeper Cuts miniseries, The Soundtrack Sessions, available now!) to do their thing with us-- talking about an album that was of significance to one of them. Because it's Reality Bomb, they're talking about a Doctor Who soundtrack: 1984's Doctor Who - The Music II, which Graeme bought as 17 year-old as it was the sequel to an album he coveted from PBS pledge breaks. But how does this BBC Radiophonic Workshop collection with its heavy synths hold up in the modern era? And what are the basic elements that all Doctor Who music -- of any era -- shares? Get behind the sofa, good people, as the Deeper Cuts trio get all timey-wimey! You can find out more about Deeper Cuts at their website, or look them up wherever you get your podcasts. You can talk to them on twitter at @deepercutscast
We're privileged to have the incredible artist, producer and composer Matthew Herbert on the show this time. Matthew's talents have seen him work as a DJ, film composer, electronic musician, creative director of the world-famous BBC Radiophonic Workshop and get knee-deep in some amazing studio gear along the way.In this episode, find out why he doesn't do hybrid mixing, how he ends up enlisting hundreds of collaborators for some of his records, and what it is about his favourite vintage sampler that's never been bettered.The new Herbert album Musca is due for release 22nd October. The new single Fantasy is out now. STUFF WE TALK ABOUT (SPOILERS AHEAD)https://en.wikipedia.org/wiki/Jeff_Millshttps://burlaudio.com/products/b80-mothershipBrother PDC100 http://www.muzines.co.uk/articles/brother-pdc100-pro-disk-composer/937Alesis MMT-8 http://www.vintagesynth.com/misc/mmt8.phphttps://de.wikipedia.org/wiki/Patrick_Pulsingerhttps://www.npr.org/artists/15289724/pierre-boulezhttps://en.wikipedia.org/wiki/Mike_Oldfieldhttps://www.musictech.net/reviews/chandler-redd-microphone-review/https://reverb.com/item/14197856-1964-lomo-19a13-tube-condenser-microphone-vintage-sethttp://dwfearn.com/wp/https://www.rupertneve.com/products/high-voltage-discrete-mixer/http://www.vintagesynth.com/akai/s612.phphttps://www.akaipro.com/mpk261https://en.wikipedia.org/wiki/Micachuhttps://vintageking.com/chandler-mini-rack-mixerhttps://en.wikipedia.org/wiki/A_Fantastic_WomanThe Beast Must Die: https://www.imdb.com/title/tt9062784/https://en.wikipedia.org/wiki/Temple_(TV_series)
Delia Derbyshire was a sound pioneer who worked at the BBC Radiophonic Workshop during the 1960s and created the iconic theme for ‘Dr. Who', although she was never credited for this achievement during her lifetime. Director of new docudrama ‘Delia Derbyshire – The Myths and the Legendary Tapes', Caroline Catz, joined Dave on today's show
We hold an informal meeting of the Doctor Who's writer room to pitch new story ideas with underrated monsters for the Whittaker Doctor to face in series 13. Which monsters get green lit and which ones are put back on the shelf? Opening music is "The Bell Plants" composed by Peter Howell from Meglos. Closing music begins with "The Axons Approach" composed by Dudley Simpson with the BBC Radiophonic Workshop and ends with Jodie Whittaker singing Coldplay's "Yellow" from the BBC Children in Need album, Got It Covered. We recorded this episode on 13 June 2021.
Ben and David try to stump one another playing the Twin Dilemma game where one host gives the name of a 20th or 21st century story and the other host has to find its perfect pair in the other century and explain why. For example, if David says An Unearthly Child, Ben could respond with Rose since they both kicked off their respective eras on the show. Some stories are easy to find a match, others not so much and thus comedic tension is created! Opening music is "The Panel Beaters" by Padding Kingsland. Closing music is from The Twin Dilemma score by Malcolm Clarke. Both compositions are the work of the BBC Radiophonic Workshop. We recorded this episode on 2 May 2021.
Welcome to the latest episode of Retrosonic Podcast "Music From The Edge of the Universe: The 5 Billion In Diamonds Story". We welcome founder members, the legendary producer and drummer with Garbage Butch Vig, Bristol UK producer Andy Jenks and UK DJ James Grillo to hear the definitive and fascinating story on how this star-studded Transatlantic project came to fruition. The band's second LP "Divine Accidents" (Make Records) was our Album of The Year 2020 and it's another imaginary soundtrack to another imaginary film - a dazzling sonic and cinematic mix of Psych Rock and Folk sounds. It features the same stellar cast of collaborators including singers Ebbot Lundberg of The Soundtrack of Our Lives, David Schelzel of The Ocean Blue, Damian O'Neill of The Undertones, Sandra Dedrick of The Free Design, singer Helen White and musicians including the Bristol Wrecking Crew of Alex Lee, Sean Cook and Damon Reece on guitars, bass and drums. The album also features new sublime contributions from James Bagshaw of British psych rockers Temples and gorgeous vocals from Martin Barnard from Jenk’s '90's combo Alpha. In this thoroughly entertaining journey through 5 Billion In Diamonds musical universe, Butch, Andy and James play and talk us through some of the many and varied influences on the 5BiD sound including John Barry, Ramases, John Carpenter, Jimmie Spheeris, The BBC Radiophonic Workshop, Michel Legrand, Linda Perhacs, Faust, Jeff Bridges and Richard Rodney Bennett. There's also a pick of their own music from both albums including the forthcoming single and a special sneak preview of the as yet unreleased vinyl-only bonus track featuring Jimmy Chamberlin from The Smashing Pumpkins. There's a comprehensive introduction to all of the 5BiD special guest musicians and vocalists and a Butch Vig edited medley of examples of their music. If all that is not enough, James tells us who is next on his special guest wish list, Andy plays a track from his new project Ree-Vo and Butch gives us an update on the new Garbage album. We even find out how TV presenter, naturalist and conservationist Chris Packham is involved with 5 Billion In Diamonds. So, sit back, relax and enjoy this very special episode, packed full of music from the edge of the universe. Please check out the feature at Retro Man Blog at the link below for further information, links, video to their current single and exclusive Paul Slattery photographs. https://retroman65.blogspot.com/2021/02/music-from-edge-of-universe-5-billion.html
Thus begins Tales of Gallifrey One, our look back at some of our favourite interviews from past editions of Gallifrey One! This episode features a chat with acclaimed Doctor Who director Graeme Harper from 2010, an interview with Doctor Who producer and production manager Tracie Simpson from 2011, and a conversation with legendary BBC Radiophonic Workshop musician and sound effects genius Dick Mills, recorded in 2013.
Three hours of hazy, loud, and always melodic music featuring the best of new shoegaze, psych, post punk, and dream pop. Jane Weaver – Lux (from forthcoming Flock, out in March, UK dream pop) Broadcast – Black Cat (Tender Buttons, 2005, UK experimental pop fueled with references to the work of the BBC Radiophonic Workshop, Ennio Morricone or John Barry. Lead singer Trish Keenan passed away in 2011) Beautify Junkyards - Deep Green (Cosmorama, 2021, Portuguese psych folk with Allison Brice of Lake Ruth on vocals and who wrote the lyrics) Lake Ruth – The Inconsolable Jean Claude (s/t single, NYC baroque pop) Mass Observation – From Honey to Ashes (Hewson Chen from Lake Ruth/The New Lines, Davis White from Lorelei/The New Lines, from the Mass Observation EP) Peel Dream Magazine – It’s My Body (Agitprop Alterna Deluxe Edition, 2020, NYC psych pop) The New Lines – Love and Cannibalism (Love and Cannibalism, 2016, NYC baroque pop) Break 1 Flower Girl – Cheap Star (single, Geneva power pop, featuring Remi Vaissiere, Jon Auer of Posies, Brian Young from FoW/Posies, and Matthew Caws from NS) Thousand Yard Stare – Sleepsound (The Panglossian Momentum, UK indie rock, new) Lower Heaven – A Day Without Yesterday (Pulse, 2014, LA psych) The Reds, Pinks & Purples - Bed of Roses (Screaming Trees cover, Dahlias and Rain EP, DIY kitchen pop project of Glenn Donaldson of Skygreen Leopards, Art Museums) The Electorate – If I Knew (You Don't Have Time To Stay Lost, new, Sydney indie pop) Bored At My Grandmas House – Showers (lead single from Sometimes I Forget You're Human Too EP, new, Leeds dream pop) NewDad – I Don’t Recognise You (new single, Irish indie pop) Mo Dotti – Glow In the Dark (Blurring EP, new, LA shoegaze) Break 2 Still Corners – A Kiss Before Dying (The Last Exit, new, London dream pop from Tessa Murray and Greg Hughes) Soft Blue Shimmer – Dream Beam Supreme (Nothing Happens Here EP, 2019, LA dream pop) Auld Spells – That’s The Way It Goes (single, Edinburgh psych, Thomas Alexander Danbury from Lower Heaven) There’s Talk – Golden (Great Falls EP, new, Oakland dreamgaze) todavia – Loverboy (Orange Faint of Sky, new, LA dream pop) Vicious Blossom – Slowdown (You Breathe Inside of Me, Lancaster PA dream pop, new) STOMP TALK MODSTONE – End of My Bed (Linger In Someone's Memory With A Lurid Glow, new, Japanese shoegaze) The Besnard Lakes – Our Heads, Our Hearts on Fire Again (The Besnard Lakes Are The Last of the Great Thunderstorm Warnings, new, psych rock from Montreal) Break 3 The Harrow – Beyond Stars (new single, NY cold wave) Mint Julep – Black Maps (In a Deep and Dreamless Sleep, Portland OR dream pop, featuring composer Keith Kenniff (Helios, Goldmund) and his wife Hollie) R. Missing – Placeholder for the Night (new, Placeholder for the Night EP, NY dark wave) Moon Cowboy – Bliss Radio Edit, DKFM Remaster (new, Lisbon dream pop) VV & The Void – Replicant (new, Elevator to the Unknown, Berlin dark wave) Russian Blood – Nocturnal Gift (new single, Sintra Portugal cold wave) Mirror of Haze – Drifting Into the Void (The End Is the Beginning, new forthcoming on February 15th, Norwegian dark wave) Beesqueeze – Lost at Sea (new single, Maltese psych pop) Habitants – Morgen (new single, Dutch dark wave) Break 4 Radio Supernova – Tammikuu (January, from Takaisin, new, Finnish shoegaze) Life on Venus – Everything Ends Here (Moscow shoegaze, new single) Submotile – Exit Cracks (Italian-Irish shoegaze, new single) Total Drag – Honey (new Hunny EP, Costa Mesa dream pop) The Meeting Places – Sink Into Stone (Numbered Days, LA shoegaze) To the Wedding – til the end (new single, Brooklyn shoegaze) Blackout Transmission – Portals (new, Sparse Illumination, LA neopsych) Beach Towels – We’re Gonna Run Away (new single, Edmonton Alberta shoegaze) Mother of Gund – Zemplet (new, UK shoegaze) Tombstones In Their Eyes – Happy (LA psych, Collection best of) Break 5 Matthew Sweet – Hold On Tight (Catspaw) The Sensible Gray Cells – A Little Prick (Get Back Into the World) Bob Mould – All Those People Know (Distortion box set)
The actor Caroline Catz chooses Delia Derbyshire, the musician and composer who is best known for her work at the BBC Radiophonic Workshop where she realised the theme tune to Doctor Who. With Dr David Butler from the University of Manchester who looks after Delia's archive. Delia was born in Coventry in 1937 and describes her earliest recollections of sound as the sound of the German blitz and the air-raid sirens. She studied music and maths at Cambridge and joined the BBC Radiophonic Workshop where she could create sounds that had never existed in the world before. Her 'realisation' of Ron Grainer's theme tune to Doctor Who brought both her and the Workshop to greater prominence, but she later left the BBC and London and moved to Cumbria where she worked on a series of projects, as well as being briefly employed as a radio operator at the Gas Board. She was a pioneer of sound and her work is celebrated each year by Delia Derbyshire Day. Caroline was terrified by the Doctor Who theme tune as a child but fascinated by the woman, and later discovered tracks like 'Ziwzih Ziwzih OO-OO-OO' and 'Blue Veils and Golden Sands' from Radiophonic Workshop mix tapes. The discovery of 267 tapes in Delia's attic provided another portal into the extraordinary sonic world of Psyche-Delia and the mystery surrounding both how she created her music and the choices she made in life provided the inspiration for Caroline's film 'Delia Derbyshire: The Myths and the Legendary Tapes' in which she plays the lead. Delia appears in archive recordings to give Matthew Parris his first taste of a Wobbulator. Producer: Toby Field
Rosemary Tonks is the subject of this episode of Backlisted. Our starting point is her fascinating third novel The Bloater (1968) - which is long out of print, unfortunately - but we also discuss her remarkable poetry, her friendship with Delia Derbyshire of the BBC Radiophonic Workshop, her eccentric career in fiction, radio and theatre, and her gradual retreat from the world. Joining John and Andy to discover more about this unique and enigmatic writer are two of Tonks's admirers, author and critic Jennifer Hodgson and the comedian Stewart Lee. Also in this episode Andy replenishes his enthusiasm for Elizabeth Taylor with her (bizarrely underrated) novel The Wedding Group (1968), while John shines a light on Andy Charman's Crow Court, a new novel of short stories set in Wimborne Minster, Dorset, in the 19th century, published by Unbound.
13. Déjà vu - Cover Songs Show (Instrumental Special) Tuesday 5th and Thursday 7th January Presented by Rich Davies TRACK 1 All along the Watchtower - Devlin (Bob Dylan 1967) TRACK 2 Riders on the Storm - Yonderboi (The Doors 1971) For Darren. TRACK 3 Georgio - Nu Deco Ensemble (Daft Punk 2013) TRACK 4 Peter Gunn - Art of Noise (Henry Mancini 1959) TRACK 5 Green Onions - Paul Hardcastle (Booker T. & the M.G.'s 1962) For Marc on the Nightbus, Friday's from 8pm. TRACK 6 Clubbed to Death - Pete Tong & the Heritage Orchestra (Rob Dougan 1995) For Jo. TRACK 7 Unfinished Sympathy - Royal Stockholm Philharmonic (Massive Attack 1991) TRACK 8 On her Majesty's Secret Service - Propellerheads (John Barry 1969) For Steve Evans. TRACK 9 Doctor Who - Orbital (Ron Grainer & the BBC Radiophonic Workshop 1963) For Lee Guest. TRACK 10 The Force Theme - Scandroid (John Williams 1977) Another one for Lee Guest. TRACK 11 Robinson Crusoe - The Art of Noise (Robert Mellin 1965) For Jean Davies. TRACK 12 Tubular Bells - Billy Watman (Mike Oldfield 1973) For Colin Davies. TRACK 13 Kashmir - Public Image Ltd. PIL (Led Zeppelin 1975) TRACK 14 Eleanor Rigby -Strings Only - Anthology 2 (George Martin 1966) For Julia. TRACK 15 Thunderstruck - 2Cellos (AC/DC 1990) For Phoebe. TRACK 16 Requiem For a Tower - Escala (Clint Mansell & the Kronos Quartet 2000) TRACK 17 Sweet Dreams - Simply Three (Eurythmics 1983) For the 80's crew, catch them Thursdays from 6pm. TRACK 18 Hocus Pocus - Vanessa-Mae (Focus 1971) For Stuart down in Bristol. TRACK 19 The Ecstasy of Gold - Metallica (Ennio Morricone 1966 The good, the bad and the ugly) TRACK 20 Albatross - The Shadows (Fleetwood Mac 1968) For fellow DJ Gary Davies. TRACK 21 Flight of the Wounded Bumblebee (Live) - Extreme, Nuno Bettencourt, intro to He-Man Woman Hater (Nikolai Rimsky-Korsakov 1899) TRACK 22 Children - sleepmakeswaves on Triple J Like a version (Robert Miles 1995) TRACK 23 Rock Medley - Red Hot Chilli Pipers TRACK 24 The Mandalorian / Gonna Fly Now - Samuel Kim (Ludwig Göransson 2019 / Bill Conti 1977) TRACK 25 Wade in the Water - Ramsey Lewis (The Sunset Four Jubilee Singers 1925) For John Moore. TRACK 26 Daft Punk Medley - Chilly Gonzales (Daft Punk 1996) For Kat. TRACK 27 Fear of the Dark - Gamazda (Iron Maiden 1992) For Stuart. TRACK 28 Hotel California - Scott D. Davis (The Eagles 1976) For John Yarnall. TRACK 29 Memories - Midnight Tales (Maroon 5 & Canon in D, Johann Pachelbel 1680) For Ali from the Wellness Wednesday Show, live from 12 noon. TRACK 30 You'll Never Walk alone - Andre Rieu (Christine Johnson with Carousel Chorus 1945, Major hit for Gerry and The Pacemakers 1963) In memory of Gerry Marsden. TRACK 31 Rock Me Amadeus - 8 Bit Universe (Falco 1985) If you have any cover requests, send them to rich@solihullradio.com
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.
Playlist Delia Derbyshire, Dreaming (1971), from the album Out of This World: Atmospheric Sounds and Effects from the BBC Radiophonic Workshop (1976) Glynis Jones, Crystal City, from the album Out of This World: Atmospheric Sounds and Effects from the BBC Radiophonic Workshop (1976) Pauline Oliveros, Jar Piece (1966), from the album Electronic Essays (1968) Jacqueline Nova, Opposition-Fusion (1968), from the sound library of the Studio of fonologia de la Universidad nacionál de Buenos Aires. Micheline Coulombe Saint-Marcoux, Zones (1972), from the album Carrefour: Musique, Électro-Acoustique/electroacoustic music, (1972) Eliane Radigue, Triptych, Part 2, excerpt (1978), from the album Triptych (2009) Maggi Payne, Subterranean Network, excerpt (1985), from the album Music From Mills (1986) Miki Yui, Mong (1999) from the album Small Sounds (1999) This episode's Archive Mix. These two records are played simultaneously and are not manipulated in any way, leaving all audio and musical interactions to chance. The tracks: Veronika Wolf-Cohen, Bat David (1980) from the album Israeli Electroacoustic Music (1981) and Ann McMillan, Amber '75, excerpt (1975) from the album Gateway Summer Sound - Abstracted Animal & Other Sounds (1978) Intro and outro music, plus all incidental sounds by Thom Holmes. For information about Thom's book, Electronic and Experimental Music (6th edition) go to the book's website for a print or electronic version, or order on Amazon.
'The Childishness of Adults'Season One - Episode FiveIn this super hi-tech service, we welcome the 'Elon Musk of Creepy Cove', Conal Cochrane of Silver Shamrock Novelties in town. He's trialing an amazing new technology that affects YOU. So be sure to listen in (though you might need to guard your ears!) We also have an update regarding our recent Shark Exorcism, with news of Father Michael and his cruciform dinghy. Freda Krueger provides our Bible reading this evening, though she should really keep her glove in check. Peter then joins us to talk about 'The Childishness of Adults'. For adults can indeed, when you think about it, be rather immature. Note, Peter strongly puts himself in that category too. Following this sermon we go experimental when Gilderoy from The Berberian Sound Studio in town, joins us. He 'treats' us to some anaolgue electronic soundscapes from his heady days with the BBC Radiophonic Workshop. The perfect accompaniment to a time of prayer and meditation. It's pretty internal, this one. You'll know what we mean when you hear it. Finally, our church band lead us in a rousing rendition of 'Leaning on the Everlasting Arms'. Everyone at Creepy Cove Community Church hope that you enjoy the service. Do follow us on Twitter or Facebook for updates, and if you want more content...check out our lovely Patreon options for a bonus weekly podcast and more! Blessings to you all!Support the show (https://www.patreon.com/creepycove)
In this episode we voyage to galaxies long, long ago, and far, far away to revisit the assorted science fiction sound effects LPs issued by the BBC back in the early 1980s. These slabs of interstellar vinyl saw the BBC Radiophonic Workshop conjuring up galactic soundscapes and space-age sonics for the likes of Doctor Who, Blake's 7 and The Hitchhiker's Guide to the Galaxy, plus many strange new worlds all of their own.
Matt Black has been intrigued by computers since reading "The Shockwave Rider" from a bookmobile in his small English village of his youth. Since then, he has created scratch mixes from a set of decks across London warehouse parties in the late 1980s, pirate radio, become the band Coldcut, created major hits, launched the label Ninja Tune, and developed mad programming skills. He builds what he calls "software instruments" for the iPad and (when he can) Android, expanding this year from Ninja Jam to JammPro, letting artists make their own tracks. Guest: Matt Black, Co-Founder, Ninja Tune; Member of the band Coldcut Matt Black is half of legendary DJ duo and multimedia pop group Coldcut, formed in 1987, and founders of Ninja Tune, the UK label. In 2020, Ninja Tune celebrates 30 years as one of the world’s leading electronic music labels and a beacon for the independent music spirit. In 2017 Coldcut celebrated 30 years in electronic music with a string of gigs releases and special projects. A new album is coming in 2020. For over 28 years as part of Coldcut he has combined cutting edge artistic expression with positive activist themes in such pieces as Journeys by DJ, The Only Way is Up, People Hold On, Stop This Crazy Thing, Timber, Panopticon, Re:volution, Energy Union, Walk a Mile, True Skool, and many more. Coldcut have worked with a wild range of artists, activists and other groups and luminaries eg Steve Reich, James Brown, Mark E Smith, Queen Latifah, Jello Biafra, Saul Williams, Robert Owens, Lisa Stansfield, Crass, Roots Manuva, Lee Scratch Perry, the BBC Radiophonic Workshop, Greenpeace, and Avaaz. In 2011 Matt designed the iOS app Ninja Jamm, Ninjatune's first music app which has had over 600,000 downloads; in 2020 the new advanced version Jamm Pro has been released. In 2017 2 more apps he designed were released: Pixi a visual synth, and Robbery a satirical video game. Midivolve, a music software collaboration with Ableton was released July 2017. The Zen Delay hardware unit released 2019 was also his co-creation. At Splice festival 2017 Matt showcased his experiments with Style Transfer, a cutting edge new style of visual processing using AI techniques. For his AV show, done in conjunction with his wife filmmaker Dinaz Stafford, Jamm triggers visual clips so every sound has a matching visual. Matt collaborated with artist Wolfgang Buttress (the Hive, Kew) for BEAM AV installation Glastonbury 2019. Links: Jamm Pro Website: http://jammpro.net/ Jamm Pro for iPhone: https://apps.apple.com/app/id1148499320 Jamm Pro Competition - Win £1000: http://jammpro.net/jp1000/ Twitter: @NinjaJamm Coldcut Twitter: @Coldcut The Shockwave Rider, John Brunner, 1975 The Selfish Gene, Richard Dawkins, 1940 Tonto synth and Malcolm Cecil Ableton Link Kevin Kelly, The Next 5,000 Days on the Web, 2007, TED Roger Hallam, Common Sense for the 21st Century; Extinction Rebellion
Shock World Service 091: World Synth Experiments by Frankie Grimes 9/2/2020 Dublin, Ireland 1. Juan Amenábar - Los Peces (1957 - Chile) The first tape piece from South American composer Juan Amenábar Ruiz. It's an electroacoustic work based on Fibonacci sequence tape manipulations of recorded piano sounds. From Santiago, Chile, he was an engineer and composer and pioneer of electroacoustic music in South America. Studyied composition at the National Conservatory of Music in Santiago, later travelling to Bonn, Germany, where he studied with Stockhausen's teacher Wener Meyer-Eppler. 2. Iannis Xenakis - Concret PH (1958 - Greece) Iannis Xenakis once approached Messiaen in Paris for composition lessons, but Messiaen turned him down, saying “I think one should study harmony and counterpoint. But this was a man so much out of the ordinary that I said… 'No, you are almost 30, you have the good fortune of being Greek, of being an architect and having studied special mathematics. Take advantage of these things. Do them in your music'." Concert PH (paraboloïdes hyperboliques), was written to be heard as audiences entered and excited the Phillips Pavillion at the '58 World Fair in Brussels, Xenakis was also involved in building the structure, and Varese's Poeme electronique was played while people were inside the building. 3. Jorge Antunes - Auto-Retrato Sobre Paisaje Porteno (1969 - Brazil) Known as the originator of electronic music in Brazil, Jorge Antunes studied music and physics in Rio de Janeiro. Os Mutantes were building DIY guitar pedals, but Jorge Antunes was building himself oscillators, filters and modulators. He has been a professor at the University of Brasilia since 1973. 4. Delia Derbyshire - Falling (1964 - USA) Delia Derbyshire was a true electronic music pioneer. Working with the BBC Radiophonic Workshop, she created the famous Doctor Who theme. The Dreams was a collaboration with Barry Bermange, of voice recordings of people describing their dreams, set to an entirely electronic soundtrack by Derbyshire. 5. Otto Sidharta - Lorong (1984 - Indonesia) After post-graduate study in Amsterdam, Otto Sidharta returned to Indonesia to gain his doctoral degree and compose electronic music based around nature and soundscapes. Reissued by Sub Rosa in 2017. 6. Mammane Sani - Tunan (1979 - Niger) Mammane Sani was a pioneer of West African electronic music, and creator of much of the incidental music used for radio in Niger. This, his first and only album, electronic interpretations of traditional Wodaabe and Tuareg music, was recorded in two takes at the National Radio of Niger, and released on a limited casette by the Ministry of Culture . Reissued by Sahel Sounds in 2013. 7. Yishak Banjaw - Libey Ma'aduley (1986 - Ethiopia) Originally from Addis Ababa, Yishak Banjaw created this album at his house in Eritrea, on a Casio PT rented from a friend. He recorded the whole album live, directly to his tape recorder. Reissued by Teranga Beat in 2016 8. Gökçen Kaynatan - Lost Island (1973 - Turkey) A pioneer of electronic music in Turkey. While there was much experimentation in Turkey at the time, Gökçen pioneered the use of electronics. Reissued by Finders Keepers in 2017. 9. The Upsetters - Chim Cherie (1973 - Jamaica) Reggae and Dub had a huge influence on the development of electronic music, and none more that Lee Scratch Perry. It's hard to pick one, but this early dub from Pressure Sounds' 2010 compilation shows just how far ahead they were. 10. Codek - Closer (1981 - France) Originally release on Ivorian Coast label West African Music, this is the a-side from the well known ‘Tam Tam' single, recorded in France by Jean-Marie Salau. Notes end as we have reached max word count
In this edition of the Who's He? Podcast..... The News We say goodbye to Graeme Curry, the writer of The Happiness Patrol, the rerelease of a BBC Radiophonic Workshop classic, Rosa wins an award and there is gaming news Doctor Who: The Runaway a new virtual reality game and Doctor Who: Legacy is no more! Also, Comic Relief are offering the chance for two lucky people to have breakfast on the set of Doctor Who with Jodie Whittaker and Mandip Gill! If you want to enter, then click on the link below: Comic Relief - Breakfast with the Doctor Review - Doctor Who and the Auton Invasion Phil and Paul take a look at this Target novelisation written by Terrance Dicks. Otherwise known as Spearhead From Space, this is the story that introduces the Third Doctor, Liz Shaw and the Doctor exiled to Earth. How does this book compare to the televised version and why does Paul get confused with an army General and a cartoon dog?
It's New Year's Day 1977 and 11-year-old Ben is still missing Sarah Jane Smith. The Deadly Assassin disappointed by bringing back an unrecognizable Master. Perhaps Sarah would return in this new story. This is a flashback Metebelis 2 Podcast on "The Face of Evil!" Intro music is from David Soul's 1977 number 1 single on the UK charts, "Don't Give Up on Us". Closing music is "The Interior of Xoanon" by Dick Mills of the BBC Radiophonic Workshop.
Texas native John Congleton's production, engineering and mixing résumé is as diverse as they come, spanning projects with everyone from Blondie to The Roots & Erykah Badu to Angel Olsen to Talking Heads' David Byrne to gospel legend Kirk Franklin. A Grammy-winner for his work on St. Vincent's 2014 self-titled album, Congleton also fronted The Paper Chase for over a decade, crafting some of the most feverishly manic and intriguing music known within indie-rock -- thanks to, in his words today, being "willing to destroy the integrity of a completely reasonable song for the effect of an audio hallucination." Last year saw the release of his first post-Paper Chase album under The Nighty Nite moniker, titled "Until The Horror Goes," and he's already produced five albums that have come out so far in 2017 from Nelly Furtado, Blondie, Future Islands, Xiu Xiu and Goldrapp. On this episode, Congleton recalls his early memories of ZZ Top and Fawlty Towers, the influence of Pink Floyd, Public Enemy and the BBC Radiophonic Workshop on the Paper Chase, what artists of all walks ultimately want from an engineer or producer, where exactly he keeps his Grammy and why we're still fascinated with the Zodiac Killer. Be sure to follow him @congletonjohn on Twitter and Instagram!
The story of how and why Czechoslovakia broke up into the Czech Republic and Slovakia. What has happened since and what the world can learn from it. We also talk about the BBC Radiophonic Workshop and two different types of spring.
Our copies of Vworp Vworp #3 arrived! So this week on M2P we "unbox" the fanzine. Then after a week of reading through the issue cover-to-cover, we give our reactions and talk about the differences in how Doctor Who was experienced in the UK and the US. Ben concludes the episode with a tribute to Who fandom. Opening music is "Wall of Flame" by Tristram Cary from "The Daleks' Master Plan", interlude music is an excerpt from "Day Tripper" by The Beatles, and we close with "Dalek Spaceship Takes Off" by Brian Hodgson of the BBC Radiophonic Workshop.
My classic series reviews reach Doctor Who: The Mind of Evil a title with a double meaning as the story features, yes, you guessed it the Master(again) It also features wonderfully quirky music by Dudley Simpson but performed by the BBC Radiophonic Workshop in wonderfully alien sounding analogue synth glory. The show is now on Facebook please join the group for exclusive behind the scenes insights and of course also discuss and feedback on the show https://www.facebook.com/groups/187162411486307/ If you want to send me comments or feedback you can email them to tdrury2003@yahoo.co.uk or contact me on twitter where I'm @tdrury or send me a friend request and your comments to facebook where I'm Tim Drury and look like this http://www.flickr.com/photos/tdrury/3711029536/in/set-72157621161239599/ in case you were wondering.
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.
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.
Avec des musiques de film de la part de Gruff Rhys et Nils Frahm, nouveautés de Vanishing Twin et The Lemon Twigs et la première sortie commerciale de BBC Radiophonic Workshop.
Avec des musiques de film de la part de Gruff Rhys et Nils Frahm, nouveautés de Vanishing Twin et The Lemon Twigs et la première sortie commerciale de BBC Radiophonic Workshop.
In between fortnightly episodes of Akiha Den Den we are sharing excerpts from the soundtrack. This week, a piece of music taken from episode 2, and a scene introducing the thought mining cockroach, SIlph. It features heavy use of the EMS Synthi A, a 1971 synth from the pioneering British company that supplied instruments to the BBC Radiophonic Workshop and various psychedelic rock bands of the time. Its sounds turned up in many early episodes of Dr Who (most notably Sea Devils with Jon Pertwee) introducing young minds to some quite challenging sounds!
July 2015. A transcript of this conversation is available to download here: https://lunarpoetrypodcasts.files.wordpress.com/2017/05/interview-rosemary-tonks-lpp-transcript-42.pdf David Turner talks to Lizzy Palmer and Lucy Reynolds about the poet Rosemary Tonks. They discuss Rosemary's life, her poetry, collaboration with the BBC Radiophonic Workshop and her later rejection of her own work and ultimate 'disappearance'. Lucy reads 'Orpheus in Soho' by Rosemary Tonks - 00:30:10 Lizzy reads 'Badly Chosen Lover' - 00:47:07 and Bedouin of the London Evening' - 01:18:03 both also by Rosemary Tonks. The three recordings discussed are available through the British Library: "The Poet Speaks" - ref: 1CDR0003848 "Sono-Montage" - ref: NP1004R "The Disappearing Poet" - ref: C1199/187 www.twitter.com/Silent_Tongue www.bloodaxebooks.com
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
Toby Hadoke set out to interview someone involved with every TV Doctor Who story in the show's first 50 years. Can he make it for intended #100 milestone...? And today's part two of the last interview means there's even less time to make it...
Is Toby on the home straight to confirming that he made it: speaking to someone connecting with every TV Doctor Who story in the show's first 50 years...? It's getting close...
Newsmageddon continues! With only two weeks to go before the premiere of Deep Breath across the planet, the Doctor Who hype machine is in full swing, from the world tour making it’s way through the UK before heading overseas to early reviews of the premiere episode (all spoiler-free, of course.) Online content, the Moff saying stuff that may or may not be true and so….much…more. But that’s not all! We also have the final Miniscope of the year, this time profiling BBC Radiophonic Workshop composer Jonathan Gibbs with the help of eminent smart music lady Emily Kausalik from the Doctor Who: Time Signatures podcast! Huzzah! Check out the show notes at http://www.radiofreeskaro.com
Doctor Who: Podshock - Episode 305 Running time: 1:12:59 We have a classic interview with the co-founder of the Doctor Who Fan Club of America, Ron Katz, a recent interview with Peter Howell of the BBC Radiophonic Workshop, plus news, and more. Hosted by Louis Trapani. Presented to you by the Gallifreyan Embassy and is a production of Art Trap Productions. Interview segment courtesy of Chuck Rabb of the Chuck Rabb Show. The Peter Howell interview was conducted by UK correspondent, Nick Joy. This podcast is made possible in part by and is brought to you by Podshock Supporting Subscribers and from donations from listeners like you. Get the DWP Podcast Companion App for iPhone, iPad, and iPod touch. This episode is also brought to you by Audible. Visit http://podshock.net for the link to your FREE audio-book download with free trial. Do you want the Enhanced Podcast AAC file format? Get our Enhanced Podcast version of this episode using our feed at http://www.gallifreyanembassy.org/podshock/podshock.xml.
Doctor Who: Podshock - Episode 305 Running time: 1:12:59 We have a classic interview with the co-founder of the Doctor Who Fan Club of America, Ron Katz, a recent interview with Peter Howell of the BBC Radiophonic Workshop, plus news, and more. Hosted by Louis Trapani. Presented to you by the Gallifreyan Embassy and is a production of Art Trap Productions. Interview segment courtesy of Chuck Rabb of the Chuck Rabb Show. The Peter Howell interview was conducted by UK correspondent, Nick Joy. This podcast is made possible in part by and is brought to you by Podshock Supporting Subscribers and from donations from listeners like you. Get the DWP Podcast Companion App for iPhone, iPad, and iPod touch. This episode is also brought to you by Audible. Visit http://podshock.net for the link to your FREE audio-book download with free trial. Do you need the MP3 file format? Get our MP3 version of this episode using our MP3 dedicated feed at http://www.gallifreyanembassy.org/podshock/podshockmp3.xml.
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.
A 2-hr long weekend special featuring remixes from the Vincent Parker LP, Bass Clef, BBC Radiophonic Workshop, Lost Trail, Move D, Keudo plus lots more; all fueled by chocolate, caffeine and a cheeky on-air sacrifice. Pagan pleasures.
This week Outriders looks at the Heartbleed bug, veterans of the BBC Radiophonic Workshop talk about the prospect of performing live at Glastonbury and how robots are helping to preserve a trillion words.
A preview of a day celebrating the wonky electronic wonders of the BBC Radiophonic Workshop, plus memories of Frankie Knuckles, and singles from Rita Ora, SZA and Chance the Rapper, and Joyce Muniz
The broadcaster and Doctor Who fan MATTHEW SWEET travels to The University of Manchester - home of Delia Derbyshire's private collection of audio recordings - to learn more about the wider career and working methods of the woman who realised Ron Grainer's original theme to Doctor Who. Delia's collection of tapes was, until recently, in the safekeeping of MARK AYRES, archivist for the BBC Radiophonic Workshop. Matthew meets up at Manchester University with Mark, along with Delia's former colleagues from the BBC Radiophonic Workshop, BRIAN HODGSON and DICK MILLS - plus former 'White Noise' band member DAVID VORHAUS - to hear extracts from the archive, discuss their memories of Delia and the creative process behind some of her material. Her realisation of the Doctor Who theme is just one small example of her genius and we'll demonstrate how the music was originally created as well as hearing individual tracks from Delia's aborted 70's version. We'll also feature the make up tapes for her celebrated piece 'Blue Veils and Golden Sands', and hear Delia being interviewed on a previously 'lost' BBC recording from the 1960s. Matthew's journey of discovery will take in work with the influential poet Barry Bermange, as well as her 1971 piece marking the centenary of the Institution of Electrical Engineers. This Archive on 4 is brought up to date with an individual track from 'The Dance' from the children's programme 'Noah'. Recorded in the late 1960s this remarkable tape sounds like a contemporary dance track which wouldn't be out of place in today's most 'happening' trance clubs. Producer: Phil Collinge.
More Whooverville 5 coverage this week as Siobhan Gallichan interviews Dick Mills about his time at the BBC Radiophonic Workshop and his memories of assisting Delia Derbyshire on the original version of the Doctor Who theme tune. You can see my photos of Whooverville 5 here http://www.flickr.com/photos/tdrury/sets/72157635295320665/ and video of this interview is here http://www.youtube.com/watch?v=9COYiD9VZ0I and here http://www.youtube.com/watch?v=7BTPvJZuUUQ End theme is The Brig Can't Help You Now He's in Geneva by David Middleton Grenfrel (sorry for the poor sound quality, unable to find it clearer) The show is now on Facebook please join the group for exclusive behind the scenes insights and of course also discuss and feedback on the show https://www.facebook.com/groups/187162411486307/ If you want to send me comments or feedback you can email them to tdrury2003@yahoo.co.uk or contact me on twitter where I'm @tdrury or send me a friend request and your comments to facebook where I'm Tim Drury and look like this http://www.flickr.com/photos/tdrury/3711029536/in/set-72157621161239599/ in case you were wondering.
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
Quite a dark, uncanny show tonight considering the sunshine outside. New tracks from Common Vernacular, Zomby, Grumbking Fur and some vintage oddness from BBC Radiophonic Workshop. Summer spookiness...
Taking its name from a track by Jon Brooks, this show was going to be all about mitosis and meiosis until we discovered there s not as much cell themed music as you might Imagine. So instead it is an … Continue reading →
Still more Gallifrey! Your august crew scoured the LAX Marriott for Who personages of note, and by golly we found them, in the personages of director Douglas Mackinnon, ex-companion and documentarian Mark Strickson, BBC Radiophonic Workshop guru Dick Mills, writer and all around gent Andrew Smith, and podcast supremos The Oodcast all collide cheek by jowl in this, our penultimate episode from Gallifrey One. Enjoy! Check out the show notes at http://www.radiofreeskaro.com
Soundtracks, library music and other agreeable delights with Jonny Trunk. This week – David Cain! WOW! In the mid 1960s the BBC Radiophonic Workshop was home to three important figures: Delia Derbyshire, John Baker and today’s very special guest. Coming all the way from Poland on his way to a Maths conference, David pops in […]
Shock World Service 044 Electronic Snowflakes by Jon Averill 25/12/11 Dublin, Ireland 1. Bjork - Overture It became clear to me early on that a lot of the music I had earmarked for this podcast had only the most tenuous connection to the theme. 2. New David - Radioland One thing I've learned about covers of Kraftwerk tracks over the years is they're mostly crap. Not this. 3. Kenneth Patchen - So Be It A wonderfully forbidding work by Kenneth Patchen. His own reading only serves to enhance its sense of authority. 4. Keith Fullerton Whitman - Generator 3; Keith follows his obsession with "the tenets of Process music & Systems music" 5. Vince Guaraldi Trio - Christmastime Is Here (Alternative Version) The first track which could be called an outright ‘Christmas song' is from Vince Guaraldi. Vince composed & preformed the music to the Peanuts/Charlie Brown cartoons from which this is taken. It provides a suitable nod to the season without Slade or Sir Cliff in sight. 6. µ-Ziq - Hasty Boom Alert Swiftly back to the ‘tracks that remind of Christmas but have no connection whatsoever' box. ‘Hasty Boom Alert' is first rate melodic clatter and bash from µ-Ziq. Taken from his album ‘Lunatic Harness' which I may or may not own. 7. Speedy J - Hayfever Speedy J was behind some stunning techno releases in the mid 90's before stepping back somewhat to make quieter music. 8. Moscow New Choir - Pushkin's Garland Nothing evokes the holiday spirit more than a choir from a cold country, nothing. 9. The Hacker - Electronic Snowflakes I've never been a big fan of The Hacker. This is ok. 10. Max de Wardener - Snowflakes An accompaniment piece to the previous track. Complementing The Hacker's electronic gurglings with more traditional instrumentation. 11. The Cure - Primary Before things get too peaceful and you drift off here are The Cure in their visceral prime. 12. Visage - Whispers From a distance Visage always seemed like something of a novelty act. ‘Fade To Grey' has had all its power and mystic drained away from inclusion on multiple drive-time 80's collections but if you dig deeper they have a handful of really innovative pioneering tracks. 13. Creative Control - Me & My Drums Creative Control rework ‘Little Drummer Boy' 14. Lord Buckley - People Another whimsical rant from the one true lord, Lord Buckley, an indomitable exponent of the importance of people over deities. 15. Tom Waits - Clap Hands I won't lie, I don't know why Tom Waits whiskey & sandpaper voice reminds of Christmas but it does. Cian Ó Cíobháin used a Tom Waits track on his Christmas podcast also so there must be something in this? 16. The Andrew Oldham Orchestra - Play With Fire The Andrew Oldham Orchestra are most famous these days as the act whom The Verve sampled for the string refrain on ‘Bitter Sweet Symphony. 17. Wendy Rané - After Laughter Some may recognise this as the backbone to Wu Tang Clan's ‘Tearz'. 18. The Kingston Trio - Last Month Of The Year Are we the only ones or does the intro remind you of Jape's ‘Floating'? This is 60's folk vintage from the ever so clean-cut Kingston Trio. 19. Soft Cell - Say Hello, Wave Goodbye (12” Mix) Increasingly this time of year is about people returning, myself included from their various outposts around the world before departing just as rapidly. 20. John Baker - Christmas Commercial This short concluding motif comes from John Baker, a key member of The BBC Radiophonic Workshop who produced some stunning and still highly sought after electronic music in the 60's & 70's.
Great news for radiophonic enthusiasts in the next week or so as next weekend (2-3 April 2011) the Cube Cinema in Bristol will be hosting A Radiophonic Weekend featuring former members of the BBC Radiophonic Workshop. Then on Thursday 7 … Continue reading →
You Are Hear: New Live Music Sessions and Specials - From the Outer Edges
You Are Hear alternative new music presented by Jim Backhouse Feb 9th 2007 Feb 9th For this week's You Are Hear, Jim Backhouse trawls the knotted undergrowth of early electronic music for more astringent blasts of analogue synth-blatt, elaborate tape manipulation and the sounds of visionary inventors struggling with primitive technologies: from the pioneering soundworks of Daphne Oram, founder of the BBC Radiophonic Workshop to the precocious bleeps and squawks of some US High School Students let loose in the electronic music lab. Mika Vainio also brings us a genuinely terrifying sliver of noise from his new album 'Revitty' which sounds reminiscent of being torn limb-from-limb by a shoal of bloodthirsty sharks; Adam Bohman offers sage advice to the ill and lovelorn, and besides that we have plenty more psychedelic, electronic, home-made, DIY, perverse, collective karma for you to bug out to. Enjoy! Full track listings and contacts for everyshow are found at www.youarehear.co.ukTo catch our latest podcast why not subscribe for free at our website you can also now get emails alerts sent to you direct everytime we update the feed.Leave us your pics and feedback at http://www.myspace.com/youarehearYou can now listen to the latest YOU ARE HEAR radio show on demand at TotallyRadio - updated every 2 weeks on Fridays - do check out our playlists page for full track details-Listen to the latest YOU ARE HEAR SHOW at www.totallyradio.comPodcast of the week in Time Out London!! " excellent alternative music show"Podcast of the week Time Out London!! " excellent alternative music show" "Critics Choice" The Independent
You Are Hear alternative new music presented by Jim Backhouse Feb 9th 2007 Feb 9th For this week's You Are Hear, Jim Backhouse trawls the knotted undergrowth of early electronic music for more astringent blasts of analogue synth-blatt, elaborate tape manipulation and the sounds of visionary inventors struggling with primitive technologies: from the pioneering soundworks of Daphne Oram, founder of the BBC Radiophonic Workshop to the precocious bleeps and squawks of some US High School Students let loose in the electronic music lab. Mika Vainio also brings us a genuinely terrifying sliver of noise from his new album 'Revitty' which sounds reminiscent of being torn limb-from-limb by a shoal of bloodthirsty sharks; Adam Bohman offers sage advice to the ill and lovelorn, and besides that we have plenty more psychedelic, electronic, home-made, DIY, perverse, collective karma for you to bug out to. Enjoy! Full track listings and contacts for everyshow are found at www.youarehear.co.ukTo catch our latest podcast why not subscribe for free at our website you can also now get emails alerts sent to you direct everytime we update the feed.Leave us your pics and feedback at http://www.myspace.com/youarehearYou can now listen to the latest YOU ARE HEAR radio show on demand at TotallyRadio - updated every 2 weeks on Fridays - do check out our playlists page for full track details-Listen to the latest YOU ARE HEAR SHOW at www.totallyradio.comPodcast of the week in Time Out London!! " excellent alternative music show"Podcast of the week Time Out London!! " excellent alternative music show" "Critics Choice" The Independent
Dave Robinson tells us all about the Eurovision massive production and the enormous redundancy they put in place, then it's the recent BBC Radiophonic Workshop gig at the Roundhouse in London, after which we suffer a network outage which sees me scrambling around for multiple re-boot - don't worry , we made it back on air, but minus Dave Robinson unfortunately. We then discuss the excellent documentary/interview with Peter Zinovieff of EMS, followed by a bit of a mixed bag from Sony and there new X-Series Walkman announced just at the time when they also post enormous losses. We finish up with Curtis Roads and his digital granular synthesis and what this pre 1970s work means to the modern musician.
Dave Robinson tells us all about the Eurovision massive production and the enormous redundancy they put in place, then it's the recent BBC Radiophonic Workshop gig at the Roundhouse in London, after which we suffer a network outage which sees me scrambling around for multiple re-boot - don't worry , we made it back on air, but minus Dave Robinson unfortunately. We then discuss the excellent documentary/interview with Peter Zinovieff of EMS, followed by a bit of a mixed bag from Sony and there new X-Series Walkman announced just at the time when they also post enormous losses. We finish up with Curtis Roads and his digital granular synthesis and what this pre 1970s work means to the modern musician.
Surrounding Delia - We are finally back at last! For the return episode: FEATURING - Delia Derbyshire! Selected works produced by the BBC Radiophonic Workshop pioneer. Also, we play works by Darkroom, Diatonis, Megatone, and Mystic Village. Feedback and submissions: ambientia.podcast@gmail.com
"In 1913 Futurist Luigi Russolo developed several noise machines, which he named ‘intonarumori’. In his manifesto, The Art of Noise, Russolo argued that musical instruments could no longer satisfy man's thirst for sounds. Almost 100 years later, people are still exploring the possibilities of sound. This is what I tried to capture in this mix - testing the limits of sound, from shrieking highs to almost imperceptible lows, finding new ways of interpreting and portraying life through the medium of sound. Despite including over 100 artists, the mix by no means represents a completist viewpoint; so many perhaps important artists in the development of 'noise' were left out. It was not my intention to do a 'who's who' of noise music, but rather to show how the exploration of sound has developed over time and how fascinating these explorations are. I did at times take into account the historical significance of the piece/artist when choosing tracks, although I was steered mainly by what was sonically interesting to me. Well that's it - the mix should speak for itself. If you are interested in digging deeper please follow the links provided. Listen at maximum volume and enjoy." Marolo, January 2007 Tracklisting: Luigi Russolo – Risveglio Di Una Cita (1913) Marcel Duchamp – La Mariée Mise À Nu Par Ses Célibataires, Même John Cage – Imaginary Landscape 1 (1939) John Cage – Imaginary Landscape (1942) Halim El-Dabh – Wire Recorder Piece (1944) Pierre Schaeffer – Etude Aux Chemins De Fer (1948) Hugh Le Caine – Dripsody (1949) Edgar Varese – Interpolation, 3rd Interpolation (1954) John Cage – Radio Music (1956) 15 minutes Iannis Xenakis – Diamorphoses (1957) György Ligeti – Continuum, Glissandi (1957), Artikulation (1958) György Ligeti – Pièce Électronique #3 (1958) Edgard Varèse – Poème Electronique (1960) Stockhausen – Kontakte (1960) Tod Dockstader – Four Elementary Tapes ¾ (1963) Stockhausen – Telemusik (1966) Beatriz Ferreyra – Demeures Aquatiques (1967) AMM – Ailantus Glandulosa (1966) Wozard Of Iz – Blue Poppy (1968) Pierre Henry – Prologue (1968) Jean-Claude Risset – Flight & Countdown (1968) Delia Derbyshire / John Peel – Voice Treatment (1969) La Monte Young – The Volga Delta (1969) 30 minutes Morton Subotnick – Wild Bull Part 2 (1968) Jean-Claude Risset – Mutations (1969) François Bayle + Robert Wyatt + Kevin Ayers – It (1970) Iannis Xenakis – Hibiki-Hana-Ma (1970) Luc Ferrari – Presque Rien (1971) Yoko Ono – Toilet Piece (1971) Laurie Spiegel – Sediment (1972) La Monte Young – From Poem For Chairs, Tables, Benches, Two Sounds Faust – 11 (1973) Throbbing Gristle – Whorls of Sound (1975) Alvin Lucier – The Duke Of New York (1976) BBC Radiophonic Workshop – Central Control Room In Exillon City, Styre's Scouting Machine, Atomic Reactor Runs Wild (1978) Chrome – Inacontact / I am the Jaw (1979) Whitehouse – Politics (1980) Maurizio Bianchi – Industrial (1980) 45 minutes Merzbow – Music Concret/Tape Dada (1980) NON – Pagan Muzak Loops (1980) Frieder Butzmann – Tales of Death (1981) Esplendor Geometrico – PIE (1981) MB – Treblinka (1981) Throbbing Gristle – Medicine (1982) Borsig – Zu Den Anderen Gerollt Werden/Helmut (1982) E.g Oblique Graph – Black Cloth (1982) Esplendor Geometrico – Disco Rojo (1982) Consumer Electronics – Keloid (1982) SPK – War of Islam (1983) Alison Knowles – Assemblage (1984) Diamanda Galás – Panoptikon (1984) Controlled Bleeding – Knees And Bones (1985) Zoviet France – Signal (1986) Butthole Surfers – Hay (1987) 1 hour Merzbow – Chopin is Dead (1987) Hanatarash – Frogirl (1988) Esplendor Geometrico – Mekano-Turbo (1988) John Watermann – Still Warm (1989) Voice Crack & Borbotomagus – Untitled (1991) Jackofficers – Flush (1991) Iannis Xenakis – S.709 (1992) Scanner – Untitled (1993) Melvins - Magic Pig Detective (1994) Merzbow - Ananga-Ranga (1994) Fennesz – 3 (1995) Vromb – Facteur Humaine iii (1996) Mike Patton - I Killed Him Like a Dog, Screams Of The Asteroid, Porno Holocaust, Catheter, Raped On A Bed Of Sand (1996) 1 hour 15 minutes Restgeraeusch – 1H / 1Min (1996) Oval – Shop in Store (1996) Lucien Monbuttou – Kpiele, I Find The Enemy (1997) Jonathan Azande – Opaque Misery (1997) Francis Dhomont – Scherzo (1997) Aube – Vent Finalzinho (1997) Electricity – Dunia Wanja Wa Fujo, Indlela Yababi (1997) National Bird – Wakar Uwa Mugu (1997) Godfrey J Kola – Somalia! (1997) Mbuti Singers - Massacre Rite (1997) Jim O’Rourke – There As (1997) Toys’r’us – Untitled (1997) Fraughman – Of The Elements (1998) Boredoms – Super Shine (1998) Merzbow – Munchen (1998) 1 hour 30 minutes Merzbow – Soft Water Rhinoceros (1998) Scalpel – 2.08 (1998) Dumb Type – Zero Radius (1998) ATR – Brixton Academy (1999) Merzbow & Genesis P-orridge – Flowering Pain (1999) Voice Crack – Green Ellipse/Red Square (1999) Shizuo – Untitled (1999) Maldoror – Baby Powder on Peach Fuzz (1999) Zipper Spy – Untitled (2000) Dolores Dewberry – Paragraph (2000) Diane Nelson – Dissected Insect (2000) Winterkälte – Toxic Hotspot (2000) Signal – Centrum (2000) Massimo - Hey Babe, Let Me See Your USB And I'll Show You My Firewire (2001) 1 hour 45 minutes DJ Smallcock – YinYue (2001) Ryoji Ikeda – 00010 (2001) Cyclo – C4 C9 (2001) Tripod Sardine – TV (2000) Speedranch – Halfway up the Stairway of Mucus (2001) Fennesz / Jim O'Rourke / Peter Rehberg – We Will Diffuse You (2002) Huren – Satem (2002) Vromb – Subréalité (2002) Coh – Hurt Later / Terra Beyond / In Spaces Between (2002) Massimo – 6-1-8 (2002) Merzbow – Tadpole / Forgotten Land (2002) Merzbow – Black Gun Red (Kim Cascone mix) (2003) Wlliam Basinski – Disintegration Loops DLP4 (2003) KK Null – Andromeda 2 (2003) Space Machine – 4 (2004) Chessmachine – 16 Move (2004) 2 hours Zeena Parkins & Ikue Mori – Miura (2004) Otomo Yoshihide - Where There's Smoke, There's Weapons (2004) The Lappetites – Funeral (2005) Merzbow – Merzbuta track 4 (2005) Zeena Parkins – 16 Feet + Cello (2006) Drifting Stranger – Oh Daddy Love Me Good (2007)
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