Podcast appearances and mentions of Bill Oddie

Luke wonders if he's missing out on a lucrative career as a right-wing grifter, while Pete shares his latest YouTube algorithm nightmare — somehow featuring Bill Oddie discussing Jimmy Savile... Elsewhere, Pete reminisces about his childhood pet gerbils and the highly questionable method his dad used to control their ever-growing population.Plus, the lads revisit Pete's infamous infant chip bowl helmet invention and debate whether chasing pigeons is a fundamental part of childhood.Email us at hello@lukeandpeteshow.com or you can get in touch on X, Threads or Instagram if character-restricted messaging takes your fancy.***Please take the time to rate and review us on Apple, Spotify or wherever you get your pods. It means a great deal to the show and will make it easier for other potential listeners to find us. Thanks!*** Hosted on Acast. See acast.com/privacy for more information.

Looks Unfamiliar is a podcast in which writer and occasional broadcaster Tim Worthington talks to a guest about some of the things that they remember that nobody else ever seems to.Joining Tim this time is book reviewer Joanne Sheppard, who's writing in to an early evening BBC magazine show for confirmation that she's not just making up Fax, rival human-ape hybrid thrillers First Born and Chimera, Next Of Kin, Mother Love, I'm Your Number One Fan, BBC Schools show The History Trail, The Yolk Folk, Angela Rippon's Victoria Plum and ITV's attempt at televised Cluedo. Along the way we'll be stocking up on Mark Phillips And His Horses merchandise, declining to eat some fifty year old corned beef, debating which lasted longer out of Whither Tarrant? and Whither Oddie?, finding out what would happen if you described Mark And Lard to your grandparents and finally explaining the ending of Life On Mars via a series of clues relating to Gene Hunt's thumb.You can find more editions of Looks Unfamiliar at http://timworthington.org/. You can also find Joanne talking about The December Rose, Colorado Beetle paranoia, Brontosaurus, Will You Wait For Me? by David Bellamy, Timbuctoo, KP Wickers, The Enchanted Castle, Major Morgan The Electronic Organ and Wilderness Road here, The Bump by MC Mallett, Horror Chews, The Strange Affair Of Adelaide Harris, Matchbox Fighting Furies, Mouthtrap, Connoisseur, World Magazine, All Aboard! and The Guinness Book Of Pet Records here, Dramarama: The Exorcism Of Amy, Spine Chillers, Blue Peter's Witch Puppet Make, Monsters Of The Movies by Denis Gifford, Nothing To Be Afraid Of by Jan Mark, Paperhouse, Dekker Toys' Movie/TV Horror Make-Up Kit and Remus Playkits Identispook here and Go For It!, What-A-Mess, My Pretty Pony, John Carradine's The Legend Of Sleepy Hollow, The Water Babies, The Magnificent Race, Amazon Adventure by Willard Price and Snapper Crocodiles here. You can also find Joanne on The Golden Age Of Children's TV talking about The Baker Street Boys here.If you enjoy Looks Unfamiliar, you can help to support the show by buying us a coffee here. Just make sure Bill Oddie doesn't pay for his own using your PIN number live on air.

"When I was there it was people like Bill Oddie and John Cleese"

Refusing This Is Your Life, Bill Oddie quizzes with Sam, Eamonn Andrews gets fighty, Emu and Orville are held hostage, and Cheggers gets attacked. (Rec: 18/1/23) Join the Iron Filings Society: https://www.patreon.com/topflighttimemachine Hosted on Acast. See acast.com/privacy for more information.

We are pleased to bring to you this special 20th anniversary celebration of Philip's favourite Big Finish adventure, Doctor Who and the Pirates, starring Colin Baker, Maggie Stables and Bill Oddie (The Goodies). This feature includes brand new interviews with Nicholas Pegg, Tim Sutton and Helen Goldwyn, with archive Sirens of Audio material from Colin Baker and archive clips of Bill Oddie and Maggie Stables thanks to Big Finish Magazine. Closing theme by Tim Sutton. Original theme composed by Joe Kraemer | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://www.joekraemer.com/about/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠sirensofaudio@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.sirensofaudio.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Audio Feedback: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://anchor.fm/sirensofaudio⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Twitter:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ http://twitter.com/audiosirens⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/audiosirens/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Facebook: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.facebook.com/audiosirens⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ YouTube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/channel/UCrU3MLlOeJTLnAbLl35QgeQ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Some clips, images and music are copyright BBC, Barnaby Edwards and Big Finish and are used for review purposes only. No infringement is intended. --- Send in a voice message: https://podcasters.spotify.com/pod/show/sirensofaudio/message

Jumbo Ep:562 - 04.08.23 - Bringing Up The Mood!Brett's Tiny Hand, Where's The Cat?, Me You & Bill Oddie, Black Mirror, PatreonsSupport me at:www.patreon.com/Jumbowww.buymeacoffee.com/jumbowww.jumbopodcast.comYou can listen on Spotify, Stitcher, Apple Podcasts, Spreaker and many others.#PodernFamily #Podcasts #SpotifyPodcasts #Applepodcasts

Join us as presenter, author and farmer Kate Humble guides us through magical ancient woodland near her remote Wales home in the Wye Valley. With infectious enthusiasm and occasional impressions, she tells us about the plants and animals along our route as well as the story of her accidental career, becoming host of nation's favourite Springwatch having never wanted to be a TV presenter! Kate also talks worldwide travels, access to nature and planting trees with the Woodland Trust on her smallholding. Don't forget to rate us and subscribe! Learn more about the Woodland Trust at woodlandtrust.org.uk Transcript You are listening to Woodland Walks, a podcast for the Woodland Trust presented by Adam Shaw. We protect and plant trees for people, for wildlife.  Adam: Well, in early spring I went on a woodland walk in Wales with presenter, author and farmer Kate Humble, who was taking me around what promised to be some amazing woodland with her dogs. But as is increasingly common in these podcasts we of course had to begin with me getting absolutely and entirely lost.   This is an absolute disaster. Although I am bad at directions, this is not my fault *laughs* So Kate sent me a pin, she said look this is going to be hard to find my place, she sent me a map pin. I followed the map pin. Look I'm here I don't know if you can hear this you probably can't hear this. This is the gate that's locked, which is across some woodland path. So I can't get there. And of course there is no phone signal, so I'm going to have to drive all the way back to some town to find a phone signal. And I'm already late.   OK. I have managed to find a village where there is a phone signal. I've managed to call Kate and Kate *laughs* Kate has clearly got the measure of me and told me to give up and she is now going to get in her car and find me in this village and I will follow her back. In the meantime, we have passed Google map pins back and forwards, which apparently tell her that I'm sitting outside her house. But I really am nowhere near her house, so I seem to have broken Google which well, that's a first. Anyway I've got a banana here, so if she's a long time, I have dinner and I'll just wait. This will never happen. This will actually never happen.   Well we've found Kate. We've found a whirly country drive lane. Feels a bit like rally driving. It's like, I mean, I don't understand why my map wouldn't find it, but this is certainly a bit of rally driving we're doing here getting to her house. My goodness. We found her house.   OK. Well, we're here. Which I never thought I I really thought it was really lovely. The idea was nice, and next time I'm in Wales, I'll give you a call so really, it's it's better than I thought better than I thought. Anyway, so you're leading me off with your two dogs.  Kate: I am. I am. I'm leading you off into one of the most beautiful I think I mean, obviously I'm a little bit biased but it is one of the most important areas of ancient woodland in Britain. This is the Wye Valley. We're the lower Wye valley, so we are the the the the bit really where the River Wye is in its sort of last bit of its journey. It's risen in mid Wales, about 136 miles from here. I know that cause I've walked the whole route.  Adam: Really, we're not doing that today, are we?  Kate: No we're not no I promise. I promise Adam. So yes and we are basically about 5 or 6 miles from where it flows into the River Severn and then out into the Bristol Channel and the woods around here are a lovely mix of broadleaf, so we're walking through broadleaf woodland now and this is literally this is what I walk out of my front door. Aren't I lucky?  Adam: You are lucky.  Kate: I'm so lucky. So we've got a lovely mix of broadleaf woodland now and we're just coming into that time of year. Which is the time of year that makes everybody's spirits lift, because we are coming into spring, and if we actually just stop just for a second. You can hear that's a blue tit calling *imitates sound* and I mean, this isn't the perfect day for birdsong, but the birdsong was really picking up. And that's the lovely thing about living alongside woodland. So even in the winter, even when you don't think there are any birds at all, what you hear in these words is *imitates sound* that's a very, very bad impression of a great spotted woodpecker.  Adam: OK, I'm glad you. I I was guessing it might be a woodpecker, but I didn't want to.  Kate: So they start to drum around about sort of late January, they'll be drumming. And and then as the and we also have tawny owls, lots of tawny owls in these woods. We've got an owl box and we used to have an owl that we called Percy who we have no idea whether it was a boy or girl.  Adam: I was gonna say it was, a reason it was called Percy?  Kate: Don't know, just it just it looked like a Percy.  Adam: Just fancied the name. Fair enough. Yeah. Yeah.  Kate: But we have lovely tawny owls here. So, you know, at dusk and and when when I take the dogs out sort of last thing at night round about 10 o'clock 11:00 o'clock at night we walk down this track and and you stand here and you hear this wonderful and everyone thinks you know, tawny owls go toowit toowoo. They're the classic toowit toowoo owls, but actually you've got 2 owls calling, so you've got the male going *imitates noise* and then you have the females going *imitates noise*. And they're calling each other, establishing territories or going ooh I like the sound of you, there's a bit of flirting going on. So these are, as I say really it's it's just the biggest treat to live with this on my doorstep.  Adam: Right, so fantastic. You you clearly I mean, you've launched into a sort of fantastic description and detailed knowledge, but you are not a country girl by birth are you?  Kate: No, I am a country girl by birth.   Adam: Oh you are? I though you were born in London?  Kate: I am. No. Well, I was you're right, I was I was  Adam: Sorry, do I know where you were born and you don't.  Kate: Well, being born and where you were brought up is different.   Adam: Yeah, OK. OK, fair enough.  Kate: So I was, you're absolutely right, I was born in London. I was born in well, I was born in Wimbledon in fact. This is my neighbour by the way.  Adam: Right. Right. Wow. I didn't, we're in the middle of nowhere I didn't know there'd be a neighbour.  Kate: I know, but I know. But there are other people mad enough to live in these woods, and he's particularly mad.  Adam: OK. Does he mind you saying that?   Kate: Not at all. Not at all. No. He's absolutely used to it. Hello. Come and say hello to the Woodland Trust podcast.   Adam: No. OK, I'm just checking. OK. Hi, I'm Adam. Hi. Nice to see you. Yeah, I hear you're her neighbour.  Kate: This is this is this is writer Mark Mccrum and his dog Jabba. Yes. So I'm just dragging Adam down to take a look at the ponds and talking about the ponds down there.  Mark: Oh lovely. Which ponds?  Kate: The ponds down there.  Mark: Oh those ones? Yeah, very good. I might see you on the reverse cause I'm gonna go all the way round.  Kate: Oh you're gonna go round. OK, fine. Lovely.  Mark: These are lovely woods cause you never see anybody here. *all laugh*  Adam: I'm sorry.  Kate: Apart from you   Adam: I was gonna say, and me, I've ruined it.  Kate: Yeah we're the only people who see each other aren't we.  Adam: So you were telling me you are you are born in Wimbledon, but you you grew up in the country then?   Kate: Yeah. So I was I was born in Wimbledon and yes. So after about, I think I was about six months old, my mother always says that she realised that London was clearly not the place for me and   Adam: From six months? Outward bound baby were you?  Kate: Yes! She said she said there basically wasn't enough space in London for me. So so yes, so I was brought up in Berkshire, right? And I was brought up next to a farm. So I was always a sort of vicariously farming kid. Even though my parents weren't farmers and and spent my childhood looking after various animals of various descriptions, and I think the wonderful thing about being the age I am, so everyone bemoans being old, but I think I just I I am so thankful that I was born in the sixties.  Adam: Why?  Kate: Because no one had invented health and safety, climbing trees, no one had climbing frames, you climbed trees. And I think the trees enjoyed it, and so did you. And if you hadn't fallen out of quite a lot of trees by the time you were 10 and had various, you know, scars or broken bits as proof of a proper childhood, it wasn't a proper childhood.   Adam: Right. OK.   Kate: So I had a lovely proper childhood of, you know, not being plonked in front of a screen of some description or another. We're going to cut off piste a little bit and head down here.  Adam: OK, I'm is this a precursor warning that I'm about to get bumps and scrapes and?  Kate: This is a precursor warning that you might yes, you might. It's quite a steep descent.  Adam: OK just as long as my, my face is my fortune though, as long as that's safeguarded throughout this, that'll be fine. OK. Well, that's good. Yeah. Lots of leaves around. Yeah.  Kate: Of course it will be a soft landing whatever you say. Lots of leaves. One of the nice things again about broadleaf woodland. And as you can see, I'm sure your leaf identification is brilliant, but we've got a lovely mix of oak here and beech, as well as the evergreen so the hollies and lovely, lovely mosses. But yes, what you're walking on is is a sort of glorious mulchy carpet, but we have a profusion of bluebells.  Adam: Already they've come up?  Kate: Well the bluebells, the the plants themselves have come up so the leaves are up and there are one or two I'm going to show you, is it, will it be your first bluebell of the year?  Adam: It, almost, almost we we can pretend it is for dramatic purposes. Let's let's go along.  Kate: OK, OK. They are, they're just, they're just starting to come here now and and you get that lovely moment. It'll be about probably about three weeks or a month's time, slightly depending on on what the weather does, where you get the, the unfurling of the beech trees. So that glorious kind of neon green which when the light goes through you get that sort of wonderful, almost disco light effect show.  Adam: And aren't they in Welsh, aren't they called cuckoos? The Welsh translation for bluebells is cuckoo clock. I think it's because it's like it's a harbinger of spring along with the cuckoo.  Kate: Oh, I didn't know that.  Adam: Oh my God, I found something you didn't know.  Kate: You know, you know, you'll know lots, I don't know, but  Adam: No, no, let's hope that's true that's that's I'll have to go check that. Do check that before you tell anybody.   Kate: Well, I'll just blame you.  Adam: But no, I do think in Welsh the translation for Bluebell is is cuckoo clock or something like that because it is this harbinger of spring and I think that's it's a really nice I I won't even try the Welsh but in Welsh it sounds very so I mean, I thought we were going to chat about your conversion to nature and everything, but actually that's a lot of nonsense. This is this has been a constant in your life?   Kate: Well, it's been, I mean, coming to Wales, so I did live in London, you know, after I left home.  Adam: Except, I mean, you didn't choose a a nature career, did you? I mean, you you're involved now we can talk about that. But first, what was your first career?  Kate: Well, I mean. Career always seems such a grand word and that you've planned it.  Adam: Yeah. OK, so your accidental career.  Kate: So my accidental career, well, I had this idea that that I that I wanted to work in television, although again I don't really know where that came from. We're going just down here. Part of me also wanted to be a a safari guide.  Adam: Good. I can see the appeal of that.  Kate: I went to I when I was 19 having never really been abroad at all, because again, our generation didn't really go abroad as a matter of course. So I went to Africa when I was 19 and.  Adam: Sorry we're not talking on a holiday?  Kate: No it was a well it was a it was probably a rebellion.   Adam: Right. You went as far away as your your parents as you could. I'm not going out for the evening I'm popping off to Africa?  Kate: Yes, yes. I'm popping off to Africa and I don't know when I'll be back. One of those.  Adam: Right. Yeah, good. Good exit line. So where, where, where in Africa were you and what were you doing there?  Kate: So I I started in South Africa. I ended up in Egypt.  Adam: Right, just bumming around doing sort of bar work or doing something more serious?  Kate: I did I did I was a waitress for a little bit, but I was very, very bad and was sacked. I I was a model for a little bit, also very bad, very bad at that too.   Adam: Why were you so bad at that?   Kate: Because because I really don't like having my photograph taken and I really like food.  Adam: Yes, OK well I would I would have guessed I could have advised you that wasn't the career for you.  Kate: So so the two things, yeah, didn't really weren't terribly compatible to that. But I then got a job as a cook and a driver on a safari, and I drove a truck aged 19, having never really been out of Berkshire, from Cape Town, through Botswana and into Zimbabwe. And and then I hitched back to Cape Town. So I had a a real adventure. But what I what it really did for me was, having had this very sort of unconsciously wild childhood, I don't mean you know lots of parties and taking drugs I mean, a natural wild childhood, I then went to a place where the natural world was was so extraordinary and so mindblowing, and on a scale, you know, everything was was was like technicolour. You know, the birds were amazing. The the you know the the the size of the animals, the proliferation of the wildlife, the size of the landscapes, the emptiness and I think it was that journey that turned my mind to really re-look and re-examine the natural world and think it's, you know, it's extraordinary, it's it's mind blowing in every way and so even though I then came back and thought I want to have this sort of career in telly what I really wanted to do in my career in telly was work for the natural history unit.  Adam: Right. And is that what you did?  Kate: No. Not initially anyway.  Adam: OK, but you have done, I mean you've done nature programmes, lots of nature programmes. What did you first start doing?  Kate: We're going down here. I have. So I first started sweeping streets in the East End.  Adam: In EastEnders?  Kate: No, in the East End, no. I was a runner so I basically got jobs wherever I could get jobs and I got a job on a commercial that happened to be shooting in the East End and they needed the streets swept and so that was one of my jobs. But had no plans to be on the telly that that really did happen by mistake.  Adam: I think you know my first job in telly. I don't know if you remember That's Life with Esther Rantzen. Do you remember they she always had rude, funny vegetables?   Kate: I do, yes  Adam: That was my job to find them, yeah so only only marginally above the street sweeping.   Kate: Oh my goodness!  Adam: So you got how did you get picked there? I mean, we gotta get back to the natural world. But you've had such such a fantastic life. So I mean, I think people will be fascinated to know you have not much of even a vague plan about what you're doing. You're fumbling about a bit.  Kate: None, yeah. Living in a squat. Eating crisps.  Adam: So yeah, right. So not many models will be will be living like that and eating crisps, I get that You're sweeping streets as your way into telly, all of a sudden you're on telly. How did that happen, was that more of a plan or did someone just turn around and go, hey, you, street sweeper, you'll do?  Kate: No, it wasn't. So I had I had graduated from street sweeper, so it took about probably four four or five years I have become by now a sort of senior researcher. And I got a job at the BBC. My first job at the BBC on a programme called Animal Hospital.  Adam: Right. Yes. And you were still a researcher there or presenter?  Kate: Yeah, as a researcher. And and I think the reason that I got the job was actually my childhood. Because I think it was the first series, in fact, I think the only series that they did of Animal Hospital in a rural practice. So we went to a practice that didn't just do small animals, pets type animals, but also bigger animals like farm animals and horses and I think the only reason I got the job was that I was the only person they interviewed who knew what to do with something bigger than a hamster.   Adam: Right ok great.  Kate: And I had my own wellies.  Adam: Oh good. Always important for a career in telly, your own wellies, see these are the secrets people wanna know. Good. So you've got your wellies?   Kate: Always really, really important. They are. So I got that job I got that researcher job. And at the end of it, the BBC do this appraisal thing. And they said we thought you were alright, you did OK, will you come back and do the next series and I said I'd absolutely love to. I'd really loved it, absolutely loved it. Can we just pause here a minute because this,  Adam: A sea of wild garlic?  Kate: No, these are bluebells.  Adam: These are bluebells? Oh, sorry. Look at the ignorance here.  Kate: These are bluebells. Well, those white flowers let me show you these because they're beautiful.  Adam: I thought like I I think that's what I thought was wild garlic shows you *unintelligible* OK, we've got a proper safari expert.  Kate: No. So look, look, look, look, look, look, look, look, look, first bluebell starting to unfurl except my dog's just walked all over it. Come on you're not supposed to walk on there.  Adam: So this is, all of this is bluebells?  Kate: So all of this will be bluebells and in about 3 weeks time you get this absolutely, it's so blue it's like the colour actually detaches itself from the flowers and floats above it in this sort of glorious mist, it's beautiful. But this these flowers here I love. And these are these are one of the flowers along with celandines which are the kind of waxy yellow flowers that people will see in woodlands and even in their gardens at this time of year, these are wood anemones. And they are lovely, very delicate white flowers with these slightly sort of hand-like leaves and the lovely thing about these, they're not looking at their best at the moment because it's been quite a wet day. But when the sun's out, they open to the sun like these brilliant white stars. And sometimes there are areas around here where you'll see carpets of wood anemones and they're one of the first I've seen these as early as January, although not this year because we had lots of frosts.  Adam: It's funny you, you, you, you use the word magical I'm just looking at this tree with covered in moss and everything, there is something magical about these sorts of places, a sort of sense of, sense of, a Tolkien type moment isnt there?.  Kate: Absolutely. Absolutely. I've I I don't think it is a coincidence that lots of fairytales are set in woodlands because there is something otherworldly about them. We're going to head keep heading down just so that you have a really good climb on the way up.  Adam: Yeah, I was gonna say I'm fine going down, I'm assuming you're sending a car to pick me up? It's well a little, a little Uber will just I'm sure,   Kate: Nice try, Adam! Lots of Ubers around here. Look, look, look.   Adam: Oh look now that is OK that's a proper bluebell.  Kate: That is a, a, a bluebell that's a proper bluebell.  Adam: Yeah, that is my first proper bluebell of the year.  Kate: And you can see all the others are just starting to come.  Adam: And that's and it is lovely because clearly so few people come here that's the problem often with bluebells is when people trample all over them. And we've got just one clean path down here and it's completely undisturbed for as far as the eye can see. So yes, we OK, we we did a little pit stop for bluebells. We're back on and the what was the programme, animal?  Kate: Animal Animal Hospital.  Adam: Animal Hospital. So they wanted you back as a researcher. I'm interested in the jump from behind the screen to on screen.  Kate: So so they basically said lovely we'll see you in four months and I said oh well, I've got a landlord and rent to pay, I can't not work for four months. I'm going to have to get another job and it may mean that I'm not available. And they said ohh well, maybe we can find you something else within the BBC as a stopgap. And I had also at that point, so this is the mid 90s now, started writing. I was writing travel. And I'd spent at the the a end of a a, the second Africa trip that I did between 94 and 95, I'd spent the last two months of that in Madagascar.  Adam: Right.  Kate: Madagascar was a place that I was obsessed with because of its wildlife because it has unique flora and fauna. I came back and got an article commissioned to write about it, and it was the first,  Adam: Your first commission?  Kate: Yes, my first commission and my first article, and it was in a broad a broadsheet newspaper, and I was very excited and very proud about that. And so when I was asked by the series producer of the BBC Holiday programme, whether I would consider coming to work for them because I was a travel writer,  Adam: Right OK, yeah, you're now a travel writer because of your one article.  Kate: I am I am now a I am now a travel writer on the strength of one of one article.  Adam: Whoa oh Kate, I'm so glad you were the first person to sort of go over *Kate laughs* That was before me I just want that on record.   Kate: Yeah.   Adam: OK so I haven't gone over yet.   Kate: You haven't got over yet.   Adam: OK. Yeah. Sorry. Yeah.  Kate: Yes. So I got a job on the BBC Holiday programme. Anyway the next day I got called into the big boss's office. And I assumed that my short lived career at the BBC Holiday programme was about to be ended because I wasn't quite sure why, but perhaps because I hadn't been taking the producers guidelines as seriously as I might and that also I had smoked on a fire escape, which probably wasn't a good idea. And instead I was asked to do a screen test and I assumed that this was the sort of common test that the Holiday programme did and I tried to say I really don't want to be a presenter thank you, I love doing, I love making the programmes, I love the research, I love talking to people, I love putting things together. I'm quite, I like logistics. I'm quite, you know, I like all that stuff I don't want to be a presenter. And they went well do a do a screen test. So at this point I just thought I've just got to get out of this office because I feel very embarrassed by the whole situation. So I will just nod smile say yes, do it, it'll be a disaster, and then everything can go back to normal. So that's what I did. Three weeks later, the boss came into the office,  Adam: Sorry, we have to stop. This is a story that's gonna last all day, cause I keep stopping because your dog is posing or it was posing beautifully by this river.  Kate: Well, so this river is an important, one of the sort of parallel streams that run into the River Wye for this is the Angidy, we are in the Angidy Valley, surrounded by amazing woodland on both sides, it's a very steep sided valley. This river is particularly good for dippers, which are those lovely chocolate brown and white birds, they look like little waiters.  Adam: Right *laughs*  Kate: And they and they, they're called dippers because that's exactly what they do. So we'll keep an eye out because we might see some, but they'll sit on a stone like that exposed stone within the waterfall there and they will jump into the water and literally completely submerge. They'll disappear completely and they're looking for things like caddisfly larva, which is what they feed on, and then they'll bob up and come back up and they're they're just these wonderful, perky, very smart little birds.  Adam: Brilliant, OK.  Kate: They're the only British songbird that is also a water bird.  Adam: Wow, OK, good. All right.   Kate: There you are, little bit of, little bit of,  Adam: No, I like these these these sorts of diversions we take, it's it's almost like doing a stand up routine, so we're gonna go gonna go back to the story now. So you thought everybody in the world gets a screen test. So I'm just doing this and then they'll leave me alone.  Kate: Yes, yes. And and then the boss came into the office about 3 weeks later. And she said, can you go to France tomorrow? And I said yes, of course, assuming that they needed somebody to carry the heavy stuff. Bhcause carrying heavy stuff is the other thing that I am good at. I can whistle very loudly and I can carry very heavy things and those are really the only two things that I can offer the world.  Adam: OK, I I you, you have set yourself up for a big whistle at the end, so we'll we'll wait for that then let's hold out.  Kate: It it will blow your ears well, that's all I'm saying. So she said, we want you to present a film on a barge in Normandy, could you please do something about my hair, she said. My own hair.  Adam: I see she didn't ask you to be a hairdresser? Also could you cut my hair?  Kate: Yes could you cut my hair *laughs*. No, could you do something about your hair, she said. I thought she's been talking to my mum, who constantly despairs of my lack of my lack of grooming.  Adam: Right, also right at this point of hair hair disasters, we have to pause because we've come across as you may hear an extraordinary small waterfall, it's a weir, really, isn't it?   Kate: It is really.  Adam: I'm gonna take another photo of this before we get back to the life and misadventures of Kate Humble. So I'm just gonna take a photo. You'll find that, no doubt on one of our Twitter feeds. Oh, I know beautiful, oh no the dogs disappeared, the dog doesn't like posing for me. But all right, so now, you're off to France. You need a haircut and,  Kate: So I'm off to France. I need I need I need to basically smarten myself up. Off I went to France and presented my first film.  Adam: Right. And that was, I mean, we could talk about this forever, but that was the beginning of that was the beginning of this, the story. OK, well, amazing.  Kate: Yes. My first job for the natural history unit came in 2000. And I was asked to do a programme, which was a sort of, was made in response to Blue Planet. So the very first series of the Blue Planet, which I think everybody watched with their mouths open because we had never seen the oceans in that way before, particularly the deep ocean. And there was a phrase used which I have used many, many times since, which was that more people have been to the moon than there have been to the deep ocean. And people were fascinated by these, they were they were creatures that looked like they might have been designed for Star Wars. They were so extraordinary.  Adam: These sort of angler fish which have which have this light don't they.  Kate: That sort of thing, and these these, you know, these astonishing, you know, plankton with flashing lights, there were Dumbo octopus with, you know, little octopus with these sort of literally did look like Dumbo the elephant, you know, deep water sharks that people had never seen before that were really slow moving and and, you know astonishingly well-adapted to live at depths and in in at water pressure that no one thought anything could exist in and come on dogs we're gonna keep, do you wanna have a,  Adam: And so yours was a response, in what way?   Kate: So we did a live,  Adam: The dogs keep looking at me like they want me to throw something for them is that what's going on?  Kate: They do, and I'm going to just try and find a, here let's try let's try this, here we are.  Adam: Look, they're very, oh you've thrown it into the river?   Kate: Go on, in you go.  Adam: Oh, look at that go!  Kate: Come on Teg, do you wanna go in as well? Here you are. This one's going to sink, go on. Ready? Go. Good girl. Where's it gone? Teggy, it's just there. That's it. Well done, well done, dogs.  Adam: Oh they like that.  Kate: Well, I can't go and get it, you have to bring it here, that's the deal with sticks *laughs* So we did a live programme from a boat in Monterey Bay. I made some films to play into that live show. So I went to the Cayman Islands, which is a rotten thing to ask anybody to do, can you imagine?  Adam: Terrible, terrible. You wanted to be back in the East End really.  Kate: I did really, sweeping streets and instead there I was, doing films about coral reefs and this is the one of, this is the wonderful thing about the natural history unit or just about making films with animals is the lengths that you have to go to to be able to capture the natural world in all its wonder. And so I was asked to go and film a shark called a six gill shark that lives very deep and only about 10 people in the world had ever seen. And I was sent to go and find this creature. You know, I can't I can't even now I can't really believe that I was asked to do that.   Adam: And did you find it?  Kate: Eventually. We had to do two, we did one trip we failed to find it,   Adam: How how long was that?  Kate: So that was, we did 6 dives. It was an amazing trip. We didn't get the shark on the first trip. We went back for another trip. We didn't get it. We didn't get it. We finally got it and it was incredible. Incredible moment. And that was the first job that I did for the natural history unit and there was then somebody who came up with the idea of doing British wildlife life live at kind of springtime, like kind of now.   Adam: And this was Springwatch was it?  Kate: This was the precursor to Springwatch.   Adam: Oh I didn't know there was one.  Kate: There were two!  Adam: What were they called?  Kate: So the first one was called Wild In Your Garden. So I'm just going to put the dogs on a lead here. Hold on, poppet. Just hold on my poppet. That's it. We've got to take Adam up the hill now. So yes, so the first one was called Wild In Your Garden and it was Bill Oddie and Simon King and me. And we did two shows a night, from gardens in Bristol, and it sort of worked as an idea.  Adam: Right. OK.  Kate: It worked well enough or it wasn't so much of a disaster that there wasn't a thought of let's try it slightly differently, maybe on a farm instead of in the garden, and we went to this wonderful organic farm in Devon and basically made camp for three weeks. And made a series called Britain Goes Wild. And Britain went a tiny bit wild. And so the following year we thought, well, we'll do it again, but maybe we'll just call it something different.  Adam: Right.  Kate: And someone came up with the idea of calling it spring watch and everyone said, and it always went out at the same time as it does now, sort of end of May and people go, it's not really spring though is it? And we're like, well spring enough, still spring things happening and Springwatch seemed to capture everybody's imaginations and and I presented that for 10 years.  Adam: And you presented that for how many, how many years?  Kate: Ten.  Adam: Blimey! That's a long,  Kate: Yeah, I know. I've just grown old on telly and then Autumnwatch came into being and then Winterwatch and I did Seawatch. So I did a series about British Britain's seas and and marine life. Yeah. So I did eventually get my wish of working for the natural history unit.  Adam: Oh, that's very good. The fairy godmother in the form of the BBC descended and granted your wish. And now from all of those adventures abroad and on TV and everything you then said, I'm gonna move to this really quite, there's another car coming, quite quite remote parts of Wales. Why that?  Kate: We're going to head up here. Hold on, dogs. There we are.  Adam: Oh there's some steps. Hallelujah.  Kate: OK, only for this little bit.  Adam: Look, stop stop taking away the hope.  Kate: *laughs* So so I we moved,  Adam: Yes so you you picked up sticks and then moved to Wales. Perhaps it's not such a big move because the natural world has seemed to be always the centre of things for you. So but why Wales in particular?  Kate: Well, that is a curious question. I had no connection with Wales as far as I was aware. I honestly honestly can't tell you why I felt this extraordinary pull to live here. But it really was it was like a magnetic pull. There is actually a a Welsh word and I'm not sure I'm really allowed to use it in my context, but I can't think of a better word to use for the feeling that I had. And it's hiraeth and is a word that it's sort of more than home sickness. It's like a deep longing for the place that you belong. A yearning, a pit of the stomach emptiness for your home.  Adam: You felt this was a spiritual home, did you?   Kate: I don't know I really don't know, Adam. I, as I say I just had this extraordinary pull to live here. And yeah, I would look at the, there are these old fashioned things called maps, and I would look at the A to Z of Great Britain. And you know, there I was in the South East and if you look at a thing called a map,  Adam: Yes, sorry is this a point about me getting lost on the way to you.   Kate: No no not even remotely. No, it's the fact that no one uses them anymore, and yet, they're the greatest treasures we have. So if you look at a map, the South East of England is just this chaos of colour and roads and towns and names. And it's just, you know, there's not a square millimetre that hasn't got a name in it or something in. The further west you go, the browner the map becomes, and when you go over the border into Wales, it's mainly brown and green and it's got beautiful lyrical names like Abergavenny and and it's got mountains and mountains, when you've been brought up in Berkshire mountains are the height of exoticism. To live in a in a country that had mountains all of its own just struck me as being remarkable. I still, 15 years on, find it remarkable that I can I can get up at breakfast, not go terribly far, and climb a bona fide mountain. I love that. And that's what I love about Wales.  Adam: And and you've done more than, I mean, people might feel that and move to a beautiful part of the country and live there and more or less carry on with their ordinary life. But you've not done that. I mean, you're not just you don't just go for walks, the natural world is something you've created a a new career out of as well. Is that fair?  Kate: I wouldn't call it a career.  Adam: OK but you're very much well, but you make money from it and it fills your days.   Kate: Well, no, no, I don't think I don't know I don't I don't think that's I don't think that's true at all. I think you know I my working life is peculiar. I've I still am involved making television programmes, some of which involve the natural world. I still write, some of that's about the natural world, but not all of it. The natural world for me is nothing to do with making a living. Making a living. But it is about living. And it was one of the things that I was acutely aware of when I lived in London was I felt cut off from the seasons. This year you know, I know I can tell you that I didn't hear a skylark until the middle of March last year it was Valentine's Day. I can tell you that because that's what I'm experiencing. And I love feeling that instead of the natural world being something I watch on the television or I read about in a book that I am able to be part of it. And that's one of the big problems I think that we face now with trying to engage people with the importance of things like biodiversity, species loss, habitat loss. None of those things sound very sexy, and none of those things appear to matter to us because we as a species so weirdly and inexplicably view ourselves as a species separate from the natural world and the natural world has become something that we just watch for our entertainment. But we are just another mammal in this amazingly complex, beautiful, brilliant web that is the biodiversity web, where everything fits in and everything works together, and one thing feeds another thing and you know, until we feel properly part of that, immersed in it and and wrapped up in it, why are we ever going to worry about the fact that it is now a biodiversity net that's full of holes, and those holes mean that the net becomes less and less effective and the less effective that net becomes, the more it affects us, but we see ourselves as somehow immune from that process and we're not. And what I love about living here, what I love about walking in this area every day, twice a day, is the fact that I feel that I can, I'm I'm more in tune with our natural world and that is sadly, it shouldn't feel a it shouldn't be a privilege, but it is.  Adam: And do you feel, I mean, you're you feel passionate about it. Do you feel evangelical about it?  Kate: Yes.   Adam: So what do you, do you have a prescription to help to bring others on side?  Kate: I wish it didn't, I wish you didn't have to ask me that question. I wish it didn't have to be an on side.  Adam: Do you do you feel that's an unfair question? Or do you think there's?  Kate: No, I don't. I think it's a very fair question because lots of people don't feel or don't perhaps don't experience it experience the advantages of the natural world, or they haven't been they haven't been given the opportunities to properly understand the impact that it can have on us and all those impacts are positive. I mean, there's loads of science. And you know, it was talked about endlessly during the pandemic about how green spaces are good for our mental health, blue spaces are good for our mental health, being outdoors, being in nature, listening to birdsong, sing plants grow, all those things are good for us. But we've got to a place where we've been so divorced from it, where we look for our pleasures in shopping malls and online and and we forget that actually all we need is right here. And, you know, it's a hard sell for some to to somebody who's never experienced this, who hasn't had the privileges I've undoubtedly had, you know who have not grown up in the countryside, who find it fearful or boring or inexplicable, don't understand where they fit in.  Adam: And I think one of the perhaps growing debates, I think or interesting ones anyway for me is is the balance between trying to either scare people or make them aware of the environmental challenges and potential for disaster. And then so to sort of go engage with the subject it's really it's really newsworthy, it's it's it's imperative people do things and actually turning people off going well we're we're all going to literally burn, enjoy the party whilst it lasts. So what what do you feel about that?  Kate: Yeah, yeah. I mean, all all, all you have to do, all you have to do is watch Don't Look Up. Have you seen that film?   Adam: Yes.  Kate: And and and that, you know, absolutely embodies what you have just said.  Adam: So what do you think about that? Because I think there's a balance between going, offering hope, the power or audacity of hope is a phrase one hears as opposed to the sort of potential to frighten people into action. Actually the opposite, don't frighten them into action. Offer them hope of change. And I wonder where you feel that, if we've got that balance right, or whether,  Kate: No, we haven't got it right and I, but I don't know what the balance is because I think there's a real, I think that a lot of programmes that are made about natural history now have become so glossy and so beautiful and and so almost otherworldly that they don't actually reflect the reality of the natural world. And a lot of them again show the natural world without the context of people. And of course, that's sort of how we want to see it, we don't want people muddying those pictures. We don't want, as you say, the kind of the awful stories of the litter and the, you know, the the, the, the negative impact that human have humans have had on the natural environment. So we kind of don't want to see it, but equally if we don't see it, we don't engage with it and we kind of can watch one of those documentaries and even if David Attenborough is telling you that, you know, this is a habitat that's in peril or this is the last animal of its type that you will ever see, you don't really take that in because you're looking at these really stunning pictures and you think it's kind of OK. But I don't know what the answer is because I also know that as you say, if all you peddle is hopelessness and helplessness, no one's going to engage, they're going to stick their heads in the sand and just hope that it all goes away and pass it on to the next generation. So somehow we as communicators need to find a way that really does cut through. That really does make people feel, genuinely feel part of the natural world, that it isn't just another thing. I had the great joy of interviewing Tim Peake not that long ago, and I was interviewing him for a book that I'm writing about the concept of home. And I thought he would have, of anybody, a really unique idea of home having not just left home but left the planet. And he told me that he did a spacewalk, he was out in space for over four hours, and he said the blackness is like a blackness you cannot imagine. But he said, you know, you see Mars and Jupiter and Venus and you see Earth. And he said, when you're there, amongst the planets in that way you see that Earth is, as far as anyone's experience, and any telescope has been able to tell us, unique. You look at it and he said there it is, this colour, this blue and green planet, whereas everything else is, you know silver and and ghostly, ours is a living planet and he said he had this, he had this sort of feeling when he was there looking at Earth and imagining somebody, some other being coming up and tapping him on the shoulder and saying hey, hi,  who are you? I'm Tim. And he'd say oh hello so where are you from then? And Tim said I felt this enormous swell of pride to be able to point to our planet and say I'm from that planet there. I'm from Earth. I'm an earthling and I thought if all of us had that experience, could understand what it was like, how special our planet is in a universe that is infinite as far as we know and that we have, we have no idea what's out there, but what we do know at the moment is that our planet is unique and I think we would treasure it that much more and have moments like this of just standing amongst the trees and midges coming out, the drizzle, the mud and go, this is our home, this is where we live. It's really special. Aren't we lucky?  Adam: You're taking me uphill again aren't you.  Kate: I am taking uphill, but you've done the worst bit and you and and actually you marched. I was impressed!  Adam: Oh OK good. You know I'll fall apart after, I'm just doing it so I don't embarrass myself too badly.  Kate: *laughs* I'm afraid it is going to get very, very muddy, so you're going to have wet socks, mud up to your knees, you know, that's why I spend six months of the year in wellies.  Adam: Right OK. But you know, that is the privilege of being an earthling, isn't it?   Kate: It is it is.  Adam: So you've been you've got involved with the Woodland Trust.  Kate: I've been involved with the Woodland Trust for quite a long time, but it really started when we took on a farm near here.  Adam: What's this an arable farm?  Kate: No, it was a small council farm. It belonged to the council and people are not really aware that there are such a thing.   Adam: I've never heard this one.  Kate: No, but there used to be about 16,000 council farms throughout Britain and they were set up as part of the 1906 Smallholdings and Allotments Act and they were there, low rent, small areas, usually 30, 40 acres that sort of size and they would be available to rent for farmers who for whatever reason, didn't have a farm of their own. And over the years, as farming practices have changed as economic models have driven farmers to need to to produce things on a bigger scale, small farms have been basically relegated to either hobby farms or they've been broken up and sold to land that's been added to bigger farms. So we've lost an enormous number of these small farms and with them an enormous opportunity for people with farming skills to stay on the land and produce as food. And that's what was going to happen to this farm. And for whatever reason, I just felt this was not the thing to do and to cut a very, very, very long story short, we ended up taking over the farm and setting up a rural skills centre o prove that a small farm, ours is just over 100 acres, could still be viable. It supports itself and that's really important. But one of the things that we wanted to do, we were really interested to do when we took it over was to add more trees. It's it's got some wonderful ancient trees. There's an oak tree on the farm that we call Old Man Oak, as did the tenants before us. They introduced us to him and we think he's about 600 years old. And but we wanted to plant more trees. But we had this conundrum of how do we increase the tree cover on the farm without taking away the pasture because obviously we needed the pasture for the livestock and it was the Woodland Trust that helped us with that conundrum. So they looked, together we walked round the farm and we identified either areas where there were small copses or where there was a bit of a hedge. So what we did with the Woodland Trust's advice and input was to put in trees as shelter breaks, so not actually impinging on the pasture, just or very much, but adding a kind of a thicker bit of hedge if you like, or making a copse a little bit bigger and in that way we've planted over 1,000 trees on the farm in the last decade that we've had it. And then at home we have a four acre small holding and and so at the beginning of last year I started thinking maybe it's an age thing, you start thinking about legacy and when you when you take over a piece of land, what you start to understand actually very quickly is that you will never own it, that you are simply the caretaker of it for the time that you are around. And I think we've got cleverer now. Our knowledge has become greater. We understand that just planting trees isn't the answer. We need to think about we need to think of landscape as a mosaic and so what we wanted to do was to create a little mosaic. Plant trees, create water or make a space for water, make sure that there was going to be areas that had glade that was good for insects, that was good for wild flowers. And so I talked to the Woodland Trust and said, are you going to be into this idea, because it's not just planting trees and they went, that's exactly what we're into. That's exactly what we want to do. We want to create habitat. It's not about blanketing a landscape with trees. It's about planting the right trees in the right places at the right density to create something that you know, in a generation's time will have real lasting value, and that's what's been so wonderful about working with, you know, an organisation like that that sees big picture, sees longevity as as an advantage rather than as a disadvantage. And and that's what's been so lovely is that, you know, I can go to them and say so I've got this plan. I mean, I'm not even going to be alive to see it kind of come to fruition but do you care? And they went, we don't care, do you care? No. Let's do it. And that's wonderful.  Adam: Wonderful. OK sorry, this is a bit, this is the bit where I'm going ohh well, I'm swimming effectively swimming now.  Kate: Sorry. This is a very wet bit.  Adam: Hold on a second. OK. Right. That's a very Norman Wisdom walk I seem to have. OK. Yeah. OK, so ohh sorry, hold on.  Kate: It gets, that's the that's the wettest bit now, now we're now we're more or less home and dry.  Adam: Oh well you know what we we might be home, but we are not dry. That would be inaccurate at this point. So well, that's a neat story to bring us back to home with isn't it. So you know things are looking good. It's all hopeful. A a long journey and a long one ahead, you know, not just for you, but for that natural world you're creating.  Kate: Well, I hope that you know the the I I think going back to to what you said about how we can, we can help us all feel that we are actually, you know part and parcel of the natural world rather than observers of it or visitors of it and things like planting trees or being aware of the seasonal joys of the bluebells coming through, or, you know the leaf fall in the autumn and the colour, all those things if if i you know if we can build that awareness that brings with it huge joy and reward, then maybe we'll start to cut through again and people will start to feel more like the natural world is their world and not just another part of the planet that they live on.  Adam: Well having arrived back at Kate's home, let me just say there are lots more woodland walk podcasts for you to enjoy wherever you get your podcasts from. And indeed, if you want to find an actual wood near you well, you can go to the Woodland Trust website www.woodlandtrust.org.uk/findawood. Until next time, happy wandering.  Thank you for listening to the Woodland Trust Woodland Walks with Adam Shaw. Join us next month, when Adam will be taking another walk in the company of Woodland Trust staff, partners and volunteers. Don't forget to subscribe to the series on iTunes or wherever you're listening to us and do give us a review and a rating. And why not send us a recording of your favourite woodland walk to be included in a future podcast? Keep it to a maximum of five minutes and please tell us what makes your woodland walk special or send us an e-mail with details of your favourite walk and what makes it special to you. Send any audio files to podcast@woodlandtrust.org.uk. We look forward to hearing from you. 

Episode 166 of A History of Rock Music in Five Hundred Songs looks at “Crossroads", Cream, the myth of Robert Johnson, and whether white men can sing the blues. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-eight-minute bonus episode available, on “Tip-Toe Thru' the Tulips" by Tiny Tim. 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 I talk about an interview with Clapton from 1967, I meant 1968. I mention a Graham Bond live recording from 1953, and of course meant 1963. I say Paul Jones was on vocals in the Powerhouse sessions. Steve Winwood was on vocals, and Jones was on harmonica. Resources As I say at the end, the main resource you need to get if you enjoyed this episode is Brother Robert by Annye Anderson, Robert Johnson's stepsister. There are three Mixcloud mixes this time. As there are so many songs by Cream, Robert Johnson, John Mayall, and Graham Bond excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here -- one, two, three. This article on Mack McCormick gives a fuller explanation of the problems with his research and behaviour. The other books I used for the Robert Johnson sections were McCormick's Biography of a Phantom; Up Jumped the Devil: The Real Life of Robert Johnson, by Bruce Conforth and Gayle Dean Wardlow; Searching for Robert Johnson by Peter Guralnick; and Escaping the Delta by Elijah Wald. I can recommend all of these subject to the caveats at the end of the episode. The information on the history and prehistory of the Delta blues mostly comes from Before Elvis by Larry Birnbaum, with some coming from Charley Patton by John Fahey. The information on Cream comes mostly from Cream: How Eric Clapton Took the World by Storm by Dave Thompson. I also used Ginger Baker: Hellraiser by Ginger Baker and Ginette Baker, Mr Showbiz by Stephen Dando-Collins, Motherless Child by Paul Scott, and  Alexis Korner: The Biography by Harry Shapiro. The best collection of Cream's work is the four-CD set Those Were the Days, which contains every track the group ever released while they were together (though only the stereo mixes of the albums, and a couple of tracks are in slightly different edits from the originals). You can get Johnson's music on many budget compilation records, as it's in the public domain in the EU, but the double CD collection produced by Steve LaVere for Sony in 2011 is, despite the problems that come from it being associated with LaVere, far and away the best option -- the remasters have a clarity that's worlds ahead of even the 1990s CD version it replaced. And for a good single-CD introduction to the Delta blues musicians and songsters who were Johnson's peers and inspirations, Back to the Crossroads: The Roots of Robert Johnson, compiled by Elijah Wald as a companion to his book on Johnson, can't be beaten, and contains many of the tracks excerpted in this episode. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we start, a quick note that this episode contains discussion of racism, drug addiction, and early death. There's also a brief mention of death in childbirth and infant mortality. It's been a while since we looked at the British blues movement, and at the blues in general, so some of you may find some of what follows familiar, as we're going to look at some things we've talked about previously, but from a different angle. In 1968, the Bonzo Dog Band, a comedy musical band that have been described as the missing link between the Beatles and the Monty Python team, released a track called "Can Blue Men Sing the Whites?": [Excerpt: The Bonzo Dog Band, "Can Blue Men Sing the Whites?"] That track was mocking a discussion that was very prominent in Britain's music magazines around that time. 1968 saw the rise of a *lot* of British bands who started out as blues bands, though many of them went on to different styles of music -- Fleetwood Mac, Ten Years After, Jethro Tull, Chicken Shack and others were all becoming popular among the kind of people who read the music magazines, and so the question was being asked -- can white men sing the blues? Of course, the answer to that question was obvious. After all, white men *invented* the blues. Before we get any further at all, I have to make clear that I do *not* mean that white people created blues music. But "the blues" as a category, and particularly the idea of it as a music made largely by solo male performers playing guitar... that was created and shaped by the actions of white male record executives. There is no consensus as to when or how the blues as a genre started -- as we often say in this podcast "there is no first anything", but like every genre it seems to have come from multiple sources. In the case of the blues, there's probably some influence from African music by way of field chants sung by enslaved people, possibly some influence from Arabic music as well, definitely some influence from the Irish and British folk songs that by the late nineteenth century were developing into what we now call country music, a lot from ragtime, and a lot of influence from vaudeville and minstrel songs -- which in turn themselves were all very influenced by all those other things. Probably the first published composition to show any real influence of the blues is from 1904, a ragtime piano piece by James Chapman and Leroy Smith, "One O' Them Things": [Excerpt: "One O' Them Things"] That's not very recognisable as a blues piece yet, but it is more-or-less a twelve-bar blues. But the blues developed, and it developed as a result of a series of commercial waves. The first of these came in 1914, with the success of W.C. Handy's "Memphis Blues", which when it was recorded by the Victor Military Band for a phonograph cylinder became what is generally considered the first blues record proper: [Excerpt: The Victor Military Band, "Memphis Blues"] The famous dancers Vernon and Irene Castle came up with a dance, the foxtrot -- which Vernon Castle later admitted was largely inspired by Black dancers -- to be danced to the "Memphis Blues", and the foxtrot soon overtook the tango, which the Castles had introduced to the US the previous year, to become the most popular dance in America for the best part of three decades. And with that came an explosion in blues in the Handy style, cranked out by every music publisher. While the blues was a style largely created by Black performers and writers, the segregated nature of the American music industry at the time meant that most vocal performances of these early blues that were captured on record were by white performers, Black vocalists at this time only rarely getting the chance to record. The first blues record with a Black vocalist is also technically the first British blues record. A group of Black musicians, apparently mostly American but led by a Jamaican pianist, played at Ciro's Club in London, and recorded many tracks in Britain, under a name which I'm not going to say in full -- it started with Ciro's Club, and continued alliteratively with another word starting with C, a slur for Black people. In 1917 they recorded a vocal version of "St. Louis Blues", another W.C. Handy composition: [Excerpt: Ciro's Club C**n Orchestra, "St. Louis Blues"] The first American Black blues vocal didn't come until two years later, when Bert Williams, a Black minstrel-show performer who like many Black performers of his era performed in blackface even though he was Black, recorded “I'm Sorry I Ain't Got It You Could Have It If I Had It Blues,” [Excerpt: Bert Williams, "I'm Sorry I Ain't Got It You Could Have It If I Had It Blues,”] But it wasn't until 1920 that the second, bigger, wave of popularity started for the blues, and this time it started with the first record of a Black *woman* singing the blues -- Mamie Smith's "Crazy Blues": [Excerpt: Mamie Smith, "Crazy Blues"] You can hear the difference between that and anything we've heard up to that point -- that's the first record that anyone from our perspective, a hundred and three years later, would listen to and say that it bore any resemblance to what we think of as the blues -- so much so that many places still credit it as the first ever blues record. And there's a reason for that. "Crazy Blues" was one of those records that separates the music industry into before and after, like "Rock Around the Clock", "I Want to Hold Your Hand", Sgt Pepper, or "Rapper's Delight". It sold seventy-five thousand copies in its first month -- a massive number by the standards of 1920 -- and purportedly went on to sell over a million copies. Sales figures and market analysis weren't really a thing in the same way in 1920, but even so it became very obvious that "Crazy Blues" was a big hit, and that unlike pretty much any other previous records, it was a big hit among Black listeners, which meant that there was a market for music aimed at Black people that was going untapped. Soon all the major record labels were setting up subsidiaries devoted to what they called "race music", music made by and for Black people. And this sees the birth of what is now known as "classic blues", but at the time (and for decades after) was just what people thought of when they thought of "the blues" as a genre. This was music primarily sung by female vaudeville artists backed by jazz bands, people like Ma Rainey (whose earliest recordings featured Louis Armstrong in her backing band): [Excerpt: Ma Rainey, "See See Rider Blues"] And Bessie Smith, the "Empress of the Blues", who had a massive career in the 1920s before the Great Depression caused many of these "race record" labels to fold, but who carried on performing well into the 1930s -- her last recording was in 1933, produced by John Hammond, with a backing band including Benny Goodman and Jack Teagarden: [Excerpt: Bessie Smith, "Give Me a Pigfoot and a Bottle of Beer"] It wouldn't be until several years after the boom started by Mamie Smith that any record companies turned to recording Black men singing the blues accompanied by guitar or banjo. The first record of this type is probably "Norfolk Blues" by Reese DuPree from 1924: [Excerpt: Reese DuPree, "Norfolk Blues"] And there were occasional other records of this type, like "Airy Man Blues" by Papa Charlie Jackson, who was advertised as the “only man living who sings, self-accompanied, for Blues records.” [Excerpt: Papa Charlie Jackson, "Airy Man Blues"] But contrary to the way these are seen today, at the time they weren't seen as being in some way "authentic", or "folk music". Indeed, there are many quotes from folk-music collectors of the time (sadly all of them using so many slurs that it's impossible for me to accurately quote them) saying that when people sang the blues, that wasn't authentic Black folk music at all but an adulteration from commercial music -- they'd clearly, according to these folk-music scholars, learned the blues style from records and sheet music rather than as part of an oral tradition. Most of these performers were people who recorded blues as part of a wider range of material, like Blind Blake, who recorded some blues music but whose best work was his ragtime guitar instrumentals: [Excerpt: Blind Blake, "Southern Rag"] But it was when Blind Lemon Jefferson started recording for Paramount records in 1926 that the image of the blues as we now think of it took shape. His first record, "Got the Blues", was a massive success: [Excerpt: Blind Lemon Jefferson, "Got the Blues"] And this resulted in many labels, especially Paramount, signing up pretty much every Black man with a guitar they could find in the hopes of finding another Blind Lemon Jefferson. But the thing is, this generation of people making blues records, and the generation that followed them, didn't think of themselves as "blues singers" or "bluesmen". They were songsters. Songsters were entertainers, and their job was to sing and play whatever the audiences would want to hear. That included the blues, of course, but it also included... well, every song anyone would want to hear.  They'd perform old folk songs, vaudeville songs, songs that they'd heard on the radio or the jukebox -- whatever the audience wanted. Robert Johnson, for example, was known to particularly love playing polka music, and also adored the records of Jimmie Rodgers, the first country music superstar. In 1941, when Alan Lomax first recorded Muddy Waters, he asked Waters what kind of songs he normally played in performances, and he was given a list that included "Home on the Range", Gene Autry's "I've Got Spurs That Jingle Jangle Jingle", and Glenn Miller's "Chattanooga Choo-Choo". We have few recordings of these people performing this kind of song though. One of the few we have is Big Bill Broonzy, who was just about the only artist of this type not to get pigeonholed as just a blues singer, even though blues is what made him famous, and who later in his career managed to record songs like the Tin Pan Alley standard "The Glory of Love": [Excerpt: Big Bill Broonzy, "The Glory of Love"] But for the most part, the image we have of the blues comes down to one man, Arthur Laibley, a sales manager for the Wisconsin Chair Company. The Wisconsin Chair Company was, as the name would suggest, a company that started out making wooden chairs, but it had branched out into other forms of wooden furniture -- including, for a brief time, large wooden phonographs. And, like several other manufacturers, like the Radio Corporation of America -- RCA -- and the Gramophone Company, which became EMI, they realised that if they were going to sell the hardware it made sense to sell the software as well, and had started up Paramount Records, which bought up a small label, Black Swan, and soon became the biggest manufacturer of records for the Black market, putting out roughly a quarter of all "race records" released between 1922 and 1932. At first, most of these were produced by a Black talent scout, J. Mayo Williams, who had been the first person to record Ma Rainey, Papa Charlie Jackson, and Blind Lemon Jefferson, but in 1927 Williams left Paramount, and the job of supervising sessions went to Arthur Laibley, though according to some sources a lot of the actual production work was done by Aletha Dickerson, Williams' former assistant, who was almost certainly the first Black woman to be what we would now think of as a record producer. Williams had been interested in recording all kinds of music by Black performers, but when Laibley got a solo Black man into the studio, what he wanted more than anything was for him to record the blues, ideally in a style as close as possible to that of Blind Lemon Jefferson. Laibley didn't have a very hands-on approach to recording -- indeed Paramount had very little concern about the quality of their product anyway, and Paramount's records are notorious for having been put out on poor-quality shellac and recorded badly -- and he only occasionally made actual suggestions as to what kind of songs his performers should write -- for example he asked Son House to write something that sounded like Blind Lemon Jefferson, which led to House writing and recording "Mississippi County Farm Blues", which steals the tune of Jefferson's "See That My Grave is Kept Clean": [Excerpt: Son House, "Mississippi County Farm Blues"] When Skip James wanted to record a cover of James Wiggins' "Forty-Four Blues", Laibley suggested that instead he should do a song about a different gun, and so James recorded "Twenty-Two Twenty Blues": [Excerpt: Skip James, "Twenty-Two Twenty Blues"] And Laibley also suggested that James write a song about the Depression, which led to one of the greatest blues records ever, "Hard Time Killing Floor Blues": [Excerpt: Skip James, "Hard Time Killing Floor Blues"] These musicians knew that they were getting paid only for issued sides, and that Laibley wanted only blues from them, and so that's what they gave him. Even when it was a performer like Charlie Patton. (Incidentally, for those reading this as a transcript rather than listening to it, Patton's name is more usually spelled ending in ey, but as far as I can tell ie was his preferred spelling and that's what I'm using). Charlie Patton was best known as an entertainer, first and foremost -- someone who would do song-and-dance routines, joke around, play guitar behind his head. He was a clown on stage, so much so that when Son House finally heard some of Patton's records, in the mid-sixties, decades after the fact, he was astonished that Patton could actually play well. Even though House had been in the room when some of the records were made, his memory of Patton was of someone who acted the fool on stage. That's definitely not the impression you get from the Charlie Patton on record: [Excerpt: Charlie Patton, "Poor Me"] Patton is, as far as can be discerned, the person who was most influential in creating the music that became called the "Delta blues". Not a lot is known about Patton's life, but he was almost certainly the half-brother of the Chatmon brothers, who made hundreds of records, most notably as members of the Mississippi Sheiks: [Excerpt: The Mississippi Sheiks, "Sitting on Top of the World"] In the 1890s, Patton's family moved to Sunflower County, Mississippi, and he lived in and around that county until his death in 1934. Patton learned to play guitar from a musician called Henry Sloan, and then Patton became a mentor figure to a *lot* of other musicians in and around the plantation on which his family lived. Some of the musicians who grew up in the immediate area around Patton included Tommy Johnson: [Excerpt: Tommy Johnson, "Big Road Blues"] Pops Staples: [Excerpt: The Staple Singers, "Will The Circle Be Unbroken"] Robert Johnson: [Excerpt: Robert Johnson, "Crossroads"] Willie Brown, a musician who didn't record much, but who played a lot with Patton, Son House, and Robert Johnson and who we just heard Johnson sing about: [Excerpt: Willie Brown, "M&O Blues"] And Chester Burnett, who went on to become known as Howlin' Wolf, and whose vocal style was equally inspired by Patton and by the country star Jimmie Rodgers: [Excerpt: Howlin' Wolf, "Smokestack Lightnin'"] Once Patton started his own recording career for Paramount, he also started working as a talent scout for them, and it was him who brought Son House to Paramount. Soon after the Depression hit, Paramount stopped recording, and so from 1930 through 1934 Patton didn't make any records. He was tracked down by an A&R man in January 1934 and recorded one final session: [Excerpt, Charlie Patton, "34 Blues"] But he died of heart failure two months later. But his influence spread through his proteges, and they themselves influenced other musicians from the area who came along a little after, like Robert Lockwood and Muddy Waters. This music -- or that portion of it that was considered worth recording by white record producers, only a tiny, unrepresentative, portion of their vast performing repertoires -- became known as the Delta Blues, and when some of these musicians moved to Chicago and started performing with electric instruments, it became Chicago Blues. And as far as people like John Mayall in Britain were concerned, Delta and Chicago Blues *were* the blues: [Excerpt: John Mayall and the Bluesbreakers, "It Ain't Right"] John Mayall was one of the first of the British blues obsessives, and for a long time thought of himself as the only one. While we've looked before at the growth of the London blues scene, Mayall wasn't from London -- he was born in Macclesfield and grew up in Cheadle Hulme, both relatively well-off suburbs of Manchester, and after being conscripted and doing two years in the Army, he had become an art student at Manchester College of Art, what is now Manchester Metropolitan University. Mayall had been a blues fan from the late 1940s, writing off to the US to order records that hadn't been released in the UK, and by most accounts by the late fifties he'd put together the biggest blues collection in Britain by quite some way. Not only that, but he had one of the earliest home tape recorders, and every night he would record radio stations from Continental Europe which were broadcasting for American service personnel, so he'd amassed mountains of recordings, often unlabelled, of obscure blues records that nobody else in the UK knew about. He was also an accomplished pianist and guitar player, and in 1956 he and his drummer friend Peter Ward had put together a band called the Powerhouse Four (the other two members rotated on a regular basis) mostly to play lunchtime jazz sessions at the art college. Mayall also started putting on jam sessions at a youth club in Wythenshawe, where he met another drummer named Hughie Flint. Over the late fifties and into the early sixties, Mayall more or less by himself built up a small blues scene in Manchester. The Manchester blues scene was so enthusiastic, in fact, that when the American Folk Blues Festival, an annual European tour which initially featured Willie Dixon, Memhis Slim, T-Bone Walker, Sonny Terry & Brownie McGhee, and John Lee Hooker, first toured Europe, the only UK date it played was at the Manchester Free Trade Hall, and people like Mick Jagger, Keith Richards, Brian Jones and Jimmy Page had to travel up from London to see it. But still, the number of blues fans in Manchester, while proportionally large, was objectively small enough that Mayall was captivated by an article in Melody Maker which talked about Alexis Korner and Cyril Davies' new band Blues Incorporated and how it was playing electric blues, the same music he was making in Manchester. He later talked about how the article had made him think that maybe now people would know what he was talking about. He started travelling down to London to play gigs for the London blues scene, and inviting Korner up to Manchester to play shows there. Soon Mayall had moved down to London. Korner introduced Mayall to Davey Graham, the great folk guitarist, with whom Korner had recently recorded as a duo: [Excerpt: Alexis Korner and Davey Graham, "3/4 AD"] Mayall and Graham performed together as a duo for a while, but Graham was a natural solo artist if ever there was one. Slowly Mayall put a band together in London. On drums was his old friend Peter Ward, who'd moved down from Manchester with him. On bass was John McVie, who at the time knew nothing about blues -- he'd been playing in a Shadows-style instrumental group -- but Mayall gave him a stack of blues records to listen to to get the feeling. And on guitar was Bernie Watson, who had previously played with Screaming Lord Sutch and the Savages. In late 1963, Mike Vernon, a blues fan who had previously published a Yardbirds fanzine, got a job working for Decca records, and immediately started signing his favourite acts from the London blues circuit. The first act he signed was John Mayall and the Bluesbreakers, and they recorded a single, "Crawling up a Hill": [Excerpt: John Mayall and the Bluesbreakers, "Crawling up a Hill (45 version)"] Mayall later called that a "clumsy, half-witted attempt at autobiographical comment", and it sold only five hundred copies. It would be the only record the Bluesbreakers would make with Watson, who soon left the band to be replaced by Roger Dean (not the same Roger Dean who later went on to design prog rock album covers). The second group to be signed by Mike Vernon to Decca was the Graham Bond Organisation. We've talked about the Graham Bond Organisation in passing several times, but not for a while and not in any great detail, so it's worth pulling everything we've said about them so far together and going through it in a little more detail. The Graham Bond Organisation, like the Rolling Stones, grew out of Alexis Korner's Blues Incorporated. As we heard in the episode on "I Wanna Be Your Man" a couple of years ago, Blues Incorporated had been started by Alexis Korner and Cyril Davies, and at the time we're joining them in 1962 featured a drummer called Charlie Watts, a pianist called Dave Stevens, and saxophone player Dick Heckstall-Smith, as well as frequent guest performers like a singer who called himself Mike Jagger, and another one, Roderick Stewart. That group finally found themselves the perfect bass player when Dick Heckstall-Smith put together a one-off group of jazz players to play an event at Cambridge University. At the gig, a little Scottish man came up to the group and told them he played bass and asked if he could sit in. They told him to bring along his instrument to their second set, that night, and he did actually bring along a double bass. Their bluff having been called, they decided to play the most complicated, difficult, piece they knew in order to throw the kid off -- the drummer, a trad jazz player named Ginger Baker, didn't like performing with random sit-in guests -- but astonishingly he turned out to be really good. Heckstall-Smith took down the bass player's name and phone number and invited him to a jam session with Blues Incorporated. After that jam session, Jack Bruce quickly became the group's full-time bass player. Bruce had started out as a classical cellist, but had switched to the double bass inspired by Bach, who he referred to as "the guv'nor of all bass players". His playing up to this point had mostly been in trad jazz bands, and he knew nothing of the blues, but he quickly got the hang of the genre. Bruce's first show with Blues Incorporated was a BBC recording: [Excerpt: Blues Incorporated, "Hoochie Coochie Man (BBC session)"] According to at least one source it was not being asked to take part in that session that made young Mike Jagger decide there was no future for him with Blues Incorporated and to spend more time with his other group, the Rollin' Stones. Soon after, Charlie Watts would join him, for almost the opposite reason -- Watts didn't want to be in a band that was getting as big as Blues Incorporated were. They were starting to do more BBC sessions and get more gigs, and having to join the Musicians' Union. That seemed like a lot of work. Far better to join a band like the Rollin' Stones that wasn't going anywhere. Because of Watts' decision to give up on potential stardom to become a Rollin' Stone, they needed a new drummer, and luckily the best drummer on the scene was available. But then the best drummer on the scene was *always* available. Ginger Baker had first played with Dick Heckstall-Smith several years earlier, in a trad group called the Storyville Jazzmen. There Baker had become obsessed with the New Orleans jazz drummer Baby Dodds, who had played with Louis Armstrong in the 1920s. Sadly because of 1920s recording technology, he hadn't been able to play a full kit on the recordings with Armstrong, being limited to percussion on just a woodblock, but you can hear his drumming style much better in this version of "At the Jazz Band Ball" from 1947, with Mugsy Spanier, Jack Teagarden, Cyrus St. Clair and Hank Duncan: [Excerpt: "At the Jazz Band Ball"] Baker had taken Dobbs' style and run with it, and had quickly become known as the single best player, bar none, on the London jazz scene -- he'd become an accomplished player in multiple styles, and was also fluent in reading music and arranging. He'd also, though, become known as the single person on the entire scene who was most difficult to get along with. He resigned from his first band onstage, shouting "You can stick your band up your arse", after the band's leader had had enough of him incorporating bebop influences into their trad style. Another time, when touring with Diz Disley's band, he was dumped in Germany with no money and no way to get home, because the band were so sick of him. Sometimes this was because of his temper and his unwillingness to suffer fools -- and he saw everyone else he ever met as a fool -- and sometimes it was because of his own rigorous musical ideas. He wanted to play music *his* way, and wouldn't listen to anyone who told him different. Both of these things got worse after he fell under the influence of a man named Phil Seaman, one of the only drummers that Baker respected at all. Seaman introduced Baker to African drumming, and Baker started incorporating complex polyrhythms into his playing as a result. Seaman also though introduced Baker to heroin, and while being a heroin addict in the UK in the 1960s was not as difficult as it later became -- both heroin and cocaine were available on prescription to registered addicts, and Baker got both, which meant that many of the problems that come from criminalisation of these drugs didn't affect addicts in the same way -- but it still did not, by all accounts, make him an easier person to get along with. But he *was* a fantastic drummer. As Dick Heckstall-Smith said "With the advent of Ginger, the classic Blues Incorporated line-up, one which I think could not be bettered, was set" But Alexis Korner decided that the group could be bettered, and he had some backers within the band. One of the other bands on the scene was the Don Rendell Quintet, a group that played soul jazz -- that style of jazz that bridged modern jazz and R&B, the kind of music that Ray Charles and Herbie Hancock played: [Excerpt: The Don Rendell Quintet, "Manumission"] The Don Rendell Quintet included a fantastic multi-instrumentalist, Graham Bond, who doubled on keyboards and saxophone, and Bond had been playing occasional experimental gigs with the Johnny Burch Octet -- a group led by another member of the Rendell Quartet featuring Heckstall-Smith, Bruce, Baker, and a few other musicians, doing wholly-improvised music. Heckstall-Smith, Bruce, and Baker all enjoyed playing with Bond, and when Korner decided to bring him into the band, they were all very keen. But Cyril Davies, the co-leader of the band with Korner, was furious at the idea. Davies wanted to play strict Chicago and Delta blues, and had no truck with other forms of music like R&B and jazz. To his mind it was bad enough that they had a sax player. But the idea that they would bring in Bond, who played sax and... *Hammond* organ? Well, that was practically blasphemy. Davies quit the group at the mere suggestion. Bond was soon in the band, and he, Bruce, and Baker were playing together a *lot*. As well as performing with Blues Incorporated, they continued playing in the Johnny Burch Octet, and they also started performing as the Graham Bond Trio. Sometimes the Graham Bond Trio would be Blues Incorporated's opening act, and on more than one occasion the Graham Bond Trio, Blues Incorporated, and the Johnny Burch Octet all had gigs in different parts of London on the same night and they'd have to frantically get from one to the other. The Graham Bond Trio also had fans in Manchester, thanks to the local blues scene there and their connection with Blues Incorporated, and one night in February 1963 the trio played a gig there. They realised afterwards that by playing as a trio they'd made £70, when they were lucky to make £20 from a gig with Blues Incorporated or the Octet, because there were so many members in those bands. Bond wanted to make real money, and at the next rehearsal of Blues Incorporated he announced to Korner that he, Bruce, and Baker were quitting the band -- which was news to Bruce and Baker, who he hadn't bothered consulting. Baker, indeed, was in the toilet when the announcement was made and came out to find it a done deal. He was going to kick up a fuss and say he hadn't been consulted, but Korner's reaction sealed the deal. As Baker later said "‘he said “it's really good you're doing this thing with Graham, and I wish you the best of luck” and all that. And it was a bit difficult to turn round and say, “Well, I don't really want to leave the band, you know.”'" The Graham Bond Trio struggled at first to get the gigs they were expecting, but that started to change when in April 1963 they became the Graham Bond Quartet, with the addition of virtuoso guitarist John McLaughlin. The Quartet soon became one of the hottest bands on the London R&B scene, and when Duffy Power, a Larry Parnes teen idol who wanted to move into R&B, asked his record label to get him a good R&B band to back him on a Beatles cover, it was the Graham Bond Quartet who obliged: [Excerpt: Duffy Power, "I Saw Her Standing There"] The Quartet also backed Power on a package tour with other Parnes acts, but they were also still performing their own blend of hard jazz and blues, as can be heard in this recording of the group live in June 1953: [Excerpt: The Graham Bond Quartet, "Ho Ho Country Kicking Blues (Live at Klooks Kleek)"] But that lineup of the group didn't last very long. According to the way Baker told the story, he fired McLaughlin from the group, after being irritated by McLaughlin complaining about something on a day when Baker was out of cocaine and in no mood to hear anyone else's complaints. As Baker said "We lost a great guitar player and I lost a good friend." But the Trio soon became a Quartet again, as Dick Heckstall-Smith, who Baker had wanted in the band from the start, joined on saxophone to replace McLaughlin's guitar. But they were no longer called the Graham Bond Quartet. Partly because Heckstall-Smith joining allowed Bond to concentrate just on his keyboard playing, but one suspects partly to protect against any future lineup changes, the group were now The Graham Bond ORGANisation -- emphasis on the organ. The new lineup of the group got signed to Decca by Vernon, and were soon recording their first single, "Long Tall Shorty": [Excerpt: The Graham Bond Organisation, "Long Tall Shorty"] They recorded a few other songs which made their way onto an EP and an R&B compilation, and toured intensively in early 1964, as well as backing up Power on his follow-up to "I Saw Her Standing There", his version of "Parchman Farm": [Excerpt: Duffy Power, "Parchman Farm"] They also appeared in a film, just like the Beatles, though it was possibly not quite as artistically successful as "A Hard Day's Night": [Excerpt: Gonks Go Beat trailer] Gonks Go Beat is one of the most bizarre films of the sixties. It's a far-future remake of Romeo and Juliet. where the two star-crossed lovers are from opposing countries -- Beatland and Ballad Isle -- who only communicate once a year in an annual song contest which acts as their version of a war, and is overseen by "Mr. A&R", played by Frank Thornton, who would later star in Are You Being Served? Carry On star Kenneth Connor is sent by aliens to try to bring peace to the two warring countries, on pain of exile to Planet Gonk, a planet inhabited solely by Gonks (a kind of novelty toy for which there was a short-lived craze then). Along the way Connor encounters such luminaries of British light entertainment as Terry Scott and Arthur Mullard, as well as musical performances by Lulu, the Nashville Teens, and of course the Graham Bond Organisation, whose performance gets them a telling-off from a teacher: [Excerpt: Gonks Go Beat!] The group as a group only performed one song in this cinematic masterpiece, but Baker also made an appearance in a "drum battle" sequence where eight drummers played together: [Excerpt: Gonks Go Beat drum battle] The other drummers in that scene included, as well as some lesser-known players, Andy White who had played on the single version of "Love Me Do", Bobby Graham, who played on hits by the Kinks and the Dave Clark Five, and Ronnie Verrell, who did the drumming for Animal in the Muppet Show. Also in summer 1964, the group performed at the Fourth National Jazz & Blues Festival in Richmond -- the festival co-founded by Chris Barber that would evolve into the Reading Festival. The Yardbirds were on the bill, and at the end of their set they invited Bond, Baker, Bruce, Georgie Fame, and Mike Vernon onto the stage with them, making that the first time that Eric Clapton, Ginger Baker, and Jack Bruce were all on stage together. Soon after that, the Graham Bond Organisation got a new manager, Robert Stigwood. Things hadn't been working out for them at Decca, and Stigwood soon got the group signed to EMI, and became their producer as well. Their first single under Stigwood's management was a cover version of the theme tune to the Debbie Reynolds film "Tammy". While that film had given Tamla records its name, the song was hardly an R&B classic: [Excerpt: The Graham Bond Organisation, "Tammy"] That record didn't chart, but Stigwood put the group out on the road as part of the disastrous Chuck Berry tour we heard about in the episode on "All You Need is Love", which led to the bankruptcy of  Robert Stigwood Associates. The Organisation moved over to Stigwood's new company, the Robert Stigwood Organisation, and Stigwood continued to be the credited producer of their records, though after the "Tammy" disaster they decided they were going to take charge themselves of the actual music. Their first album, The Sound of 65, was recorded in a single three-hour session, and they mostly ran through their standard set -- a mixture of the same songs everyone else on the circuit was playing, like "Hoochie Coochie Man", "Got My Mojo Working", and "Wade in the Water", and originals like Bruce's "Train Time": [Excerpt: The Graham Bond Organisation, "Train Time"] Through 1965 they kept working. They released a non-album single, "Lease on Love", which is generally considered to be the first pop record to feature a Mellotron: [Excerpt: The Graham Bond Organisation, "Lease on Love"] and Bond and Baker also backed another Stigwood act, Winston G, on his debut single: [Excerpt: Winston G, "Please Don't Say"] But the group were developing severe tensions. Bruce and Baker had started out friendly, but by this time they hated each other. Bruce said he couldn't hear his own playing over Baker's loud drumming, Baker thought that Bruce was far too fussy a player and should try to play simpler lines. They'd both try to throw each other during performances, altering arrangements on the fly and playing things that would trip the other player up. And *neither* of them were particularly keen on Bond's new love of the Mellotron, which was all over their second album, giving it a distinctly proto-prog feel at times: [Excerpt: The Graham Bond Organisation, "Baby Can it Be True?"] Eventually at a gig in Golders Green, Baker started throwing drumsticks at Bruce's head while Bruce was trying to play a bass solo. Bruce retaliated by throwing his bass at Baker, and then jumping on him and starting a fistfight which had to be broken up by the venue security. Baker fired Bruce from the band, but Bruce kept turning up to gigs anyway, arguing that Baker had no right to sack him as it was a democracy. Baker always claimed that in fact Bond had wanted to sack Bruce but hadn't wanted to get his hands dirty, and insisted that Baker do it, but neither Bond nor Heckstall-Smith objected when Bruce turned up for the next couple of gigs. So Baker took matters into his own hands, He pulled out a knife and told Bruce "If you show up at one more gig, this is going in you." Within days, Bruce was playing with John Mayall, whose Bluesbreakers had gone through some lineup changes by this point. Roger Dean had only played with the Bluesbreakers for a short time before Mayall had replaced him. Mayall had not been impressed with Eric Clapton's playing with the Yardbirds at first -- even though graffiti saying "Clapton is God" was already starting to appear around London -- but he had been *very* impressed with Clapton's playing on "Got to Hurry", the B-side to "For Your Love": [Excerpt: The Yardbirds, "Got to Hurry"] When he discovered that Clapton had quit the band, he sprang into action and quickly recruited him to replace Dean. Clapton knew he had made the right choice when a month after he'd joined, the group got the word that Bob Dylan had been so impressed with Mayall's single "Crawling up a Hill" -- the one that nobody liked, not even Mayall himself -- that he wanted to jam with Mayall and his band in the studio. Clapton of course went along: [Excerpt: Bob Dylan and the Bluesbreakers, "If You Gotta Go, Go Now"] That was, of course, the session we've talked about in the Velvet Underground episode and elsewhere of which little other than that survives, and which Nico attended. At this point, Mayall didn't have a record contract, his experience recording with Mike Vernon having been no more successful than the Bond group's had been. But soon he got a one-off deal -- as a solo artist, not with the Bluesbreakers -- with Immediate Records. Clapton was the only member of the group to play on the single, which was produced by Immediate's house producer Jimmy Page: [Excerpt: John Mayall, "I'm Your Witchdoctor"] Page was impressed enough with Clapton's playing that he invited him round to Page's house to jam together. But what Clapton didn't know was that Page was taping their jam sessions, and that he handed those tapes over to Immediate Records -- whether he was forced to by his contract with the label or whether that had been his plan all along depends on whose story you believe, but Clapton never truly forgave him. Page and Clapton's guitar-only jams had overdubs by Bill Wyman, Ian Stewart, and drummer Chris Winter, and have been endlessly repackaged on blues compilations ever since: [Excerpt: Jimmy Page and Eric Clapton, "Draggin' My Tail"] But Mayall was having problems with John McVie, who had started to drink too much, and as soon as he found out that Jack Bruce was sacked by the Graham Bond Organisation, Mayall got in touch with Bruce and got him to join the band in McVie's place. Everyone was agreed that this lineup of the band -- Mayall, Clapton, Bruce, and Hughie Flint -- was going places: [Excerpt: John Mayall's Bluesbreakers with Jack Bruce, "Hoochie Coochie Man"] Unfortunately, it wasn't going to last long. Clapton, while he thought that Bruce was the greatest bass player he'd ever worked with, had other plans. He was going to leave the country and travel the world as a peripatetic busker. He was off on his travels, never to return. Luckily, Mayall had someone even better waiting in the wings. A young man had, according to Mayall, "kept coming down to all the gigs and saying, “Hey, what are you doing with him?” – referring to whichever guitarist was onstage that night – “I'm much better than he is. Why don't you let me play guitar for you?” He got really quite nasty about it, so finally, I let him sit in. And he was brilliant." Peter Green was probably the best blues guitarist in London at that time, but this lineup of the Bluesbreakers only lasted a handful of gigs -- Clapton discovered that busking in Greece wasn't as much fun as being called God in London, and came back very soon after he'd left. Mayall had told him that he could have his old job back when he got back, and so Green was out and Clapton was back in. And soon the Bluesbreakers' revolving door revolved again. Manfred Mann had just had a big hit with "If You Gotta Go, Go Now", the same song we heard Dylan playing earlier: [Excerpt: Manfred Mann, "If You Gotta Go, Go Now"] But their guitarist, Mike Vickers, had quit. Tom McGuinness, their bass player, had taken the opportunity to switch back to guitar -- the instrument he'd played in his first band with his friend Eric Clapton -- but that left them short a bass player. Manfred Mann were essentially the same kind of band as the Graham Bond Organisation -- a Hammond-led group of virtuoso multi-instrumentalists who played everything from hardcore Delta blues to complex modern jazz -- but unlike the Bond group they also had a string of massive pop hits, and so made a lot more money. The combination was irresistible to Bruce, and he joined the band just before they recorded an EP of jazz instrumental versions of recent hits: [Excerpt: Manfred Mann, "(I Can't Get No) Satisfaction"] Bruce had also been encouraged by Robert Stigwood to do a solo project, and so at the same time as he joined Manfred Mann, he also put out a solo single, "Drinkin' and Gamblin'" [Excerpt: Jack Bruce, "Drinkin' and Gamblin'"] But of course, the reason Bruce had joined Manfred Mann was that they were having pop hits as well as playing jazz, and soon they did just that, with Bruce playing on their number one hit "Pretty Flamingo": [Excerpt: Manfred Mann, "Pretty Flamingo"] So John McVie was back in the Bluesbreakers, promising to keep his drinking under control. Mike Vernon still thought that Mayall had potential, but the people at Decca didn't agree, so Vernon got Mayall and Clapton -- but not the other band members -- to record a single for a small indie label he ran as a side project: [Excerpt: John Mayall and Eric Clapton, "Bernard Jenkins"] That label normally only released records in print runs of ninety-nine copies, because once you hit a hundred copies you had to pay tax on them, but there was so much demand for that single that they ended up pressing up five hundred copies, making it the label's biggest seller ever. Vernon eventually convinced the heads at Decca that the Bluesbreakers could be truly big, and so he got the OK to record the album that would generally be considered the greatest British blues album of all time -- Blues Breakers, also known as the Beano album because of Clapton reading a copy of the British kids' comic The Beano in the group photo on the front. [Excerpt: John Mayall with Eric Clapton, "Ramblin' On My Mind"] The album was a mixture of originals by Mayall and the standard repertoire of every blues or R&B band on the circuit -- songs like "Parchman Farm" and "What'd I Say" -- but what made the album unique was Clapton's guitar tone. Much to the chagrin of Vernon, and of engineer Gus Dudgeon, Clapton insisted on playing at the same volume that he would on stage. Vernon later said of Dudgeon "I can remember seeing his face the very first time Clapton plugged into the Marshall stack and turned it up and started playing at the sort of volume he was going to play. You could almost see Gus's eyes meet over the middle of his nose, and it was almost like he was just going to fall over from the sheer power of it all. But after an enormous amount of fiddling around and moving amps around, we got a sound that worked." [Excerpt: John Mayall with Eric Clapton, "Hideaway"] But by the time the album cane out. Clapton was no longer with the Bluesbreakers. The Graham Bond Organisation had struggled on for a while after Bruce's departure. They brought in a trumpet player, Mike Falana, and even had a hit record -- or at least, the B-side of a hit record. The Who had just put out a hit single, "Substitute", on Robert Stigwood's record label, Reaction: [Excerpt: The Who, "Substitute"] But, as you'll hear in episode 183, they had moved to Reaction Records after a falling out with their previous label, and with Shel Talmy their previous producer. The problem was, when "Substitute" was released, it had as its B-side a song called "Circles" (also known as "Instant Party -- it's been released under both names). They'd recorded an earlier version of the song for Talmy, and just as "Substitute" was starting to chart, Talmy got an injunction against the record and it had to be pulled. Reaction couldn't afford to lose the big hit record they'd spent money promoting, so they needed to put it out with a new B-side. But the Who hadn't got any unreleased recordings. But the Graham Bond Organisation had, and indeed they had an unreleased *instrumental*. So "Waltz For a Pig" became the B-side to a top-five single, credited to The Who Orchestra: [Excerpt: The Who Orchestra, "Waltz For a Pig"] That record provided the catalyst for the formation of Cream, because Ginger Baker had written the song, and got £1,350 for it, which he used to buy a new car. Baker had, for some time, been wanting to get out of the Graham Bond Organisation. He was trying to get off heroin -- though he would make many efforts to get clean over the decades, with little success -- while Bond was starting to use it far more heavily, and was also using acid and getting heavily into mysticism, which Baker despised. Baker may have had the idea for what he did next from an article in one of the music papers. John Entwistle of the Who would often tell a story about an article in Melody Maker -- though I've not been able to track down the article itself to get the full details -- in which musicians were asked to name which of their peers they'd put into a "super-group". He didn't remember the full details, but he did remember that the consensus choice had had Eric Clapton on lead guitar, himself on bass, and Ginger Baker on drums. As he said later "I don't remember who else was voted in, but a few months later, the Cream came along, and I did wonder if somebody was maybe believing too much of their own press". Incidentally, like The Buffalo Springfield and The Pink Floyd, Cream, the band we are about to meet, had releases both with and without the definite article, and Eric Clapton at least seems always to talk about them as "the Cream" even decades later, but they're primarily known as just Cream these days. Baker, having had enough of the Bond group, decided to drive up to Oxford to see Clapton playing with the Bluesbreakers. Clapton invited him to sit in for a couple of songs, and by all accounts the band sounded far better than they had previously. Clapton and Baker could obviously play well together, and Baker offered Clapton a lift back to London in his new car, and on the drive back asked Clapton if he wanted to form a new band. Clapton was as impressed by Baker's financial skills as he was by his musicianship. He said later "Musicians didn't have cars. You all got in a van." Clearly a musician who was *actually driving a new car he owned* was going places. He agreed to Baker's plan. But of course they needed a bass player, and Clapton thought he had the perfect solution -- "What about Jack?" Clapton knew that Bruce had been a member of the Graham Bond Organisation, but didn't know why he'd left the band -- he wasn't particularly clued in to what the wider music scene was doing, and all he knew was that Bruce had played with both him and Baker, and that he was the best bass player he'd ever played with. And Bruce *was* arguably the best bass player in London at that point, and he was starting to pick up session work as well as his work with Manfred Mann. For example it's him playing on the theme tune to "After The Fox" with Peter Sellers, the Hollies, and the song's composer Burt Bacharach: [Excerpt: The Hollies with Peter Sellers, "After the Fox"] Clapton was insistent. Baker's idea was that the band should be the best musicians around. That meant they needed the *best* musicians around, not the second best. If Jack Bruce wasn't joining, Eric Clapton wasn't joining either. Baker very reluctantly agreed, and went round to see Bruce the next day -- according to Baker it was in a spirit of generosity and giving Bruce one more chance, while according to Bruce he came round to eat humble pie and beg for forgiveness. Either way, Bruce agreed to join the band. The three met up for a rehearsal at Baker's home, and immediately Bruce and Baker started fighting, but also immediately they realised that they were great at playing together -- so great that they named themselves the Cream, as they were the cream of musicians on the scene. They knew they had something, but they didn't know what. At first they considered making their performances into Dada projects, inspired by the early-twentieth-century art movement. They liked a band that had just started to make waves, the Bonzo Dog Doo-Dah Band -- who had originally been called the Bonzo Dog Dada Band -- and they bought some props with the vague idea of using them on stage in the same way the Bonzos did. But as they played together they realised that they needed to do something different from that. At first, they thought they needed a fourth member -- a keyboard player. Graham Bond's name was brought up, but Clapton vetoed him. Clapton wanted Steve Winwood, the keyboard player and vocalist with the Spencer Davis Group. Indeed, Winwood was present at what was originally intended to be the first recording session the trio would play. Joe Boyd had asked Eric Clapton to round up a bunch of players to record some filler tracks for an Elektra blues compilation, and Clapton had asked Bruce and Baker to join him, Paul Jones on vocals, Winwood on Hammond and Clapton's friend Ben Palmer on piano for the session. Indeed, given that none of the original trio were keen on singing, that Paul Jones was just about to leave Manfred Mann, and that we know Clapton wanted Winwood in the band, one has to wonder if Clapton at least half-intended for this to be the eventual lineup of the band. If he did, that plan was foiled by Baker's refusal to take part in the session. Instead, this one-off band, named The Powerhouse, featured Pete York, the drummer from the Spencer Davis Group, on the session, which produced the first recording of Clapton playing on the Robert Johnson song originally titled "Cross Road Blues" but now generally better known just as "Crossroads": [Excerpt: The Powerhouse, "Crossroads"] We talked about Robert Johnson a little back in episode ninety-seven, but other than Bob Dylan, who was inspired by his lyrics, we had seen very little influence from Johnson up to this point, but he's going to be a major influence on rock guitar for the next few years, so we should talk about him a little here. It's often said that nobody knew anything about Robert Johnson, that he was almost a phantom other than his records which existed outside of any context as artefacts of their own. That's... not really the case. Johnson had died a little less than thirty years earlier, at only twenty-seven years old. Most of his half-siblings and step-siblings were alive, as were his son, his stepson, and dozens of musicians he'd played with over the years, women he'd had affairs with, and other assorted friends and relatives. What people mean is that information about Johnson's life was not yet known by people they consider important -- which is to say white blues scholars and musicians. Indeed, almost everything people like that -- people like *me* -- know of the facts of Johnson's life has only become known to us in the last four years. If, as some people had expected, I'd started this series with an episode on Johnson, I'd have had to redo the whole thing because of the information that's made its way to the public since then. But here's what was known -- or thought -- by white blues scholars in 1966. Johnson was, according to them, a field hand from somewhere in Mississippi, who played the guitar in between working on the cotton fields. He had done two recording sessions, in 1936 and 1937. One song from his first session, "Terraplane Blues", had been a very minor hit by blues standards: [Excerpt: Robert Johnson, "Terraplane Blues"] That had sold well -- nobody knows how well, but maybe as many as ten thousand copies, and it was certainly a record people knew in 1937 if they liked the Delta blues, but ten thousand copies total is nowhere near the sales of really successful records, and none of the follow-ups had sold anything like that much -- many of them had sold in the hundreds rather than the thousands. As Elijah Wald, one of Johnson's biographers put it "knowing about Johnson and Muddy Waters but not about Leroy Carr or Dinah Washington was like knowing about, say, the Sir Douglas Quintet but not knowing about the Beatles" -- though *I* would add that the Sir Douglas Quintet were much bigger during the sixties than Johnson was during his lifetime. One of the few white people who had noticed Johnson's existence at all was John Hammond, and he'd written a brief review of Johnson's first two singles under a pseudonym in a Communist newspaper. I'm going to quote it here, but the word he used to talk about Black people was considered correct then but isn't now, so I'll substitute Black for that word: "Before closing we cannot help but call your attention to the greatest [Black] blues singer who has cropped up in recent years, Robert Johnson. Recording them in deepest Mississippi, Vocalion has certainly done right by us and by the tunes "Last Fair Deal Gone Down" and "Terraplane Blues", to name only two of the four sides already released, sung to his own guitar accompaniment. Johnson makes Leadbelly sound like an accomplished poseur" Hammond had tried to get Johnson to perform at the Spirituals to Swing concerts we talked about in the very first episodes of the podcast, but he'd discovered that he'd died shortly before. He got Big Bill Broonzy instead, and played a couple of Johnson's records from a record player on the stage. Hammond introduced those recordings with a speech: "It is tragic that an American audience could not have been found seven or eight years ago for a concert of this kind. Bessie Smith was still at the height of her career and Joe Smith, probably the greatest trumpet player America ever knew, would still have been around to play obbligatos for her...dozens of other artists could have been there in the flesh. But that audience as well as this one would not have been able to hear Robert Johnson sing and play the blues on his guitar, for at that time Johnson was just an unknown hand on a Robinsonville, Mississippi plantation. Robert Johnson was going to be the big surprise of the evening for this audience at Carnegie Hall. I know him only from his Vocalion blues records and from the tall, exciting tales the recording engineers and supervisors used to bring about him from the improvised studios in Dallas and San Antonio. I don't believe Johnson had ever worked as a professional musician anywhere, and it still knocks me over when I think of how lucky it is that a talent like his ever found its way onto phonograph records. We will have to be content with playing two of his records, the old "Walkin' Blues" and the new, unreleased, "Preachin' Blues", because Robert Johnson died last week at the precise moment when Vocalion scouts finally reached him and told him that he was booked to appear at Carnegie Hall on December 23. He was in his middle twenties and nobody seems to know what caused his death." And that was, for the most part, the end of Robert Johnson's impact on the culture for a generation. The Lomaxes went down to Clarksdale, Mississippi a couple of years later -- reports vary as to whether this was to see if they could find Johnson, who they were unaware was dead, or to find information out about him, and they did end up recording a young singer named Muddy Waters for the Library of Congress, including Waters' rendition of "32-20 Blues", Johnson's reworking of Skip James' "Twenty-Two Twenty Blues": [Excerpt: Muddy Waters, "32-20 Blues"] But Johnson's records remained unavailable after their initial release until 1959, when the blues scholar Samuel Charters published the book The Country Blues, which was the first book-length treatment ever of Delta blues. Sixteen years later Charters said "I shouldn't have written The Country Blues when I did; since I really didn't know enough, but I felt I couldn't afford to wait. So The Country Blues was two things. It was a romanticization of certain aspects of black life in an effort to force the white society to reconsider some of its racial attitudes, and on the other hand it was a cry for help. I wanted hundreds of people to go out and interview the surviving blues artists. I wanted people to record them and document their lives, their environment, and their music, not only so that their story would be preserved but also so they'd get a little money and a little recognition in their last years." Charters talked about Johnson in the book, as one of the performers who played "minor roles in the story of the blues", and said that almost nothing was known about his life. He talked about how he had been poisoned by his common-law wife, about how his records were recorded in a pool hall, and said "The finest of Robert Johnson's blues have a brooding sense of torment and despair. The blues has become a personified figure of despondency." Along with Charters' book came a compilation album of the same name, and that included the first ever reissue of one of Johnson's tracks, "Preaching Blues": [Excerpt: Robert Johnson, "Preaching Blues"] Two years later, John Hammond, who had remained an ardent fan of Johnson, had Columbia put out the King of the Delta Blues Singers album. At the time no white blues scholars knew what Johnson looked like and they had no photos of him, so a generic painting of a poor-looking Black man with a guitar was used for the cover. The liner note to King of the Delta Blues Singers talked about how Johnson was seventeen or eighteen when he made his recordings, how he was "dead before he reached his twenty-first birthday, poisoned by a jealous girlfriend", how he had "seldom, if ever, been away from the plantation in Robinsville, Mississippi, where he was born and raised", and how he had had such stage fright that when he was asked to play in front of other musicians, he'd turned to face a wall so he couldn't see them. And that would be all that any of the members of the Powerhouse would know about Johnson. Maybe they'd also heard the rumours that were starting to spread that Johnson had got his guitar-playing skills by selling his soul to the devil at a crossroads at midnight, but that would have been all they knew when they recorded their filler track for Elektra: [Excerpt: The Powerhouse, "Crossroads"] Either way, the Powerhouse lineup only lasted for that one session -- the group eventually decided that a simple trio would be best for the music they wanted to play. Clapton had seen Buddy Guy touring with just a bass player and drummer a year earlier, and had liked the idea of the freedom that gave him as a guitarist. The group soon took on Robert Stigwood as a manager, which caused more arguments between Bruce and Baker. Bruce was convinced that if they were doing an all-for-one one-for-all thing they should also manage themselves, but Baker pointed out that that was a daft idea when they could get one of the biggest managers in the country to look after them. A bigger argument, which almost killed the group before it started, happened when Baker told journalist Chris Welch of the Melody Maker about their plans. In an echo of the way that he and Bruce had been resigned from Blues Incorporated without being consulted, now with no discussion Manfred Mann and John Mayall were reading in the papers that their band members were quitting before those members had bothered to mention it. Mayall was furious, especially since the album Clapton had played on hadn't yet come out. Clapton was supposed to work a month's notice while Mayall found another guitarist, but Mayall spent two weeks begging Peter Green to rejoin the band. Green was less than eager -- after all, he'd been fired pretty much straight away earlier -- but Mayall eventually persuaded him. The second he did, Mayall turned round to Clapton and told him he didn't have to work the rest of his notice -- he'd found another guitar player and Clapton was fired: [Excerpt: John Mayall's Bluesbreakers, "Dust My Blues"] Manfred Mann meanwhile took on the Beatles' friend Klaus Voorman to replace Bruce. Voorman would remain with the band until the end, and like Green was for Mayall, Voorman was in some ways a better fit for Manfred Mann than Bruce was. In particular he could double on flute, as he did for example on their hit version of Bob Dylan's "The Mighty Quinn": [Excerpt: Manfred Mann "The Mighty Quinn"] The new group, The Cream, were of course signed in the UK to Stigwood's Reaction label. Other than the Who, who only stuck around for one album, Reaction was not a very successful label. Its biggest signing was a former keyboard player for Screaming Lord Sutch, who recorded for them under the names Paul Dean and Oscar, but who later became known as Paul Nicholas and had a successful career in musical theatre and sitcom. Nicholas never had any hits for Reaction, but he did release one interesting record, in 1967: [Excerpt: Oscar, "Over the Wall We Go"] That was one of the earliest songwriting attempts by a young man who had recently named himself David Bowie. Now the group were public, they started inviting journalists to their rehearsals, which were mostly spent trying to combine their disparate musical influences --

Jumbo Ep:552 - 26.05.23 - We Just Can't Help Moaning & Bill Oddie!Moaning, Window Cleaner, Bill Oddie, Fact Of the Day, The 4th Wall, Help The Show, Patreons.Support me at:www.patreon.com/Jumbowww.buymeacoffee.com/jumbowww.jumbopodcast.comYou can listen on Spotify, Stitcher, Apple Podcasts, Spreaker and many others.#PodernFamily #Podcasts #SpotifyPodcasts #Applepodcasts

"Love our podcast? Help us keep it going! Donate to AudioshowsUK on BuyMeACoffee and ensure we upload regularly with more shows. Your donation will go a long way towards keeping the podcast world spinning. Click now and show us your support!" Audio Shows (buymeacoffee.com) Classic Old Radio Show Comedy Downloads Visit our store for more shows Audioshows.e-junkie.com "I'm Sorry, I'll Read That Again" (often abbreviated as ISIRTA) is a radio comedy show that first aired in 1964 on BBC Radio 4. The show was created by John Cleese, Tim Brooke-Taylor, and other members of the Cambridge University Footlights club, and it featured a cast of comedic actors who went on to become well-known performers in their own right, including Graeme Garden, Bill Oddie, and David Hatch. "I'm Sorry, I'll Read That Again" podcast ISIRTA podcast Radio comedy podcasts British comedy podcasts Vintage comedy podcasts Classic radio podcasts Old-time radio podcasts Comedy sketch podcasts BBC comedy podcasts Comedy radio show podcasts British radio shows 1960s radio shows John Cleese podcasts Tim Brooke-Taylor podcasts Graeme Garden podcasts Bill Oddie podcasts Vintage BBC podcasts Satirical comedy podcasts Parody podcasts Comedy show reboots.

Alan FletcherWelcome back to Eyes & Teeth the Final Season… The Worlds Greatest Variety ShowToday I talk to one of the longest running much loved Soap characters who for 39 years has been one of Neighbours familiar faces Dr Karl Kennedy.Alan Fletcher actor, musician, singer, photographer, pantomime performer is one of the most hardest working people on stage and in television and this begun way before he joined the hit soap series. We talk about his time working with Arthur Lowe and Bill Oddie, joining his rock band The Waiting Room, Pantomime and his time coming to an end in Neighbours in 2022 and upcoming UK tours as well as the news that Neighbours is back and saved on Amazon Freevee.  Alan is now touring the UK in a Celebration of Neighbours alongside fellow cast members Susan Kennedy, Toadfish, Plain Jane, and Paul Robinson please check the certain dates for the cast members but this is a show not to be missed for the neighbours fans out there, you can see this at the London Palladium March 13th& 14th The Brighton centre on 18th, Mayflower Southampton on 19th, Forum in Bath on 22nd. You can also see Alan tour his new album The Point across the UK in March and June & July he is touring his One man show The Dr Will see you now… Go to AlanFletcher.net for dates and tickets.Welcome to Eyes & Teeth Alan FletcherClips from alanfletcher.net, Neighbours BBC One, Channel 5, Fremantle in Australia. It was created by television executive Reg Watson. The Seven Network.You Tube, The Waiting Room and the Point by Alan Fletcher.

"Love our podcast? Help us keep it going! Donate to AudioshowsUK on BuyMeACoffee and ensure we upload regularly with more shows. Your donation will go a long way towards keeping the podcast world spinning. Click now and show us your support!" Audio Shows (buymeacoffee.com) Classic Old Radio Show Comedy Downloads Visit our store for more shows Audioshows.e-junkie.com "I'm Sorry, I'll Read That Again" (often abbreviated as ISIRTA) is a radio comedy show that first aired in 1964 on BBC Radio 4. The show was created by John Cleese, Tim Brooke-Taylor, and other members of the Cambridge University Footlights club, and it featured a cast of comedic actors who went on to become well-known performers in their own right, including Graeme Garden, Bill Oddie, and David Hatch. "I'm Sorry, I'll Read That Again" podcast ISIRTA podcast Radio comedy podcasts British comedy podcasts Vintage comedy podcasts Classic radio podcasts Old-time radio podcasts Comedy sketch podcasts BBC comedy podcasts Comedy radio show podcasts British radio shows 1960s radio shows John Cleese podcasts Tim Brooke-Taylor podcasts Graeme Garden podcasts Bill Oddie podcasts Vintage BBC podcasts Satirical comedy podcasts Parody podcasts Comedy show reboots.

Jumbo Ep:522 - 17.02.23 - The Biggest News Ever From TenerifeOn Todays Show:Brett's In Tenerife, Williams Birthday, Big News, Bill Oddie, Laurel & Hardy, Married & Podcasting, Crocodile Dundee, Patreons.Support me at:www.patreon.com/Jumbowww.buymeacoffee.com/jumbowww.jumbopodcast.comYou can listen on Spotify, Stitcher, Apple Podcasts, Spreaker and many others.

Episode 162 of A History of Rock Music in Five Hundred Songs looks at "Daydream Believer", and the later career of the Monkees, and how four Pinocchios became real boys. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "Born to be Wild" by Steppenwolf. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this time, as even after splitting it into multiple files, there are simply too many Monkees tracks excerpted. The best versions of the Monkees albums are the triple-CD super-deluxe versions that used to be available from monkees.com , and I've used Andrew Sandoval's liner notes for them extensively in this episode. Sadly, though, none of those are in print. However, at the time of writing there is a new four-CD super-deluxe box set of Headquarters (with a remixed version of the album rather than the original mixes I've excerpted here) available from that site, and I used the liner notes for that here. Monkees.com also currently has the intermittently-available BluRay box set of the entire Monkees TV series, which also has Head and 33 1/3 Revolutions Per Monkee. For those just getting into the group, my advice is to start with this five-CD set, which contains their first five albums along with bonus tracks. The single biggest source of information I used in this episode is the first edition of Andrew Sandoval's The Monkees; The Day-By-Day Story. Sadly that is now out of print and goes for hundreds of pounds. Sandoval released a second edition of the book in 2021, which I was unfortunately unable to obtain, but that too is now out of print. If you can find a copy of either, do get one. Other sources used were Monkee Business by Eric Lefcowitz, and the autobiographies of three of the band members and one of the songwriters — Infinite Tuesday by Michael Nesmith, They Made a Monkee Out of Me by Davy Jones, I'm a Believer by Micky Dolenz, and Psychedelic Bubble-Gum by Bobby Hart. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript When we left the Monkees, they were in a state of flux. To recap what we covered in that episode, the Monkees were originally cast as actors in a TV show, and consisted of two actors with some singing ability -- the former child stars Davy Jones and Micky Dolenz -- and two musicians who were also competent comic actors, Michael Nesmith and Peter Tork.  The show was about a fictional band whose characters shared names with their actors, and there had quickly been two big hit singles, and two hit albums, taken from the music recorded for the TV show's soundtrack. But this had caused problems for the actors. The records were being promoted as being by the fictional group in the TV series, blurring the line between the TV show and reality, though in fact for the most part they were being made by session musicians with only Dolenz or Jones adding lead vocals to pre-recorded backing tracks. Dolenz and Jones were fine with this, but Nesmith, who had been allowed to write and produce a few album tracks himself, wanted more creative input, and more importantly felt that he was being asked to be complicit in fraud because the records credited the four Monkees as the musicians when (other than a tiny bit of inaudible rhythm guitar by Tork on a couple of Nesmith's tracks) none of them played on them. Tork, meanwhile, believed he had been promised that the group would be an actual group -- that they would all be playing on the records together -- and felt hurt and annoyed that this wasn't the case. They were by now playing live together to promote the series and the records, with Dolenz turning out to be a perfectly competent drummer, so surely they could do the same in the studio? So in January 1967, things came to a head. It's actually quite difficult to sort out exactly what happened, because of conflicting recollections and opinions. What follows is my best attempt to harmonise the different versions of the story into one coherent narrative, but be aware that I could be wrong in some of the details. Nesmith and Tork, who disliked each other in most respects, were both agreed that this couldn't continue and that if there were going to be Monkees records released at all, they were going to have the Monkees playing on them. Dolenz, who seems to have been the one member of the group that everyone could get along with, didn't really care but went along with them for the sake of group harmony. And Bob Rafelson and Bert Schneider, the production team behind the series, also took Nesmith and Tork's side, through a general love of mischief. But on the other side was Don Kirshner, the music publisher who was in charge of supervising the music for the TV show. Kirshner was adamantly, angrily, opposed to the very idea of the group members having any input at all into how the records were made. He considered that they should be grateful for the huge pay cheques they were getting from records his staff writers and producers were making for them, and stop whinging. And Davy Jones was somewhere in the middle. He wanted to support his co-stars, who he genuinely liked, but also, he was a working actor, he'd had other roles before, he'd have other roles afterwards, and as a working actor you do what you're told if you don't want to lose the job you've got. Jones had grown up in very severe poverty, and had been his family's breadwinner from his early teens, and artistic integrity is all very nice, but not as nice as a cheque for a quarter of a million dollars. Although that might be slightly unfair -- it might be fairer to say that artistic integrity has a different meaning to someone like Jones, coming from musical theatre and a tradition of "the show must go on", than it does to people like Nesmith and Tork who had come up through the folk clubs. Jones' attitude may also have been affected by the fact that his character in the TV show didn't play an instrument other than the occasional tambourine or maracas. The other three were having to mime instrumental parts they hadn't played, and to reproduce them on stage, but Jones didn't have that particular disadvantage. Bert Schneider, one of the TV show's producers, encouraged the group to go into the recording studio themselves, with a producer of their choice, and cut a couple of tracks to prove what they could do. Michael Nesmith, who at this point was the one who was most adamant about taking control of the music, chose Chip Douglas to produce. Douglas was someone that Nesmith had known a little while, as they'd both played the folk circuit -- in Douglas' case as a member of the Modern Folk Quartet -- but Douglas had recently joined the Turtles as their new bass player. At this point, Douglas had never officially produced a record, but he was a gifted arranger, and had just arranged the Turtles' latest single, which had just been released and was starting to climb the charts: [Excerpt: The Turtles, "Happy Together"] Douglas quit the Turtles to work with the Monkees, and took the group into the studio to cut two demo backing tracks for a potential single as a proof of concept. These initial sessions didn't have any vocals, but featured Nesmith on guitar, Tork on piano, Dolenz on drums, Jones on tambourine, and an unknown bass player -- possibly Douglas himself, possibly Nesmith's friend John London, who he'd played with in Mike and John and Bill. They cut rough tracks of two songs, "All of Your Toys", by another friend of Nesmith's, Bill Martin, and Nesmith's "The Girl I Knew Somewhere": [Excerpt: The Monkees, "The Girl I Knew Somewhere (Gold Star Demo)"] Those tracks were very rough and ready -- they were garage-band tracks rather than the professional studio recordings that the Candy Store Prophets or Jeff Barry's New York session players had provided for the previous singles -- but they were competent in the studio, thanks largely to Chip Douglas' steadying influence. As Douglas later said "They could hardly play. Mike could play adequate rhythm guitar. Pete could play piano but he'd make mistakes, and Micky's time on drums was erratic. He'd speed up or slow down." But the takes they managed to get down showed that they *could* do it. Rafelson and Schneider agreed with them that the Monkees could make a single together, and start recording at least some of their own tracks. So the group went back into the studio, with Douglas producing -- and with Lester Sill from the music publishers there to supervise -- and cut finished versions of the two songs. This time the lineup was Nesmith on guitar, Tork on electric harpsichord -- Tork had always been a fan of Bach, and would in later years perform Bach pieces as his solo spot in Monkees shows -- Dolenz on drums, London on bass, and Jones on tambourine: [Excerpt: The Monkees, "The Girl I Knew Somewhere (first recorded version)"] But while this was happening, Kirshner had been trying to get new Monkees material recorded without them -- he'd not yet agreed to having the group play on their own records. Three days after the sessions for "All of Your Toys" and "The Girl I Knew Somewhere", sessions started in New York for an entire album's worth of new material, produced by Jeff Barry and Denny Randell, and largely made by the same Red Bird Records team who had made "I'm a Believer" -- the same musicians who in various combinations had played on everything from "Sherry" by the Four Seasons to "Like a Rolling Stone" by Dylan to "Leader of the Pack", and with songs by Neil Diamond, Jeff Barry and Ellie Greenwich, Leiber and Stoller, and the rest of the team of songwriters around Red Bird. But at this point came the meeting we talked about towards the end of the "Last Train to Clarksville" episode, in which Nesmith punched a hole in a hotel wall in frustration at what he saw as Kirshner's obstinacy. Kirshner didn't want to listen to the recordings the group had made. He'd promised Jeff Barry and Neil Diamond that if "I'm a Believer" went to number one, Barry would get to produce, and Diamond write, the group's next single. Chip Douglas wasn't a recognised producer, and he'd made this commitment. But the group needed a new single out. A compromise was offered, of sorts, by Kirshner -- how about if Barry flew over from New York to LA to produce the group, they'd scrap the tracks both the group and Barry had recorded, and Barry would produce new tracks for the songs he'd recorded, with the group playing on them? But that wouldn't work either. The group members were all due to go on holiday -- three of them were going to make staggered trips to the UK, partly to promote the TV series, which was just starting over here, and partly just to have a break. They'd been working sixty-plus hour weeks for months between the TV series, live performances, and the recording studio, and they were basically falling-down tired, which was one of the reasons for Nesmith's outburst in the meeting. They weren't accomplished enough musicians to cut tracks quickly, and they *needed* the break. On top of that, Nesmith and Barry had had a major falling-out at the "I'm a Believer" session, and Nesmith considered it a matter of personal integrity that he couldn't work with a man who in his eyes had insulted his professionalism. So that was out, but there was also no way Kirshner was going to let the group release a single consisting of two songs he hadn't heard, produced by a producer with no track record. At first, the group were insistent that "All of Your Toys" should be the A-side for their next single: [Excerpt: The Monkees, "All Of Your Toys"] But there was an actual problem with that which they hadn't foreseen. Bill Martin, who wrote the song, was under contract to another music publisher, and the Monkees' contracts said they needed to only record songs published by Screen Gems. Eventually, it was Micky Dolenz who managed to cut the Gordian knot -- or so everyone thought. Dolenz was the one who had the least at stake of any of them -- he was already secure as the voice of the hits, he had no particular desire to be an instrumentalist, but he wanted to support his colleagues. Dolenz suggested that it would be a reasonable compromise to put out a single with one of the pre-recorded backing tracks on one side, with him or Jones singing, and with the version of "The Girl I Knew Somewhere" that the band had recorded together on the other. That way, Kirshner and the record label would get their new single without too much delay, the group would still be able to say they'd started recording their own tracks, everyone would get some of what they wanted. So it was agreed -- though there was a further stipulation. "The Girl I Knew Somewhere" had Nesmith singing lead vocals, and up to that point every Monkees single had featured Dolenz on lead on both sides. As far as Kirshner and the other people involved in making the release decisions were concerned, that was the way things were going to continue. Everyone was fine with this -- Nesmith, the one who was most likely to object in principle, in practice realised that having Dolenz sing his song would make it more likely to be played on the radio and used in the TV show, and so increase his royalties. A vocal session was arranged in New York for Dolenz and Jones to come and cut some vocal tracks right before Dolenz and Nesmith flew over to the UK. But in the meantime, it had become even more urgent for the group to be seen to be doing their own recording. An in-depth article on the group in the Saturday Evening Post had come out, quoting Nesmith as saying "It was what Kirshner wanted to do. Our records are not our forte. I don't care if we never sell another record. Maybe we were manufactured and put on the air strictly with a lot of hoopla. Tell the world we're synthetic because, damn it, we are. Tell them the Monkees are wholly man-made overnight, that millions of dollars have been poured into this thing. Tell the world we don't record our own music. But that's us they see on television. The show is really a part of us. They're not seeing something invalid." The press immediately jumped on the band, and started trying to portray them as con artists exploiting their teenage fans, though as Nesmith later said "The press decided they were going to unload on us as being somehow illegitimate, somehow false. That we were making an attempt to dupe the public, when in fact it was me that was making the attempt to maintain the integrity. So the press went into a full-scale war against us." Tork, on the other hand, while he and Nesmith were on the same side about the band making their own records, blamed Nesmith for much of the press reaction, later saying "Michael blew the whistle on us. If he had gone in there with pride and said 'We are what we are and we have no reason to hang our heads in shame' it never would have happened." So as far as the group were concerned, they *needed* to at least go with Dolenz's suggested compromise. Their personal reputations were on the line. When Dolenz arrived at the session in New York, he was expecting to be asked to cut one vocal track, for the A-side of the next single (and presumably a new lead vocal for "The Girl I Knew Somewhere"). When he got there, though, he found that Kirshner expected him to record several vocals so that Kirshner could choose the best. That wasn't what had been agreed, and so Dolenz flat-out refused to record anything at all. Luckily for Kirshner, Jones -- who was the most co-operative member of the band -- was willing to sing a handful of songs intended for Dolenz as well as the ones he was meant to sing. So the tape of "A Little Bit Me, A Little Bit You", the song intended for the next single, was slowed down so it would be in a suitable key for Jones instead, and he recorded the vocal for that: [Excerpt: The Monkees, "A Little Bit Me, A Little Bit You"] Incidentally, while Jones recorded vocals for several more tracks at the session -- and some would later be reused as album tracks a few years down the line -- not all of the recorded tracks were used for vocals, and this later gave rise to a rumour that has been repeated as fact by almost everyone involved, though it was a misunderstanding. Kirshner's next major success after the Monkees was another made-for-TV fictional band, the Archies, and their biggest hit was "Sugar Sugar", co-written and produced by Jeff Barry: [Excerpt: The Archies, "Sugar Sugar"] Both Kirshner and the Monkees have always claimed that the Monkees were offered "Sugar, Sugar" and turned it down. To Kirshner the moral of the story was that since "Sugar, Sugar" was a massive hit, it proved his instincts right and proved that the Monkees didn't know what would make a hit. To the Monkees, on the other hand, it showed that Kirshner wanted them to do bubblegum music that they considered ridiculous. This became such an established factoid that Dolenz regularly tells the story in his live performances, and includes a version of "Sugar, Sugar" in them, rearranged as almost a torch song: [Excerpt: Micky Dolenz, "Sugar, Sugar (live)"] But in fact, "Sugar, Sugar" wasn't written until long after Kirshner and the Monkees had parted ways. But one of the songs for which a backing track was recorded but no vocals were ever completed was "Sugar Man", a song by Denny Randell and Sandy Linzer, which they would later release themselves as an unsuccessful single: [Excerpt: Linzer and Randell, "Sugar Man"] Over the years, the Monkees not recording "Sugar Man" became the Monkees not recording "Sugar, Sugar". Meanwhile, Dolenz and Nesmith had flown over to the UK to do some promotional work and relax, and Jones soon also flew over, though didn't hang out with his bandmates, preferring to spend more time with his family. Both Dolenz and Nesmith spent a lot of time hanging out with British pop stars, and were pleased to find that despite the manufactured controversy about them being a manufactured group, none of the British musicians they admired seemed to care. Eric Burdon, for example, was quoted in the Melody Maker as saying "They make very good records, I can't understand how people get upset about them. You've got to make up your minds whether a group is a record production group or one that makes live appearances. For example, I like to hear a Phil Spector record and I don't worry if it's the Ronettes or Ike and Tina Turner... I like the Monkees record as a grand record, no matter how people scream. So somebody made a record and they don't play, so what? Just enjoy the record." Similarly, the Beatles were admirers of the Monkees, especially the TV show, despite being expected to have a negative opinion of them, as you can hear in this contemporary recording of Paul McCartney answering a fan's questions: Excerpt: Paul McCartney talks about the Monkees] Both Dolenz and Nesmith hung out with the Beatles quite a bit -- they both visited Sgt. Pepper recording sessions, and if you watch the film footage of the orchestral overdubs for "A Day in the Life", Nesmith is there with all the other stars of the period. Nesmith and his wife Phyllis even stayed with the Lennons for a couple of days, though Cynthia Lennon seems to have thought of the Nesmiths as annoying intruders who had been invited out of politeness and not realised they weren't wanted. That seems plausible, but at the same time, John Lennon doesn't seem the kind of person to not make his feelings known, and Michael Nesmith's reports of the few days they stayed there seem to describe a very memorable experience, where after some initial awkwardness he developed a bond with Lennon, particularly once he saw that Lennon was a fan of Captain Beefheart, who was a friend of Nesmith, and whose Safe as Milk album Lennon was examining when Nesmith turned up, and whose music at this point bore a lot of resemblance to the kind of thing Nesmith was doing: [Excerpt: Captain Beefheart and the Magic Band, "Yellow Brick Road"] Or at least, that's how Nesmith always told the story later -- though Safe as Milk didn't come out until nearly six months later. It's possible he's conflating memories from a later trip to the UK in June that year -- where he also talked about how Lennon was the only person he'd really got on with on the previous trip, because "he's a compassionate person. I know he has a reputation for being caustic, but it is only a cover for the depth of his feeling." Nesmith and Lennon apparently made some experimental music together during the brief stay, with Nesmith being impressed by Lennon's Mellotron and later getting one himself. Dolenz, meanwhile, was spending more time with Paul McCartney, and with Spencer Davis of his current favourite band The Spencer Davis Group. But even more than that he was spending a lot of time with Samantha Juste, a model and TV presenter whose job it was to play the records on Top of the Pops, the most important British TV pop show, and who had released a record herself a couple of months earlier, though it hadn't been a success: [Excerpt: Samantha Juste, "No-one Needs My Love Today"] The two quickly fell deeply in love, and Juste would become Dolenz's first wife the next year. When Nesmith and Dolenz arrived back in the US after their time off, they thought the plan was still to release "A Little Bit Me, A Little Bit You" with "The Girl I Knew Somewhere" on the B-side. So Nesmith was horrified to hear on the radio what the announcer said were the two sides of the new Monkees single -- "A Little Bit Me, A Little Bit You", and "She Hangs Out", another song from the Jeff Barry sessions with a Davy vocal. Don Kirshner had gone ahead and picked two songs from the Jeff Barry sessions and delivered them to RCA Records, who had put a single out in Canada. The single was very, *very* quickly withdrawn once the Monkees and the TV producers found out, and only promo copies seem to circulate -- rather than being credited to "the Monkees", both sides are credited to '"My Favourite Monkee" Davy Jones Sings'. The record had been withdrawn, but "A Little Bit Me, A Little Bit You" was clearly going to have to be the single. Three days after the record was released and pulled, Nesmith, Dolenz and Tork were back in the studio with Chip Douglas, recording a new B-side -- a new version of "The Girl I Knew Somewhere", this time with Dolenz on vocals. As Jones was still in the UK, John London added the tambourine part as well as the bass: [Excerpt: The Monkees, "The Girl I Knew Somewhere (single version)"] As Nesmith told the story a couple of months later, "Bert said 'You've got to get this thing in Micky's key for Micky to sing it.' I said 'Has Donnie made a commitment? I don't want to go there and break my neck in order to get this thing if Donnie hasn't made a commitment. And Bert refused to say anything. He said 'I can't tell you anything except just go and record.'" What had happened was that the people at Columbia had had enough of Kirshner. As far as Rafelson and Schneider were concerned, the real problem in all this was that Kirshner had been making public statements taking all the credit for the Monkees' success and casting himself as the puppetmaster. They thought this was disrespectful to the performers -- and unstated but probably part of it, that it was disrespectful to Rafelson and Schneider for their work putting the TV show together -- and that Kirshner had allowed his ego to take over. Things like the liner notes for More of the Monkees which made Kirshner and his stable of writers more important than the performers had, in the view of the people at Raybert Productions, put the Monkees in an impossible position and forced them to push back. Schneider later said "Kirshner had an ego that transcended everything else. As a matter of fact, the press issue was probably magnified a hundred times over because of Kirshner. He wanted everybody thinking 'Hey, he's doing all this, not them.' In the end it was very self-destructive because it heightened the whole press issue and it made them feel lousy." Kirshner was out of a job, first as the supervisor for the Monkees and then as the head of Columbia/Screen Gems Music. In his place came Lester Sill, the man who had got Leiber and Stoller together as songwriters, who had been Lee Hazelwood's production partner on his early records with Duane Eddy, and who had been the "Les" in Philles Records until Phil Spector pushed him out. Sill, unlike Kirshner, was someone who was willing to take a back seat and just be a steadying hand where needed. The reissued version of "A Little Bit Me, A Little Bit You" went to number two on the charts, behind "Somethin' Stupid" by Frank and Nancy Sinatra, produced by Sill's old colleague Hazelwood, and the B-side, "The Girl I Knew Somewhere", also charted separately, making number thirty-nine on the charts. The Monkees finally had a hit that they'd written and recorded by themselves. Pinocchio had become a real boy: [Excerpt: The Monkees, "The Girl I Knew Somewhere (single version)"] At the same session at which they'd recorded that track, the Monkees had recorded another Nesmith song, "Sunny Girlfriend", and that became the first song to be included on a new album, which would eventually be named Headquarters, and on which all the guitar, keyboard, drums, percussion, banjo, pedal steel, and backing vocal parts would for the first time be performed by the Monkees themselves. They brought in horn and string players on a couple of tracks, and the bass was variously played by John London, Chip Douglas, and Jerry Yester as Tork was more comfortable on keyboards and guitar than bass, but it was in essence a full band album. Jones got back the next day, and sessions began in earnest. The first song they recorded after his return was "Mr. Webster", a Boyce and Hart song that had been recorded with the Candy Store Prophets in 1966 but hadn't been released. This was one of three tracks on the album that were rerecordings of earlier outtakes, and it's fascinating to compare them, to see the strengths and weaknesses of both approaches. In the case of "Mr. Webster", the instrumental backing on the earlier version is definitely slicker: [Excerpt: The Monkees, "Mr. Webster (1st Recorded Version)"] But at the same time, there's a sense of dynamics in the group recording that's lacking from the original, like the backing dropping out totally on the word "Stop" -- a nice touch that isn't in the original. I am only speculating, but this may have been inspired by the similar emphasis on the word "stop" in "For What It's Worth" by Tork's old friend Stephen Stills: [Excerpt: The Monkees, "Mr. Webster (album version)"] Headquarters was a group album in another way though -- for the first time, Tork and Dolenz were bringing in songs they'd written -- Nesmith of course had supplied songs already for the two previous albums. Jones didn't write any songs himself yet, though he'd start on the next album, but he was credited with the rest of the group on two joke tracks, "Band 6", a jam on the Merrie Melodies theme “Merrily We Roll Along”, and "Zilch", a track made up of the four band members repeating nonsense phrases: [Excerpt: The Monkees, "Zilch"] Oddly, that track had a rather wider cultural resonance than a piece of novelty joke album filler normally would. It's sometimes covered live by They Might Be Giants: [Excerpt: They Might Be Giants, "Zilch"] While the rapper Del Tha Funkee Homosapien had a worldwide hit in 1991 with "Mistadobalina", built around a sample of Peter Tork from the track: [Excerpt: Del Tha Funkee Homosapien,"Mistadobalina"] Nesmith contributed three songs, all of them combining Beatles-style pop music and country influences, none more blatantly than the opening track, "You Told Me", which starts off parodying the opening of "Taxman", before going into some furious banjo-picking from Tork: [Excerpt: The Monkees, "You Told Me"] Tork, meanwhile, wrote "For Pete's Sake" with his flatmate of the time, and that became the end credits music for season two of the TV series: [Excerpt: The Monkees, "For Pete's Sake"] But while the other band members made important contributions, the track on the album that became most popular was the first song of Dolenz's to be recorded by the group. The lyrics recounted, in a semi-psychedelic manner, Dolenz's time in the UK, including meeting with the Beatles, who the song refers to as "the four kings of EMI", but the first verse is all about his new girlfriend Samantha Juste: [Excerpt: The Monkees, "Randy Scouse Git"] The song was released as a single in the UK, but there was a snag. Dolenz had given the song a title he'd heard on an episode of the BBC sitcom Til Death Us Do Part, which he'd found an amusing bit of British slang. Til Death Us Do Part was written by Johnny Speight, a writer with Associated London Scripts, and was a family sitcom based around the character of Alf Garnett, an ignorant, foul-mouthed reactionary bigot who hated young people, socialists, and every form of minority, especially Black people (who he would address by various slurs I'm definitely not going to repeat here), and was permanently angry at the world and abusive to his wife. As with another great sitcom from ALS, Steptoe and Son, which Norman Lear adapted for the US as Sanford and Son, Til Death Us Do Part was also adapted by Lear, and became All in the Family. But while Archie Bunker, the character based on Garnett in the US version, has some redeeming qualities because of the nature of US network sitcom, Alf Garnett has absolutely none, and is as purely unpleasant and unsympathetic a character as has ever been created -- which sadly didn't stop a section of the audience from taking him as a character to be emulated. A big part of the show's dynamic was the relationship between Garnett and his socialist son-in-law from Liverpool, played by Anthony Booth, himself a Liverpudlian socialist who would later have a similarly contentious relationship with his own decidedly non-socialist son-in-law, the future Prime Minister Tony Blair. Garnett was as close to foul-mouthed as was possible on British TV at the time, with Speight regularly negotiating with the BBC bosses to be allowed to use terms that were not otherwise heard on TV, and used various offensive terms about his family, including referring to his son-in-law as a "randy Scouse git". Dolenz had heard the phrase on TV, had no idea what it meant but loved the sound of it, and gave the song that title. But when the record came out in the UK, he was baffled to be told that the phrase -- which he'd picked up from a BBC TV show, after all -- couldn't be said normally on BBC broadcasts, so they would need to retitle the track. The translation into American English that Dolenz uses in his live shows to explain this to Americans is to say that "randy Scouse git" means "horny Liverpudlian putz", and that's more or less right. Dolenz took the need for an alternative title literally, and so the track that went to number two in the UK charts was titled "Alternate Title": [Excerpt: The Monkees, "Randy Scouse Git"] The album itself went to number one in both the US and the UK, though it was pushed off the top spot almost straight away by the release of Sgt Pepper. As sessions for Headquarters were finishing up, the group were already starting to think about their next album -- season two of the TV show was now in production, and they'd need to keep generating yet more musical material for it. One person they turned to was a friend of Chip Douglas'. Before the Turtles, Douglas had been in the Modern Folk Quartet, and they'd recorded "This Could Be the Night", which had been written for them by Harry Nilsson: [Excerpt: The MFQ, "This Could Be The Night"] Nilsson had just started recording his first solo album proper, at RCA Studios, the same studios that the Monkees were using. At this point, Nilsson still had a full-time job in a bank, working a night shift there while working on his album during the day, but Douglas knew that Nilsson was a major talent, and that assessment was soon shared by the group when Nilsson came in to demo nine of his songs for them: [Excerpt: Harry Nilsson, "1941 (demo)"] According to Nilsson, Nesmith said after that demo session "You just sat down there and blew our minds. We've been looking for songs, and you just sat down and played an *album* for us!" While the Monkees would attempt a few of Nilsson's songs over the next year or so, the first one they chose to complete was the first track recorded for their next album, Pisces, Aquarius, Capricorn, and Jones, Ltd., a song which from the talkback at the beginning of the demo was always intended for Davy Jones to sing: [Excerpt: Harry Nilsson, "Cuddly Toy (demo)"] Oddly, given his romantic idol persona, a lot of the songs given to Jones to sing were anti-romantic, and often had a cynical and misogynistic edge. This had started with the first album's "I Want to Be Free", but by Pisces, it had gone to ridiculous extremes. Of the four songs Jones sings on the album, "Hard to Believe", the first song proper that he ever co-wrote, is a straightforward love  song, but the other three have a nasty edge to them. A remade version of Jeff Barry's "She Hangs Out" is about an underaged girl, starts with the lines "How old d'you say your sister was? You know you'd better keep an eye on her" and contains lines like "she could teach you a thing or two" and "you'd better get down here on the double/before she gets her pretty little self in trouble/She's so fine". Goffin and King's "Star Collector" is worse, a song about a groupie with lines like "How can I love her, if I just don't respect her?" and "It won't take much time, before I get her off my mind" But as is so often the way, these rather nasty messages were wrapped up in some incredibly catchy music, and that was even more the case with "Cuddly Toy", a song which at least is more overtly unpleasant -- it's very obvious that Nilsson doesn't intend the protagonist of the song to be at all sympathetic, which is possibly not the case in "She Hangs Out" or "Star Collector". But the character Jones is singing is *viciously* cruel here, mocking and taunting a girl who he's coaxed to have sex with him, only to scorn her as soon as he's got what he wanted: [Excerpt: The Monkees, "Cuddly Toy"] It's a great song if you like the cruelest of humour combined with the cheeriest of music, and the royalties from the song allowed Nilsson to quit the job at the bank. "Cuddly Toy", and Chip Douglas and Bill Martin's song "The Door Into Summer", were recorded the same way as Headquarters, with the group playing *as a group*, but as recordings for the album progressed the group fell into a new way of working, which Peter Tork later dubbed "mixed-mode". They didn't go back to having tracks cut for them by session musicians, apart from Jones' song "Hard to Believe", for which the entire backing track was created by one of his co-writers overdubbing himself, but Dolenz, who Tork always said was "incapable of repeating a triumph", was not interested in continuing to play drums in the studio. Instead, a new hybrid Monkees would perform most of the album. Nesmith would still play the lead guitar, Tork would provide the keyboards, Chip Douglas would play all the bass and add some additional guitar, and "Fast" Eddie Hoh, the session drummer who had been a touring drummer with the Modern Folk Quartet and the Mamas and the Papas, among others, would play drums on the records, with Dolenz occasionally adding a bit of acoustic guitar. And this was the lineup that would perform on the hit single from Pisces. "Pleasant Valley Sunday" was written by Gerry Goffin and Carole King, who had written several songs for the group's first two albums (and who would continue to provide them with more songs). As with their earlier songs for the group, King had recorded a demo: [Excerpt: Carole King, "Pleasant Valley Sunday (demo)"] Previously -- and subsequently -- when presented with a Carole King demo, the group and their producers would just try to duplicate it as closely as possible, right down to King's phrasing. Bob Rafelson has said that he would sometimes hear those demos and wonder why King didn't just make records herself -- and without wanting to be too much of a spoiler for a few years' time, he wasn't the only one wondering that. But this time, the group had other plans. In particular, they wanted to make a record with a strong guitar riff to it -- Nesmith has later referenced their own "Last Train to Clarksville" and the Beatles' "Day Tripper" as two obvious reference points for the track. Douglas came up with a riff and taught it to Nesmith, who played it on the track: [Excerpt: The Monkees, "Pleasant Valley Sunday"] The track also ended with the strongest psychedelic -- or "psycho jello" as the group would refer to it -- freak out that they'd done to this point, a wash of saturated noise: [Excerpt: The Monkees, "Pleasant Valley Sunday"] King was unhappy with the results, and apparently glared at Douglas the next time they met. This may be because of the rearrangement from her intentions, but it may also be for a reason that Douglas later suspected. When recording the track, he hadn't been able to remember all the details of her demo, and in particular he couldn't remember exactly how the middle eight went. This is the version on King's demo: [Excerpt: Carole King, "Pleasant Valley Sunday (demo)"] While here's how the Monkees rendered it, with slightly different lyrics: [Excerpt: The Monkees, "Pleasant Valley Sunday"] I also think there's a couple of chord changes in the second verse that differ between King and the Monkees, but I can't be sure that's not my ears deceiving me. Either way, though, the track was a huge success, and became one of the group's most well-known and well-loved tracks, making number three on the charts behind "All You Need is Love" and "Light My Fire". And while it isn't Dolenz drumming on the track, the fact that it's Nesmith playing guitar and Tork on the piano -- and the piano part is one of the catchiest things on the record -- meant that they finally had a proper major hit on which they'd played (and it seems likely that Dolenz contributed some of the acoustic rhythm guitar on the track, along with Bill Chadwick, and if that's true all three Monkee instrumentalists did play on the track). Pisces is by far and away the best album the group ever made, and stands up well against anything else that came out around that time. But cracks were beginning to show in the group. In particular, the constant battle to get some sort of creative input had soured Nesmith on the whole project. Chip Douglas later said "When we were doing Pisces Michael would come in with three songs; he knew he had three songs coming on the album. He knew that he was making a lot of money if he got his original songs on there. So he'd be real enthusiastic and cooperative and real friendly and get his three songs done. Then I'd say 'Mike, can you come in and help on this one we're going to do with Micky here?' He said 'No, Chip, I can't. I'm busy.' I'd say, 'Mike, you gotta come in the studio.' He'd say 'No Chip, I'm afraid I'm just gonna have to be ornery about it. I'm not comin' in.' That's when I started not liking Mike so much any more." Now, as is so often the case with the stories from this period, this appears to be inaccurate in the details -- Nesmith is present on every track on the album except Jones' solo "Hard to Believe" and Tork's spoken-word track "Peter Percival Patterson's Pet Pig Porky", and indeed this is by far the album with *most* Nesmith input, as he takes five lead vocals, most of them on songs he didn't write. But Douglas may well be summing up Nesmith's *attitude* to the band at this point -- listening to Nesmith's commentaries on episodes of the TV show, by this point he felt disengaged from everything that was going on, like his opinions weren't welcome. That said, Nesmith did still contribute what is possibly the single most innovative song the group ever did, though the innovations weren't primarily down to Nesmith: [Excerpt: The Monkees, "Daily Nightly"] Nesmith always described the lyrics to "Daily Nightly" as being about the riots on Sunset Strip, but while they're oblique, they seem rather to be about streetwalking sex workers -- though it's perhaps understandable that Nesmith would never admit as much. What made the track innovative was the use of the Moog synthesiser. We talked about Robert Moog in the episode on "Good Vibrations" -- he had started out as a Theremin manufacturer, and had built the ribbon synthesiser that Mike Love played live on "Good Vibrations", and now he was building the first commercially available easily usable synthesisers. Previously, electronic instruments had either been things like the clavioline -- a simple monophonic keyboard instrument that didn't have much tonal variation -- or the RCA Mark II, a programmable synth that could make a wide variety of sounds, but took up an entire room and was programmed with punch cards. Moog's machines were bulky but still transportable, and they could be played in real time with a keyboard, but were still able to be modified to make a wide variety of different sounds. While, as we've seen, there had been electronic keyboard instruments as far back as the 1930s, Moog's instruments were for all intents and purposes the first synthesisers as we now understand the term. The Moog was introduced in late spring 1967, and immediately started to be used for making experimental and novelty records, like Hal Blaine's track "Love In", which came out at the beginning of June: [Excerpt: Hal Blaine, "Love In"] And the Electric Flag's soundtrack album for The Trip, the drug exploitation film starring Peter Fonda and Dennis Hopper and written by Jack Nicholson we talked about last time, when Arthur Lee moved into a house used in the film: [Excerpt: The Electric Flag, "Peter's Trip"] In 1967 there were a total of six albums released with a Moog on them (as well as one non-album experimental single). Four of the albums were experimental or novelty instrumental albums of this type. Only two of them were rock albums -- Strange Days by the Doors, and Pisces, Aquarius, Capricorn, & Jones Ltd by the Monkees. The Doors album was released first, but I believe the Monkees tracks were recorded before the Doors overdubbed the Moog on the tracks on their album, though some session dates are hard to pin down exactly. If that's the case it would make the Monkees the very first band to use the Moog on an actual rock record (depending on exactly how you count the Trip soundtrack -- this gets back again to my old claim that there's no first anything). But that's not the only way in which "Daily Nightly" was innovative. All the first seven albums to feature the Moog featured one man playing the instrument -- Paul Beaver, the Moog company's West Coast representative, who played on all the novelty records by members of the Wrecking Crew, and on the albums by the Electric Flag and the Doors, and on The Notorious Byrd Brothers by the Byrds, which came out in early 1968. And Beaver did play the Moog on one track on Pisces, "Star Collector". But on "Daily Nightly" it's Micky Dolenz playing the Moog, making him definitely the second person ever to play a Moog on a record of any kind: [Excerpt: The Monkees, "Daily Nightly"] Dolenz indeed had bought his own Moog -- widely cited as being the second one ever in private ownership, a fact I can't check but which sounds plausible given that by 1970 less than thirty musicians owned one -- after seeing Beaver demonstrate the instrument at the Monterey Pop Festival. The Monkees hadn't played Monterey, but both Dolenz and Tork had attended the festival -- if you watch the famous film of it you see Dolenz and his girlfriend Samantha in the crowd a *lot*, while Tork introduced his friends in the Buffalo Springfield. As well as discovering the Moog there, Dolenz had been astonished by something else: [Excerpt: The Jimi Hendrix Experience, "Hey Joe (Live at Monterey)"] As Peter Tork later put it "I didn't get it. At Monterey Jimi followed the Who and the Who busted up their things and Jimi bashed up his guitar. I said 'I just saw explosions and destruction. Who needs it?' But Micky got it. He saw the genius and went for it." Dolenz was astonished by Hendrix, and insisted that he should be the support act on the group's summer tour. This pairing might sound odd on paper, but it made more sense at the time than it might sound. The Monkees were by all accounts a truly astonishing live act at this point -- Frank Zappa gave them a backhanded compliment by saying they were the best-sounding band in LA, before pointing out that this was because they could afford the best equipment. That *was* true, but it was also the case that their TV experience gave them a different attitude to live performance than anyone else performing at the time. A handful of groups had started playing stadiums, most notably of course the Beatles, but all of these acts had come up through playing clubs and theatres and essentially just kept doing their old act with no thought as to how the larger space worked, except to put their amps through a louder PA. The Monkees, though, had *started* in stadiums, and had started out as mass entertainers, and so their live show was designed from the ground up to play to those larger spaces. They had costume changes, elaborate stage sets -- like oversized fake Vox amps they burst out of at the start of the show -- a light show and a screen on which film footage was projected. In effect they invented stadium performances as we now know them. Nesmith later said "In terms of putting on a show there was never any question in my mind, as far as the rock 'n' roll era is concerned, that we put on probably the finest rock and roll stage show ever. It was beautifully lit, beautifully costumed, beautifully produced. I mean, for Christ sakes, it was practically a revue." The Monkees were confident enough in their stage performance that at a recent show at the Hollywood Bowl they'd had Ike and Tina Turner as their opening act -- not an act you'd want to go on after if you were going to be less than great, and an act from very similar chitlin' circuit roots to Jimi Hendrix. So from their perspective, it made sense. If you're going to be spectacular yourselves, you have no need to fear a spectacular opening act. Hendrix was less keen -- he was about the only musician in Britain who *had* made disparaging remarks about the Monkees -- but opening for the biggest touring band in the world isn't an opportunity you pass up, and again it isn't such a departure as one might imagine from the bills he was already playing. Remember that Monterey is really the moment when "pop" and "rock" started to split -- the split we've been talking about for a few months now -- and so the Jimi Hendrix Experience were still considered a pop band, and as such had played the normal British pop band package tours. In March and April that year, they'd toured on a bill with the Walker Brothers, Cat Stevens, and Englebert Humperdinck -- and Hendrix had even filled in for Humperdinck's sick guitarist on one occasion. Nesmith, Dolenz, and Tork all loved having Hendrix on tour with them, just because it gave them a chance to watch him live every night (Jones, whose musical tastes were more towards Anthony Newley, wasn't especially impressed), and they got on well on a personal level -- there are reports of Hendrix jamming with Dolenz and Steve Stills in hotel rooms. But there was one problem, as Dolenz often recreates in his live act: [Excerpt: Micky Dolenz, "Purple Haze"] The audience response to Hendrix from the Monkees' fans was so poor that by mutual agreement he left the tour after only a handful of shows. After the summer tour, the group went back to work on the TV show and their next album. Or, rather, four individuals went back to work. By this point, the group had drifted apart from each other, and from Douglas -- Tork, the one who was still keenest on the idea of the group as a group, thought that Pisces, good as it was, felt like a Chip Douglas album rather than a Monkees album. The four band members had all by now built up their own retinues of hangers-on and collaborators, and on set for the TV show they were now largely staying with their own friends rather than working as a group. And that was now reflected in their studio work. From now on, rather than have a single producer working with them as a band, the four men would work as individuals, producing their own tracks, occasionally with outside help, and bringing in session musicians to work on them. Some tracks from this point on would be genuine Monkees -- plural -- tracks, and all tracks would be credited as "produced by the Monkees", but basically the four men would from now on be making solo tracks which would be combined into albums, though Dolenz and Jones would occasionally guest on tracks by the others, especially when Nesmith came up with a song he thought would be more suited to their voices. Indeed the first new recording that happened after the tour was an entire Nesmith solo album -- a collection of instrumental versions of his songs, called The Wichita Train Whistle Sings, played by members of the Wrecking Crew and a few big band instrumentalists, arranged by Shorty Rogers. [Excerpt: Michael Nesmith, "You Told Me"] Hal Blaine in his autobiography claimed that the album was created as a tax write-off for Nesmith, though Nesmith always vehemently denied it, and claimed it was an artistic experiment, though not one that came off well. Released alongside Pisces, though, came one last group-recorded single. The B-side, "Goin' Down", is a song that was credited to the group and songwriter Diane Hildebrand, though in fact it developed from a jam on someone else's song. Nesmith, Tork, Douglas and Hoh attempted to record a backing track for a version of Mose Allison's jazz-blues standard "Parchman Farm": [Excerpt: Mose Allison, "Parchman Farm"] But after recording it, they'd realised that it didn't sound that much like the original, and that all it had in common with it was a chord sequence. Nesmith suggested that rather than put it out as a cover version, they put a new melody and lyrics to it, and they commissioned Hildebrand, who'd co-written songs for the group before, to write them, and got Shorty Rogers to write a horn arrangement to go over their backing track. The eventual songwriting credit was split five ways, between Hildebrand and the four Monkees -- including Davy Jones who had no involvement with the recording, but not including Douglas or Hoh. The lyrics Hildebrand came up with were a funny patter song about a failed suicide, taken at an extremely fast pace, which Dolenz pulls off magnificently: [Excerpt: The Monkees, "Goin' Down"] The A-side, another track with a rhythm track by Nesmith, Tork, Douglas, and Hoh, was a song that had been written by John Stewart of the Kingston Trio, who you may remember from the episode on "San Francisco" as being a former songwriting partner of John Phillips. Stewart had written the song as part of a "suburbia trilogy", and was not happy with the finished product. He said later "I remember going to bed thinking 'All I did today was write 'Daydream Believer'." Stewart used to include the song in his solo sets, to no great approval, and had shopped the song around to bands like We Five and Spanky And Our Gang, who had both turned it down. He was unhappy with it himself, because of the chorus: [Excerpt: John Stewart, "Daydream Believer"] Stewart was ADHD, and the words "to a", coming as they did slightly out of the expected scansion for the line, irritated him so greatly that he thought the song could never be recorded by anyone, but when Chip Douglas asked if he had any songs, he suggested that one. As it turned out, there was a line of lyric that almost got the track rejected, but it wasn't the "to a". Stewart's original second verse went like this: [Excerpt: John Stewart, "Daydream Believer"] RCA records objected to the line "now you know how funky I can be" because funky, among other meanings, meant smelly, and they didn't like the idea of Davy Jones singing about being smelly. Chip Douglas phoned Stewart to tell him that they were insisting on changing the line, and suggesting "happy" instead. Stewart objected vehemently -- that change would reverse the entire meaning of the line, and it made no sense, and what about artistic integrity? But then, as he later said "He said 'Let me put it to you this way, John. If he can't sing 'happy' they won't do it'. And I said 'Happy's working real good for me now.' That's exactly what I said to him." He never regretted the decision -- Stewart would essentially live off the royalties from "Daydream Believer" for the rest of his life -- though he seemed always to be slightly ambivalent and gently mocking about the song in his own performances, often changing the lyrics slightly: [Excerpt: John Stewart, "Daydream Believer"] The Monkees had gone into the studio and cut the track, again with Tork on piano, Nesmith on guitar, Douglas on bass, and Hoh on drums. Other than changing "funky" to "happy", there were two major changes made in the studio. One seems to have been Douglas' idea -- they took the bass riff from the pre-chorus to the Beach Boys' "Help Me Rhonda": [Excerpt: The Beach Boys, "Help Me Rhonda"] and Douglas played that on the bass as the pre-chorus for "Daydream Believer", with Shorty Rogers later doubling it in the horn arrangement: [Excerpt: The Monkees, "Daydream Believer"] And the other is the piano intro, which also becomes an instrumental bridge, which was apparently the invention of Tork, who played it: [Excerpt: The Monkees, "Daydream Believer"] The track went to number one, becoming the group's third and final number one hit, and their fifth of six million-sellers. It was included on the next album, The Birds, The Bees, and the Monkees, but that piano part would be Tork's only contribution to the album. As the group members were all now writing songs and cutting their own tracks, and were also still rerecording the odd old unused song from the initial 1966 sessions, The Birds, The Bees, and the Monkees was pulled together from a truly astonishing amount of material. The expanded triple-CD version of the album, now sadly out of print, has multiple versions of forty-four different songs, ranging from simple acoustic demos to completed tracks, of which twelve were included on the final album. Tork did record several tracks during the sessions, but he spent much of the time recording and rerecording a single song, "Lady's Baby", which eventually stretched to five different recorded versions over multiple sessions in a five-month period. He racked up huge studio bills on the track, bringing in Steve Stills and Dewey Martin of the Buffalo Springfield, and Buddy Miles, to try to help him capture the sound in his head, but the various takes are almost indistinguishable from one another, and so it's difficult to see what the problem was: [Excerpt: The Monkees, "Lady's Baby"] Either way, the track wasn't finished by the time the album came out, and the album that came out was a curiously disjointed and unsatisfying effort, a mixture of recycled old Boyce and Hart songs, some songs by Jones, who at this point was convinced that "Broadway-rock" was going to be the next big thing and writing songs that sounded like mediocre showtunes, and a handful of experimental songs written by Nesmith. You could pull together a truly great ten- or twelve-track album from the masses of material they'd recorded, but the one that came out was mediocre at best, and became the first Monkees album not to make number one -- though it still made number three and sold in huge numbers. It also had the group's last million-selling single on it, "Valleri", an old Boyce and Hart reject from 1966 that had been remade with Boyce and Hart producing and their old session players, though the production credit was still now given to the Monkees: [Excerpt: The Monkees, "Valleri"] Nesmith said at the time he considered it the worst song ever written. The second season of the TV show was well underway, and despite -- or possibly because of -- the group being clearly stoned for much of the filming, it contains a lot of the episodes that fans of the group think of most fondly, including several episodes that break out of the formula the show had previously established in interesting ways. Tork and Dolenz were both also given the opportunity to direct episodes, and Dolenz also co-wrote his episode, which ended up being the last of the series. In another sign of how the group were being given more creative control over the show, the last three episodes of the series had guest appearances by favourite musicians of the group members who they wanted to give a little exposure to, and those guest appearances sum up the character of the band members remarkably well. Tork, for whatever reason, didn't take up this option, but the other three did. Jones brought on his friend Charlie Smalls, who would later go on to write the music for the Broadway musical The Wiz, to demonstrate to Jones the difference between Smalls' Black soul and Jones' white soul: [Excerpt: Davy Jones and Charlie Smalls] Nesmith, on the other hand, brought on Frank Zappa. Zappa put on Nesmith's Monkee shirt and wool hat and pretended to be Nesmith, and interviewed Nesmith with a false nose and moustache pretending to be Zappa, as they both mercilessly mocked the previous week's segment with Jones and Smalls: [Excerpt: Michael Nesmith and Frank Zappa] Nesmith then "conducted" Zappa as Zappa used a sledgehammer to "play" a car, parodying his own appearance on the Steve Allen Show playing a bicycle, to the presumed bemusement of the Monkees' fanbase who would not be likely to remember a one-off performance on a late-night TV show from five years earlier. And the final thing ever to be shown on an episode of the Monkees didn't feature any of the Monkees at all. Micky Dolenz, who directed and co-wrote that episode, about an evil wizard who was using the power of a space plant (named after the group's slang for dope) to hypnotise people through the TV, chose not to interact with his guest as the others had, but simply had Tim Buckley perform a solo acoustic version of his then-unreleased song "Song to the Siren": [Excerpt: Tim Buckley, "Song to the Siren"] By the end of the second season, everyone knew they didn't want to make another season of the TV show. Instead, they were going to do what Rafelson and Schneider had always wanted, and move into film. The planning stages for the film, which was initially titled Changes but later titled Head -- so that Rafelson and Schneider could bill their next film as "From the guys who gave you Head" -- had started the previous summer, before the sessions that produced The Birds, The Bees, and the Monkees. To write the film, the group went off with Rafelson and Schneider for a short holiday, and took with them their mutual friend Jack Nicholson. Nicholson was at this time not the major film star he later became. Rather he was a bit-part actor who was mostly associated with American International Pictures, the ultra-low-budget film company that has come up on several occasions in this podcast. Nicholson had appeared mostly in small roles, in films like The Little Shop of Horrors: [Excerpt: The Little Shop of Horrors] He'd appeared in multiple films made by Roger Corman, often appearing with Boris Karloff, and by Monte Hellman, but despite having been a working actor for a decade, his acting career was going nowhere, and by this point he had basically given up on the idea of being an actor, and had decided to start working behind the camera. He'd written the scripts for a few of the low-budget films he'd appeared in, and he'd recently scripted The Trip, the film we mentioned earlier: [Excerpt: The Trip trailer] So the group, Rafelson, Schneider, and Nicholson all went away for a weekend, and they all got extremely stoned, took acid, and talked into a tape recorder for hours on end. Nicholson then transcribed those recordings, cleaned them up, and structured the worthwhile ideas into something quite remarkable: [Excerpt: The Monkees, "Ditty Diego"] If the Monkees TV show had been inspired by the Marx Brothers and Three Stooges, and by Richard Lester's directorial style, the only precursor I can find for Head is in the TV work of Lester's colleague Spike Milligan, but I don't think there's any reasonable way in which Nicholson or anyone else involved could have taken inspiration from Milligan's series Q.  But what they ended up with is something that resembles, more than anything else, Monty Python's Flying Circus, a TV series that wouldn't start until a year after Head came out. It's a series of ostensibly unconnected sketches, linked by a kind of dream logic, with characters wandering from one loose narrative into a totally different one, actors coming out of character on a regular basis, and no attempt at a coherent narrative. It contains regular examples of channel-zapping, with excerpts from old films being spliced in, and bits of news footage juxtaposed with comedy sketches and musical performances in ways that are sometimes thought-provoking, sometimes distasteful, and occasionally both -- as when a famous piece of footage of a Vietnamese prisoner of war being shot in the head hard-cuts to screaming girls in the audience at a Monkees concert, a performance which ends with the girls tearing apart the group and revealing that they're really just cheap-looking plastic mannequins. The film starts, and ends, with the Monkees themselves attempting suicide, jumping off a bridge into the ocean -- but the end reveals that in fact the ocean they're in is just water in a glass box, and they're trapped in it. And knowing this means that when you watch the film a second time, you find that it does have a story. The Monkees are trapped in a box which in some ways represents life, the universe, and one's own mind, and in other ways represents the TV and their TV careers. Each of them is trying in his own way to escape, and each ends up trapped by his own limitations, condemned to start the cycle over and over again. The film features parodies of popular film genres like the boxing film (Davy is supposed to throw a fight with Sonny Liston at the instruction of gangsters), the Western, and the war film, but huge chunks of the film take place on a film studio backlot, and characters from one segment reappear in another, often commenting negatively on the film or the band, as when Frank Zappa as a critic calls Davy Jones' soft-shoe routine to a Harry Nilsson song "very white", or when a canteen worker in the studio calls the group "God's gift to the eight-year-olds". The film is constantly deconstructing and commenting on itself and the filmmaking process -- Tork hits that canteen worker, whose wig falls off revealing the actor playing her to be a man, and then it's revealed that the "behind the scenes" footage is itself scripted, as director Bob Rafelson and scriptwriter Jack Nicholson come into frame and reassure Tork, who's concerned that hitting a woman would be bad for his image. They tell him they can always cut it from the finished film if it doesn't work. While "Ditty Diego", the almost rap rewriting of the Monkees theme we heard earlier, sets out a lot of how the film asks to be interpreted and how it works narratively, the *spiritual* and thematic core of the film is in another song, Tork's "Long Title (Do I Have to Do This All Over Again?)", which in later solo performances Tork would give the subtitle "The Karma Blues": [Excerpt: The Monkees, "Long Title (Do I Have To Do This All Over Again?)"] Head is an extraordinary film, and one it's impossible to sum up in anything less than an hour-long episode of its own. It's certainly not a film that's to everyone's taste, and not every aspect of it works -- it is a film that is absolutely of its time, in ways that are both good and bad. But it's one of the most inventive things ever put out by a major film studio, and it's one that rightly secured the Monkees a certain amount of cult credibility over the decades. The soundtrack album is a return to form after the disappointing Birds, Bees, too. Nicholson put the album together, linking the eight songs in the film with collages of dialogue and incidental music, repurposing and recontextualising the dialogue to create a new experience, one that people have compared with Frank Zappa's contemporaneous We're Only In It For The Money, though while t

Jumbo Ep:513 - 27.01.23 - My Ears Got Vacuumed!On Todays Show: What Day Is It? Ear Vacuumed, Very Weezy, Paranormal Investigators, Spiderman Costume, Arch Rivals Mike, Bill Oddie, No:1 In the Country, Brett's Birthday, Old Time Radio Podcast, Wrestling Academy, Patreons.Support me at:www.patreon.com/Jumbowww.buymeacoffee.com/jumbowww.jumbopodcast.comYou can listen on Spotify, Stitcher, Apple Podcasts, Spreaker and many others.

We are joined by current Bangor RFC assistant coach, Andrew Baston who talks all things North Wales rugby, his Barbarians experience, his hub officer role and he also selects his all time Dream Team XV. Will goes to watch Dudno vs St Joseph's, Callum has some surprising news and Lewis auditions for X-Factor. #GogPod

Welcome to eyes and teeth, The big big talent of talking to performers who have worked hard to get where they are. In this episode I talk to a Covent Garden legend, pantomime star, tv face, writer director, poet, juggler, visual comedy performer Ben Langley. Today we talk about his Lockdown projects which include Poems on the run and his Front Door Showstopper, Bill Oddie, Geoffrey Eggins, Robin Hood, HTV Bristol, BGT, Paul Eastwood and PIE ents, Kid TV and The epic British Hippodrome Circus in Great Yarmouth created by the Jay Circus bringing the East coast one of the gems of Great Britain.He has performed at Windsor Castle for the late Queen Eliz 2 and has been complimented by Simon Cowell calling him a very funny man, Joe Pasquale says: Whatever you stick him in he comes out a winner and Ventriloquist Paul Zerdin says Funny, different and quite mad.Welcome to the show Ben Langley

Skip the Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. Your host is  Kelly Molson, MD of Rubber Cheese.Download our free ebook The Ultimate Guide to Doubling Your Visitor NumbersIf you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website rubbercheese.com/podcast.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. And remember to follow us on Twitter for your chance to win the books that have been mentioned in this podcastCompetition ends October 1st 2022. The winner will be contacted via Twitter. Show references: https://www.pensthorpe.com/about-us-history/https://www.edp24.co.uk/news/business/why-running-pensthorpe-near-fakenham-makes-you-feel-good-by-1395106https://www.bbc.co.uk/norfolk/content/articles/2008/05/23/springwatch_jordans_interview_20080523_feature.shtml Leading the flock are the enigmatic owners of Pensthorpe; Bill and Jordan. Prior to purchasing Pensthorpe in 2003, the couple lived in Bedfordshire where Deb had a successful career in fashion and photography, and Bill ran Jordans, the hugely successful cereal business he co-founded with his brother.Wanting to raise their two children in Deb's native Northfolk, they jumped at the chance to buy Pensthorpe and combine Bill's knowledge of sustainable farming practices with their longstanding love of nature.They've been part of the landscape ever since. Transcriptions: Kelly Molson: Welcome to Skip the Queue, a podcast for people working in or working with visitor attractions. I'm your host, Kelly Molson. Each episode, I speak with industry experts from the attractions world. In today's episode, I speak with Bill and Deb Jordan, owners of Pensthorpe. Bill and Deb share the heartwarming highs and lows of creating this multi-award-winning tourist attraction. Have a listen in to find out what part Bill Oddie played in it all. If you like what you hear, subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue.Kelly Molson: Bill and Deb, thank you so much for coming on the podcast today. It's absolutely lovely to see you both. We're going to start off with a few small icebreaker questions just to get us warmed up. So we're going to talk a little bit about cereal today. It's going to be part of the conversation. I want to know, what has been the worst food that you've both ever eaten?Bill Jordan: Oh, my word. I think school food didn't exactly do much for us.Kelly Molson: School dinners?Deb Jordan: One of my flatmates once complained that I had a tin of meatballs in the fridge that was open. So now I realise that many moons ago, I did used to eat badly in London.Kelly Molson: All right. Tins of cold meatballs in the fridge. To be fair, I quite like cold beans straight out of the tin.Bill Jordan: Oh, really.Kelly Molson: So I'd probably go for the cold meatballs, actually.Bill Jordan: Yeah.Kelly Molson: I might be all right with that. Let's go for your unpopular opinions.Deb Jordan: An unpopular opinion. I get very wound up about spin. I really do go off on one. It could be about anything where people actually say, so they pick up on something like children using mobile phones. Therefore, they will say that their business prevents that, and it's all to do with the fact that X, Y, Z. I just get frustrated when people use something that they've heard of in the press that is good for people. Even if it's like a cereal packet where it's saying this is healthy for you. Probably because I'll know that Bill will tell me exactly how many calories it's got in it. It's all a load of rubbish. But that is an opinion I get very wound up about. I hope I don't then fall into the frame of actually being accused of doing the same thing.Bill Jordan: I think when I heard the question, I got slightly concerned that I'd reached a sort of age where I didn't even recognise whether the views are unpopular or not.Kelly Molson: We're all getting there, Bill. Oh, I love that. Well, that's a good opinion to have. I wouldn't say that's very unpopular, but I think that's a good opinion to have.Bill Jordan: Might be the definition of being out of touch.Kelly Molson: I doubt that very much considering what we're going to talk about today. We're going to talk about Pensthorpe today. I mean, I think it's one of Norfolk's best-kept secrets. Whenever I talk about Pensthorpe, I have been describing it to people recently and telling them how fabulous it is, and they go, "I've never been there. We go to Norfolk quite a lot." And I'm like, "Right. Well, you have to go there now." So I've convinced at least 10 people recently that Pensthorpe is top of their list of places to go. It's just phenomenal.Kelly Molson: But, I want to know what were your backgrounds prior to Pensthorpe? Because they're very different. They weren't in the attractions industry at all, were they?Deb Jordan: No, not at all. I think Bill needs to lead on that one.Bill Jordan: Okay. Well, mine, for about 30 ... Probably more years than that. I'd founded and was running with my brother a breakfast cereal company. I guess you'd call it such a natural food company in the days when there was a natural food movement. There was quite a reaction against factory food, which of course still goes on today. So my background was much more about food and land use and farming practice and local food and nutrition and all of those things, which I still find very fascinating. Although, thankfully, I'm not that closely involved as I used to be, because it's hard work.Kelly Molson: I can imagine that's hard work. Did you come from a farming background prior to that? Did you grow up in that environment?Bill Jordan: Yeah. We all grew up at on a flour mill, which still exists in Bedfordshire. Our mum still lives there. She's 96.Kelly Molson: Oh, wow.Bill Jordan: She's lived in the same house for over 70 years. Yeah, we were lucky. We got brought up as kids kind of above the shop, really. It was a mill that made white flour. It made brown flour. It made animal feed. It was an interesting place to live. A lot going on.Kelly Molson: Wow. You were kind of in it, right? You lived and worked there?Bill Jordan: Yeah. School holidays, you had to bag up animal feed or pack flour or something. It was kind of went with living there, really.Kelly Molson: Yeah. Deb, what about you? What's your background?Deb Jordan: Well, I was very lucky to be born and live in Ringstead in Norfolk, which is only about 20 minutes, 25 minutes drive away. My dad was a farmer on the Le Strange Estate. The farm ran at the back of old Hunstanton. Yeah, idyllic. In the summer holidays, we were very lucky to just be out, left to just roam. I think actually once I ran away. I found a really nice spot to sit for the day. And by about 7:00 PM, I thought, "Actually, nobody cares. Nobody's noticed." And that did actually really make me laugh. I remember saying to my mum when I got back, "Did you not know? Did you not notice I'd run away? So she'd, "No. I know you went out in a very mad mood. But no, I hadn't noticed yet, darling. The good thing is you were hungry and here you are."Deb Jordan: I just remember thinking, "Gosh, when you look back, how lucky that was." It sort of made you stand on your own two feet. You used to get involved with a bit of wild oat picking and have jumps around the farm, around the house. But sadly ... I say sadly because it didn't really suit me. I was sent away to boarding school quite a long way away and was rather rebellious and unhappy, but a very privileged start. I think that probably stays with you forever about the nature and the fun. There's so much to explore, and you don't really need too much else other than a bicycle and the nature to make a very happy childhood.Kelly Molson: Oh God, that's really lovely. Ringstead is a very beautiful place as well. There's a lovely pub there called The Gin Trap that I've been to a number of times. Yes.Deb Jordan: Spent a lot of my youth in The Gin Trap. Yes. Sipping gin and orange or something ghastly with a boyfriend from cross lake.Kelly Molson: Oh, what a lovely, so that's really nice to hear, actually. I didn't realise how kind of embedded nature had been into both of your childhoods really, which I guess brings us to Pensthorpe. And you purchased it in, it was in 2003, wasn't it? And it was originally a bird reserve. What made you make the jump into buying something like this and you know, how did that happen?Bill Jordan: Well, it was a very unusual day when we first got to see the Pensthorpe, we had the children were, I don't know, kind of able to walk by that time. And we had a day in wandering around Pensthorpe.Deb Jordan: Six and eight.Bill Jordan: Six and eight. There you go. I'm no good at it. So we had a day looking around Pensthorpe which kind of came out of the blue and no, I think we were sort of rather bowled over, knocked out by it all. It was, the kids was surprisingly quiet and reflective. We were having a good time and we'd read somewhere that it was possibly up for sale. So when we were walking out of Pensthorpe, we asked the lady behind the counter, "Is it still for sale? Has it been sold?" And they said, "Well, you better go and speak to that gentleman over there. That's Bill Mackins." And we did. And then we kind of got pulled into the whole site. Yes that's how it happened.Deb Jordan: It was actually, Bill had been looking for some years. He was always interested in properties for sale in Norfolk. I think he may have been thinking that his connection with Jordan's and conservation and great farming and that he, I think he was already feeling he needed to put his money where his mouth was and start something to do with food in the countryside. A bit like the sort of taste of north, but type thing I think was going on in the back of his head. So he was often buzzing around on the bicycle looking and when Pensthorpe came up, I actually saw it and he was looking at my magazine and I said, "No way, no, no, no." So actually then we were visiting Norfolk because we did a lot with our children to see my parents and it sort of came to that.Deb Jordan: Well, why don't we just go and look? And I really wasn't very on board at all, but I have to admit that once here it's an extraordinary site and it sort of pulls you in. It's a place that you sort of, not too sure why, but you feel very connected to it. And I think that it really surprised us that day that it took us in and it took us along and then meeting the owner and him connecting with the children. It must have been about this time of year because then obviously the birds molt and there was a lot of feathers that the children have just spent the whole time looking for feathers and putting them in a bag. And we had to sort of say to the owner, look, we haven't been plucking your birds. This whole collection is then explaining to us the molting, that how at this time of the year, everything, all the ducks and geese use their feathers and can't fly.Deb Jordan: So they're all on the ground. And it's extraordinary at the moment how we've got hundreds of gray legs and geese all sitting, waiting for that time where the feathers have grown through and they can then take off again. But it was just that he then had some peacock feathers and said, "Look here kids take these home." And he knew my dad. So he was saying that he had known my dad before he died. And so there was a sort of an immediate connection there. And then I think he could see that Bill was very interested. And then he suggested before we left, because we'd asked about it being up to sale, he told us that it'd fallen through and he suggested that Bill meet somebody called Tim Neva, that was working in Cambridge and was working locally. And that sort of rather started the ball rolling. Yeah.Bill Jordan: Yes. I think another sort of link had been the fact that with Jordan, so amongst other things, we'd done quite a lot of work on the supply chain for the cereals. So we were working by then with quite a lot of farmers who were quite conservation minded and were putting habitats onto their farm for increasing wildlife and doing all of those sort of things, which of course was being done at Pensthorpe. So it was an aspect of what we'd been used to in the food industry. And it was done being done very well here at Pensthorpe. So yeah, that's kind of how it fitted in as well.Kelly Molson: What a wonderful story. You went to visit and then ended up buying the place. I love that.Bill Jordan: Well, it was bit of a shock. It wasn't kind of on the cards that's for sure.Deb Jordan: No, I think it was funny things to, you could have looked back and at the time I think we could see the beauty of the place, the fact that you thought, oh my goodness, Nancy's bringing up a family here and getting connected to all this and the bird life and everything else. I think what probably happened, which was, in hindsight, wasn't so good was that this connection with somebody that was a very good salesperson on behalf of filmmakers, who was saying I'll bring my family from Brisbane in Australia because they ran the Mariba wetland out there. So I can run this for you. So we actually spent a lot of time working with Tim prior to buying it and hearing how he was going to bring his wife and do the total daily running of the place. And that it would be Deb, you can get involved in the hub and bringing in crafts people and local produce and local gift and Bill can get involved in farm when we see him, because it's going to, you were still at George.Deb Jordan: And it wasn't. So we signed on the dotted line up on December 20th, 2002. And about three weeks, four weeks later, we had a phone call from Tim Neva there about saying, "I'm really sorry, but my wife, my boys are older than I thought. They're very at home in Queensland. And Gwyneth doesn't feel that it's actually something she could do at the minute, but I will be very supportive and I will come and be helpful." So that was a big shock. And so we put the house up for sale and pretty well moved during Jan, Feb, March 2003.Bill Jordan: I think within about 10 weeks, poor Deborah had to move the children from one school to another and make sure he got some housing. You trying to sell the housing you're in Bedfordshire. So it was a bit of a traumatic time.Kelly Molson: Oh my goodness.Bill Jordan: Amusingly, our children, children. They're big. Now they remind us every now and then that what we put them through and shouldn't we be guilty. We have to take it on the chin every time they raise it.Kelly Molson: I bet. I mean, that's incredible. Isn't it? So you, so suddenly you've gone from, oh, okay, well we're going to do this, but we've got someone that will manage it for us to that's it. They're not coming and you are in it. This is your deal. You've got to do it. So Bill, were you still juggling Jordans at the same time? So you had,Bill Jordan: Yeah.Kelly Molson: You had both responsibilities.Bill Jordan: Jordans were still going full ball. Yeah.Kelly Molson: How did you manage that?Bill Jordan: Well the usual thing, I handed it over to the lady on my left here.Kelly Molson: Of course.Bill Jordan: We done most of it since then.Kelly Molson: Wow, Deb. That was, so that was not what you were expecting at all. And then suddenly you've had to completely change your life, move your children, move them to school, move home, and now you are managing a bird reserve.Deb Jordan: Yeah, we were very naive and it was a struggle. Yeah. I think we're both quite resilient and there really wasn't much that could be done other than let's just crack on. And just try and keep really focused and learn from all the people that were already here. And Tim was definitely in the mix, but I hadn't realised that it would mean moving that quickly or looking for somebody to manage it. It was pretty full on to suddenly find yourself as the person. They had an amazing book in the shop, which was all the garden and it was wildlife of the waterfowl of the world. And I remember putting it under my bed and got some binoculars and looked out at the lake every morning to see what was on there to identify what we'd got.Deb Jordan: And then it was such a small team. There was just four ladies in the shop that ran seven days. Two of them did. You know, and we had about two, two wardens or yes on the farm banding Paul and you know, it was, it was just a very small team and they were really helpful and they explained what I was meant to be doing what happened. And then Tim came and went and we sort of, and it grew. We didn't really have much of a plan I don't suppose. Bill kept saying to me all along whenever I said, "Look, we need a five or a 10 year plan." Or we just sort of, it evolved. We worked with the team and we started to sort of move slightly more towards trying to, we realised our kids aren't kids all get nature you don't have to explain it to them.Deb Jordan: It's just ingrained in them. So we realised we haven't got any young members. That everybody was older and more bird related. We'd really upset one or two of them who wrote in, we just, we had a woman that would offer to become a volunteer here. And she was a fabulous lady and she'd actually been GM at the Wildfowl and Wetlands Trust. And she said, "Look Deb it's really important. We need to get more of a younger generation here. And so what we're going to do is we're going to do play. I worked at Fowl and Wetlands trust. And they did Wellie Boot Land and I'll eat my hat if it doesn't work." And Bill said, "I'll eat my hat if it does work." So we had to park Bill, luckily because Bill went home every Monday night, we'd sort of work on it quietly, Veronica, I and Mark, as to how we were going to get round Bill.Deb Jordan: But by actually investing in an outdoor play area that was as though it was in the water as though it was a nature child. We encouraged people to bring their kids so that by getting them further out into the park, they could learn more about nature. But actually sometimes I think it's the parents that you have to encourage to come to a nature reserve, because they sort of think, what am I going to do with the kids and the kids actually get it and love it. So and one or two of the members that sort of said, I'm sorry, but we are now dropping out. We think that you are making a big mistake. I'm pleased to say that I bumped into the grandparents one day who said, look, I'm going to own up we're the people that wrote to you and were very rude, but this is Dudley and he's our grandson and we can't get enough enjoyment and make enough lovely memories with Dudley. So we forgive you.Kelly Molson: Oh, that's so nice.Deb Jordan: Yeah.Bill Jordan: So we found quite a lot of the heavy duty birders might have started a bit nervous when they saw children's play and different things happening. But yeah, just as Deb explains, after a bit, they realised that yeah, they got grandchildren and here was somewhere that worked for them and you know, actually got to a couple more levels of generations within their family. So we were lucky there. And within the year I told Deb that it was all my idea anyway.Deb Jordan: As you do.Bill Jordan: As I like to.Kelly Molson: It's interesting because earlier you used the word reflective about Pensthorpe and that's very much how I felt when I visited there. And what I found really interesting is that the children's play areas because now you have an indoor play area and the outdoor play area, they have been designed so well that they don't detract from that reflective feeling. Does that make sense? Like I could, I came on my own, I didn't bring my daughter, but I could still see how you could bring your children there and just have the most brilliant day of fun. But it is still a very calm and peaceful. It has a very calm and peaceful energy to it, the place that, and that's, I think that really comes through the minute you arrive. That's that's how I felt.Deb Jordan: Yeah. I think when we tried to look at the site, which is really unique, because it's got so many different habitats and we sort of said to ourselves, "So how can we best use this?" And I think what we've tried to do is just like the play, which looks very natural. We've tried to continue the journey and so that you leave the play and then you head towards the wetland area. But there is a diversion where at the top of the Sandhill, there's in the wood, on the top of the Sandhill, overlooking the lake, there's this amazing den building area. And when you go up there you know very well that this is a family affair. There's no way that the kids have done the den building, but you pass through an area where we cut into the wetland and put a big ponder thing.Deb Jordan: And then we sort of take you further along to a wood at the end where if a huge tree has fallen in the middle of it Richard leaves it there. And then the root base is all explained as to what's going on there, wildlife and we mow a path to it. So you can actually know that you're meant to get on the tree and run along the trunk. And, and I think, in fact we had a meeting here two weeks ago, Eco Attractions and they were saying, which was the best thing I'd heard, best acclaim I'd had. They said, "We've been out there Deb. And we sort of get what you're talking about, that you come across all this wild play, this just natural what's there is being used to tell a story, but have fun with. And we think that the best way of explaining you is a bit like the lost gardens of Halligan." Well boy, that was-Bill Jordan: We didn't mind that at all.Deb Jordan: We didn't mind that.Kelly Molson: That is perfect.Deb Jordan: What we are trying to do is keep the natural, but just encourage people to go out and get further and further from the hub with the trails that Natalie does and her team, which is so brilliant.Kelly Molson: Yeah, it definitely comes across. So that is a perfect description of how I felt when I was there. I want to go back a little bit though, because we've kind of jumped forward. Let's go back to 2008 because you get a call from Springwatch. That must have been pretty exciting at the time. What did that do for the venue?Bill Jordan: Well, perhaps even before answering that, you ought to hear how it actually happened.Kelly Molson: Okay. Ooh, share!Bill Jordan: To tell you about a conversation we had with.Deb Jordan: Yeah. We'd been told that Bill Oddie wanted to come to Pensthorpe for his really wild show. And he was here specifically to look at corn crakes, which we were breeding and releasing with the RSPB and [inaudible 00:24:25] isn't it? And so he came and I hadn't really seen much of him because he'd been whisked away and he'd met the agriculturalist and the team and looked at the corn crakes and then he'd had a little wander as Bill does. And then he came back to the hub and I thought, oh, I'm not very good at selling myself, but there is nobody else. You just got to do this. I went out with my camera and I just said, look I'm Deb Jordan, and I hope you don't mind. Could I take your photos for our newsletter because it's so exciting to have you here.Deb Jordan: And he did this amazing sort of thumbs up picture and he said, "I'm going to do this. And then you can write the copy dead because I absolutely love this place. You can say whatever you like and I'll be happy." Yeah. And it was about three weeks after that, when he'd gone that we received a letter to say, Bill Oddie has put you forward as a possible site for the next move at Springwatch. So I think they'd only done three years in the farm in Devon.Bill Jordan: They had. Yeah.Deb Jordan: And so they felt, and then with it, since then they've moved, I think almost every three years. So when I got this letter, I turned to Martin and said, this is special. Put it under my pillow and it stayed there.Bill Jordan: Until they said, "Yes."Deb Jordan: It stayed there until, until we'd heard we've got it.Kelly Molson: Oh, that's amazing. Well done Bill Oddie. Thumbs up to Bill Oddie. So what, but what did that do that must have brought so much attention to the attraction?Deb Jordan: It was amazing for us because although we can hear sky larks on the hill, above the scrape and we can hear our wildlife and we see our wildlife, it was fantastic for us to really get a grip. But when you see those nests that these guys are so clever and professional about finding, and I remember taking the children to school one day and on the way, hearing Terry Wogan talking about the little ring lovers that had been seen the night before at Pensthorpe on the way to scrape. And I just have pulled into a laid iron with banging my head against the wheel think, oh my God, doesn't get any better than Terry Wogan talking about little ring lovers at Pensthorpe. But it was fabulous. It allowed people to see the breadth of everything, wildlife and habitat wise because it is unusual because we've got the river that runs straight right through the middle. We've got farmland and we've a farm that's running. We've got wetland, we've got gardens, we've got-Bill Jordan: It's 50 acres of lake.Deb Jordan: There's just every sort of habitat you could really want. And I think that allowed people to sort of think, well, that honey little place that we hear about might be worth a visit. So it did help put us on the map.Bill Jordan: I think we all learned quite a lot from it having us when I think there was probably up to 50, 60 people on site producing and one of the sort of excitements of the day for us was that we'd all been pulled back to the cafe building here, which they'd taken over and had about 40 different TV screens and monitors there. And we could see exactly all the bits that they filmed during the day and the night and all the bits that were current from being talked about and the interviews that were happening. Just to see the whole program put together a that end of the day, which was fascinating. And just the way they handled it and the way the sort of information they imparted to audiences is just, no, it was very clever, very clever indeed.Kelly Molson: Was it strange to see the place that you live on the telly?Deb Jordan: Very strange. In fact, one day, I can't quite remember what had happened, but because for eight o'clock they go live. I think it was something like a Muntjack in my garden. It was upsetting me. So I ran as I usually do, got my saucepan and banged my saucepan and prop people. Oh no. You know, and somebody said the next day, what was that noise we had to sort of cover up? But yeah, to tuck into the television, knowing, I mean, some nights we'd creep down and hide or be allowed quite close, but to have those people, to have Kate Humble here, Bill Oddie and then Bill Oddie swapped with Chris Packham. So to have Chris here for a couple of years and yeah, it was very, very special and-Bill Jordan: It was quite a good set for them. They used to, where we're sitting right now, just below us was a sort of room that was completely derelict. So the whole, all of these five cottages here were derelict and poor BBC took pity on us and put a few glass windows and things. And so we wouldn't look too impoverished.Kelly Molson: How kind of them.Bill Jordan: Very kind of them. Yeah.Kelly Molson: I want to ask a little bit, and it's something that you talked about right at the beginning where you said where you grew up, you kind of lived and worked and again now is where you live, and you work. How difficult is it for you to make that work in terms of your kind of like work life balance? Because you are kind of immersed in your business from the minute you wake up in the morning.Deb Jordan: Yeah.Bill Jordan: That not the clever bit, is it? It is hard work. It's quite hard work. And it needs to be mentioned just in case anyone else gets vague and puts their name down for a similar thing. It is hard work and you need to get on well with people and yeah, you are seven days a week, which is how an operation like this has to go. You've got people on site quite a lot of the day when they go home at five o'clock we get the park to ourselves and we can wander around.Deb Jordan: Yeah, I think even as far as the work side of thing, when I look out at the window, I'll immediately think, wow. How lucky. This is extraordinary. And then I'll immediately think all the things that I haven't yet achieved or are on my list for this week that's never long enough. And I think that, on its own, would've been enough. I think, to go through some of the hiccups that life throws to the whole COVID thing, the avian flu thing, those make you pause and really think. That was tough. So we've had some brilliant times, some really big successes, but those things sort of leave you slightly wounded. But there again you've got a big team and everybody's been through the same thing. The whole world has had to reorganise and regroup and move on.Deb Jordan: So yeah, I think that looking forward, one needs to be optimistic that we probably had our fair share of things that haven't really gone our way recently. But on the other hand, there's an awful lot to look forward to. And we've just done the new rebranding and we're very lucky with our marketing team that they totally understand this product. And when you've got a team behind you like that are so inspired by the site and are able to get that message across for all generations, whatever bit it is, whatever age you are, whether it's gardens or birds or families. It's a place for people to come and make memories. And thankfully, hopefully we are now, hopefully COVID is now a thing of the past and sadly avian flu won't be because it's still out there. And it's sort of becoming a real problem. You know, it hasn't really gone away this year for the UK even on Springwatch, we were watching the problems they've got in Scotland at the minute and even slightly closer to home again. So it is something that we are aware of and that we have to sort of rethink going forward, how, how you know, that we work with what we've got.Bill Jordan: We do. But I think we've also sort of figured out that actually there is even more sort of requirement, demand, whatever you call it for getting out there. And nature in its best form and walking and space and all of those things seem to be even more important to a lot of the visitors we talk to.Deb Jordan: Yeah. I think it definitely focused us on what is so special about this place? It's the freedom, it's the feeling of wellness out there, feeling of being able to put things that are worrying you that week away when you come to Pensthorpe. You get out there and you get diverted by the beauty of the place. You know, COVID was really problematic for everybody. I had started six months of chemotherapy in January 2020. So it was going into Norridge weekly for my chemo. So then when the country locked down, I would be sort of driving all with sweet leaf on the bad week. Somebody would be kind enough to drive me and whether it was with my daughter or whoever was kind enough to come with me, it seemed odd to be out on the roads.Deb Jordan: Because the first lock down, there was no one anywhere and you'd get to the hospital and the nurses were amazing, but concerned obviously. It was new to us all. So seeing them afraid but resilient and just pushing on whatever. It was a very unusual time and we did do some furlough, so it was very quiet here because we'd have like one warden in and one avian came and the gardener stayed and the maintenance guy stayed, but everybody in the hub was gone. It was a very extraordinary thing to know that our visitors sadly had no access and were really needing it. There were some very ill people that I was coming across in hospital that were really totally needing nature at that time. And they weren't allowed out in it. So that also, it was a time of sort of looking and seeing, and then the wonderful thing was when we were able to open up, just knowing that at last you could open the doors and people could do what they had so badly been wanting to do and get here and get back outside.Deb Jordan: And so we were very lucky that there was no fear from people that they would come and might get COVID here because there's so much space, as soon as we'd managed to alter the way into the park and get them through quickly. Yeah, sure. It was very rewarding to allow people to.Bill Jordan: Some people were very cautious, wouldn't they, for quite a long time for all the obvious reasons and all worked well.Kelly Molson: Gosh, you've really been through some very big highs and some very big lows there. Haven't you thank you for sharing that with us, Deborah and I'm really glad to see that you are recovered and enjoying your beautiful place again today. So let's talk about the future then, because we've talked loads about what's happened and what, what you've been through the venue has just won some really phenomenal awards. And I have to mention, so you were winners of the Large Visitor Attraction of the Year and winners of the Marketing Camp Campaign of the Year at the East of England Tourism Awards. But you also, you just won a bronze at a very large attractions award, very large toys of award didn't you?Deb Jordan: Yes, we did. We were absolutely thrilled. Yes. We couldn't quite believe that because we'd achieved winner of the east. Then I think they put all the winners of the east and maybe others as well, all the other regions. So you get put into a pot and then the whole thing starts again. And somebody from the nationally won then comes out and looks so you don't know when they're going to come or when they've been. But when we heard that we've been put through, that was extremely exciting. Yeah. To go to Birmingham with the team and accept that award. We had some huge competition with Chester Zoo and actually public actually.Kelly Molson: Oh yes.Bill Jordan: Some pretty huge sort of attractions. So we felt we'd done well to get in that sort of elevated company.Kelly Molson: Yeah. It's wonderful. It was so fabulous to see you get that, get that prize. I was really thrilled for you all. So what next? You've just had a beautiful rebrand and may I say also a beautiful website and it's really, you are in a really wonderful position of kind of exciting new things happening. So what's the plans for the venue?Deb Jordan: Well, I think, the site itself is always going to need investment. Whether it be a cafe which has got a kitchen that needs work on, we're looking at how to get visitors further afield of more exciting things. But those would probably be more about a planning application. We've been working on a new sculpture garden, which is absolutely in its infancy at the moment. And the whole idea is actually to try and encourage sculptors to loan work. So that we've been buying sculpture on a yearly basis, which the visitors seem to love. I often come across the stag with people, with their children sitting on it or the wild boar or whatever it is. And we've just got the new fantasy wide ferry and the dandelions, which are a huge, seem to be pleasing everybody.Deb Jordan: But the whole idea about that garden is actually to try and so that we can, when we've progressed it a little bit further, we can take photos and say to people, look it's not that we wanting to become a sculpture park, but we'd like for our members to be able to see other people's sculpture here, that they could have the opportunity to buy. So that's something that we're working on and it's very much in its infancy.Bill Jordan: There's a sort of ongoing program with reintroductions, which is pencil QNS. We've got a very good agricultural team led by Christy. And yeah, we're working with the MOD, ministry of defense, who are collecting eggs from various different air fields around the east of England. We're then incubating the eggs here, looking after the chicks until they're ready to be released in the washes or Ken Hill farm, which features in spring wash at the moment or this spring anyway. So yeah, there's a lot of that work goes on, which again our visitors, like they can't see a huge amount of it because obviously it's all got to be bio secure, but it's something they like to feel that they're supporting. And it's sort of something that suits the area and yeah, it's something fortunate that some members of the team here are very good at. So yeah, that continues a pace. What else?Deb Jordan: I think it's probably now sitting with the team and working on a more five, 10 year plan where we all know exactly where we're going and we are trying to just even become more wild. It's just trying to find that happy balance of people with giving them something to do that actually helping them want to get their kids further out into.Bill Jordan: Yeah. And there is a lot of space here. We keep going on about that. But you know, the reserve itself is probably 200 acres, but you've got in total more like 500 and we take the discovery tours, land Rover tours out onto the farmland where we're, the wardens are working hard on the habitats there, fulfill encouraging more biodiversity and more wildlife out in that part of the reserve as well. So yeah, it's all part of the same thing and I don't know that we're going to run out things to do.Kelly Molson: No, I think Deb's to-do list is getting longer by the minute. Isn't it? Thank you. This has been so lovely to talk to you. I would implore all of our listeners to please go and visit Pensthorpe because it is a really magical place. Bill Oddie was absolutely right about it. We were at the end of the podcast and we always ask our guests to recommend a book that they love. So it can be something that you've found useful for your career. It can be something that you just love from a personal perspective.Deb Jordan: Well mine, the one I'd suggest that everybody should read, is Fingers In the Sparkle Jar by Chris Packham. I think it may have won best book in the wildlife somewhere. But it's a very remarkable, raw. It gets absolutely into the vulnerability of people with Asperger's. And so Chris did this extraordinary program on television, which was Asperger's and me. And I was amazed by that and how he put himself into that position of saying what was going on in his life and how difficult it had been for him. And this book is very much his early memoir, probably from about five to about 17.Deb Jordan: And I think that it's just as any parent, anybody that has any sort of difficulties with actually fitting into a peer group. And I'm sure there are many people that either went through that themselves, when you are reading that book, you actually sort of feel the pain and you feel the vulnerability. And actually, I think it just makes us all as adults, especially aware if we've had that in our family, it helps us understand it. If we haven't got it in our family, it helps us understand it somewhere else. But it is a mesmerising read. So it's not like a chore. Everybody will read it and his descriptions and the way he explains his life in nature. It's just an absolute extraordinary book.Kelly Molson: I have not read that. That's going top of my list. That sounds wonderful. Bill, what about you?Bill Jordan: Well, we've just had a week away, which was rather nice. I read Sitopia by Carolyn Steel, which is a fascinating book. And it's talks about the way that we haven't been valuing food. We should be doing more on a local scale. The regenerational farming thing comes into it. And of course, Jake Finds and Holkham are all involved. And that's very much a Norfolk thing as well. So, no, I thought it was just a brilliant book. And again, we shouldn't be just talking about buying the cheapest food, although for some it's certainly necessary, but we should be looking at the importance of food in the civilisation rather than just what we can get away with and then factory farming and intensive farming it's got to change. Yeah. So that's my book.Kelly Molson: Very topical book. Thank you both. As ever listeners, if you would like to win those books, if you head over to our Twitter account and you retweet this episode announcement with the words I want Bill and Deb's books, then you will be in with a chance of winning a copy of them. Thank you both so much today. It's been such a pleasure to talk to you. I know that you've got a really exciting summer coming up. There's loads going on at Pensthorpe, and I'm looking forward to coming back and bringing my daughter over to see the place as well. I'll see you then.Deb Jordan: Fantastic. Thank you very much.Bill Jordan: Thank you very much.Kelly Molson: Thanks for listening to Skip the Queue. If you've enjoyed this podcast, please leave us a five star review. It really helps others find us and remember to follow us on Twitter for your chance to win the books that have been mentioned. Skip the Queue is brought to you by rubber cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. You can find show notes and transcriptions from this episode and more over on our website, rubbercheese.com/podcast.

RHLSTP Book Club 18 - The Man Who Tasted Words - Richard Herring, the man who can't pronounce Leschziner, chats to Guy Leschziner about his fascinating it unsettling book about our senses, The Man Who Tasted Words. They discuss why there are more than 5 senses, which sense is the best one to lose, why a superpower like feeling no pain is actually a terrible curse, whether aphantasia is curable, how speech is a telepathy, what it's like to taste words and see colours with music and how Bill Oddie is haunted by an internal DJ that he loathes. Also are our senses showing us reality or hiding reality from us and are we just sex mites on the face of something that we can never really understand?Buy Guy's book here https://www.amazon.co.uk/Man-Who-Tasted-Words-Startling/dp/B09HVBXHM6/ or wherever you buy your booksSUPPORT THE SHOW!Watch our TWITCH CHANNELSee extra content at our WEBSITESee details of the RHLSTP TOUR DATES See acast.com/privacy for privacy and opt-out information. Become a member at https://plus.acast.com/s/rhlstp.

With a new Goodies novella being released, here's an interview with its publisher and writer Barnaby Eaton-Jones. Jeffers tries to pry some behind-the-scenes secrets from Barnaby, while shamelessly aiming to drum up orders for this fresh new Goodies content! Find out if there's more Goodies books on the way (?) who is writing them (?) and how much involvement Graeme Garden and Bill Oddie have with the novellas. And discover more about the fabbo cover art created by Daniel McGachey. Link to Chinbeard Books' page for the novella: https://www.chinbeardbooks.com/apps/webstore/products/show/8247210

A chat with Sally Wilton about her Bill Oddie music research and her fan interactions with The Goodies. Plus news of a new Goodies book by Barnaby Eaton-Jones! Sally Wilton on Twitter: @chocimpress Goodies Podcast on Instagram: @goodiespodcast  

The Goodies' classic 1977 Christmas episode 'Earthanasia' is nominated by Jeffers for a Hall of Fame spot. Will the doomsday-scenario adventures of Bill Oddie, Graeme Garden and Tim Brooke-Taylor be hilarious enough to convince Steve? And in any case, will the Muppets suffer? Twitter: @SitcomShowdown Theme tune 'Billy Blues' by texasradiofish (c) copyright 2015. Licensed under a Creative Commons Attribution Noncommercial (3.0) license.

Actual Title - The One With The Embryos! We are joined by Friend of the Show, Nick Tobias, to discuss pet peeves, cat food and talking in silly voices, in what is possibly the most iconic episode of Friends

Its Yorkshire Boxing Day! So grab a colouring book, lose your tapes, work out some wrestling puns and punch a Morrissey in the eye. There are pop records from Box Jellys, China Drum, Feeder, Jellyfish, The Negatives, Sparks, Cud and everyone's favourite bipolar bird watchist Bill Oddie amongst others, plus an interview with Garreth Hirons about post-lockdown gigging, The Flair Witch Project 2021 and lots more grapplin' daftness. if you've enjoyed any of the music on this show please do support the acts played. The full links are on the Ben In The Basement Facebook page as well as the new Twitter feed - https://twitter.com/BenBasement - which it would be just dandy if you could give a follow to /at / up. By'eck! Whippets! And an elaborate song and dance number about sperm! Etc!

In this episode, Chris and Mark revisit an old Beano and Dandy favourite, with surprising results

In this episode, Chris and Mark revisit an old Beano and Dandy favourite, with surprising results

From Frankie Howerd to Sherlock: Beryl Vertue is the producer of some classic TV shows including Men Behaving Badly. She took Steptoe and Son to America, negotiated for writer Terry Nation to retain some of the rights for his Dr Who Daleks creation, and back when she began in the 1960s, worked with a Who's Who of comedy writing talent at Associated London Scripts as well as representing Tony Hancock and Frankie Howerd as their agent. As chairman of the family firm Hartswood Films, her more recent projects have included revamping Dracula and Sherlock for TV. She discusses the successes and failures she has had in her six decade career with Matthew Sweet and shares with him what it was like working with Ken Russell and Tina Turner on Tommy and what she thinks makes a good deal. Producer: Torquil MacLeod You can find other conversations about classic TV in the Free Thinking archives including Quatermass: Nigel Kneale's groundbreaking 1950s TV sci-fi series with Mark Gatiss, Steven Moffat, Una McCormack , Claire Langhamer and Matthew Kneale https://www.bbc.co.uk/programmes/m000b03y The Goodies: Tim Brooke-Taylor, Graeme Garden, and Bill Oddie talk to Matthew Sweet about how humour changes and the targets of their TV comedy show which ran during the '70s and early '80s https://www.bbc.co.uk/programmes/m0000hcb British TV and film producer Tony Garnett talks to Matthew Sweet about a career which encompassed the Wednesday Play for the BBC, This Life and Undercover. https://www.bbc.co.uk/programmes/b07h6r8l

The family roots of Bill Oddie - recorded as William Edgar Oddie on his birth certificate of 1941 - shed an interesting new light on an intriguing era in working class history. For Bill's 19th-century ancestors worked and weaved in the 'dark satanic mills' of Rochdale, toiling in harsh conditions in an environment that seems as distant to us now as the moon.

In this chat Stephen and I dive into his childhood experiences where the foundations of his love for nature were laid at a very young age. He explains why birds were his primary fascination, and how as he grew up and entered the world of work, this broadened into other flying things such as dragonflies and butterflies after meeting the legendary birder, comedian and presenter, Bill Oddie. Stephen is a former producer at the BBC Natural History Unit with an admirable career spanning three decades. He produced some of the nation's most loved nature series, such as Big Cat Diary, Birding with Bill Oddie, and the BAFTA-winning Springwatch series, which first aired in 2005. We dive into what his role involved and how working in TV is very much a job for those who thrive when working in teams.  ‘Why this, why me, why now'. Through much of this conversation Stephen and I talk in depth about travel and nature writing, from putting thoughts to paper, order, structure, and purpose. As someone who is a senior lecturer at Bath Spa University in the topic, he has some very insightful tips for anyone looking to get into writing. Contact:Website: Stephen MossTwitter

Can you believe it has been fifty years since The Goodies first aired? I still can't, but it is fact still the same. The trio of Tim Brooke-Taylor, Graeme Garden and Bill Oddie, inspired and entertained a generation with their irreverent humour and ability to poke fun at so many facets of life. While I tend to waffle on a bit here, I talk about my favourite memories of the show and how they influenced my own childhood. --- Send in a voice message: https://anchor.fm/metalcavern/message

Becardiganed polymath' Robin Ince on the fascinating brains of stand-up comics (R)

Becardiganed polymath Robin Ince on the fascinating brains of stand-up comics (R)

Call the midwife, Divas! We’re giving birth to our TWENTIETH full episode. The big 2-0. Blimey, hasn’t it just flown by? …ahem. But this week is an absolute treat. A much-requested Diva is the subject, and Holly and Tom are joined by an icon of pre-corona stages, from Soho to Stirling: the fabulous Nancy Clench is here to discuss the truly unique Madame Miriam Margolyes! Come with the threesome on a journey through the Margolmaze and learn of Miriam’s ascent from Footlights, to the Beeb and eventually Hollywood, as well as her sexual exploits with soldiers/park wardens and her penchant for making people call her characters something a bit like her own name. Along the way, we’ll cover such essential issues as how to wank in a tree and the perils of doing housework in the nude, as well as giving Bill Oddie a thorough verbal thrashing. [Note: This episode was initially recorded before the end of lockdown, so apologies for some sound issues (seems those shares in Zoom were useless after all!) and some references are slightly out of date.] Otherwise, if you enjoy, please don’t forget to Like and Subscribe and, if you have the time, please do leave a Review, it really helps people find the show. You can also reach out to us and share your Diva stories on: Twitter @DivaEnergy Insta @bigdivaenergy Facebook @bigdivaenergypod Email bigdivaenergypod@gmail.com Support this podcast

Richard Coles and Nikki Bedi are joined by Graeme Garden - one third of the Goodies along with Bill Oddie and the late Tim Brooke-Taylor. In the classic BBC television show the trio played agents for hire and would do "anything, anywhere, anytime". Astride their trusty ‘Trandem’ – a three-seater bicycle – they tackled a giant kitten, parodied westerns with a Cornish version called “Bunfight at the OK Tea Rooms” and were chased by a giant Dougal from Magic Roundabout. Graeme also created I'm Sorry I Haven't A Clue, the long-running Radio 4 show on which he is still a panellist and, with producer Jon Naismith, devised the Unbelievable Truth on Radio 4. Jojo Moyes is a novelist and journalist. Her books include the bestsellers Me Before You, After You and Still Me and The Girl You Left Behind. Me Before You has now sold over 14 million copies worldwide and was adapted into a major film starring Sam Claflin and Emilia Clarke. JoJo’s latest novel, The Giver of Stars, is based on a mobile library service launched by Eleanor Roosevelt in the 1930s. The Pack Horse Library Project was an initiative in which female volunteers on horseback delivered paperbacks to families in rural Kentucky who did not have access to books. Giles Clark is a conservationist who is taking on the illegal wildlife trade and helping to build a pioneering new bear sanctuary in Laos, Southeast Asia. He'll be talking about rescuing sun and moon bears and the perils of having bears about the house. And Garry Crothers, who lost an arm in a motorbike accident, joins us to talk about his epic journey - a 4,000 mile solo voyage from the Caribbean to his home in Northern Ireland. Presenter and author Fern Britton chooses her Inheritance Tracks - Those Lazy-Hazy-Crazy Days of Summer by Nat King Cole and (You Make Me Feel Like A) Natural Woman by Carole King. Plus a listener says thank you to a stranger who helped her at a difficult time. Producer: Paula McGinley Editor: Richard Hooper

This week: new albums from John Legend and Sports Team, classic Jesus and Mary Chain from 1985, The BALLS Podcast Story, Presets presets, corny wedding songs, putting your back into it, diabetic alarms, the Russell Wilson of R&B, lesser spotted Britpop, dunking on West Wing tragics, Dude And The Band Names, walls of white noise, punk on valium, industrial droning, popular after the fact, social distancing compliant gigs, sonic blackface, the best band in the world, Geetroit Rock City, Bill Oddie aesthetics, old mate Kev, imaginary mood boards, favours from Molly, Victoria's bitter, firing Australia’s groundstaff, looking good on telly, the Anthony Seibold Experience, Liverpool’s legacy and BeIN-n-Out burgers. Next week: new albums from hot-right-now Houstonites Khruangbin, and Oz indie acts Beans and GUM. Beeso promises to plug his mic in properly next week. Recent review albums are in our album review playlist on Spotify, along with our full archive of earlier review albums from 2020 and our mixtape of our favourite tracks from albums we've review. Our full list of all the new and classic albums we've reviewed on the pod and Beeso's kids playlist are also available elsewhere on the internet. BALLS and tripping balls are available on their own RSS feeds, as well as being found together on Omny Studio,Spotify and Apple Podcasts (feel free to subscribe, rate and review) - and we welcome your reckons via Twitter, Facebook and email.

Pictured: Sir Stirling Moss OBE Matthew Bannister on Sir Stirling Moss, the iconic British racing driver, noted for his courage and patriotism. Although he never won the world championship, he stormed to victory in many Formula 1 and sports car races. Professor Margaret Burbidge, the pioneering astronomer who carried out extensive work on quasars. Mahmoud Jibril, who became interim Prime Minister of Libya after the fall of Colonel Gaddafi. Tim Brooke-Taylor, the comic actor best known for his parts in The Goodies and I’m Sorry I Haven’t A Clue. Bill Oddie and Graeme Garden pay tribute. Interviewed guest: Simon Taylor Interviewed guest: Lord Martin Rees Interviewed guest: Amira Fathalla Interviewed guest: Chris Serle Interviewed guest: Graeme Garden OBE Interviewed guest: Bill Oddie OBE Producer: Neil George Archive clips from: HardTalk: Stirling Moss, BBC News 23/12/2010; The World Tonight, Radio 4 18/11/1971; HardTalk: Mahmoud Jibril, BBC News 23/10/2011; Woman’s Hour, Radio 4 03/08/1977; I’m Sorry I Haven’t A Clue, Radio 4 04/01/2016; Front Row, Radio 4 26/09/2018; I’m Sorry I’ll Read That Again, Radio 2 02/11/1977.

In this episode we talk to Stephen Moss, author of over 40 natural history books, producer of TV programmes such as Birding with Bill Oddie and Springwatch and lecturer in creative writing at Bath Spa University We talk about tips for writing nature books, his experiences in broadcasting, bird watching and Birdfair being cancelled among…

We catch up with legendary actor, writer and comedian Tim Brooke-Taylor for this special podcast charting his remarkable career from President of the Cambridge Footlights to spearheading the 1970's comedy group "The Goodies" alongside Bill Oddie and Graham Garden before going on to revolutionising the Radio Comedy panel show "I'm Sorry I Haven't A Clue". To find out more information about this and my other interviews, please go to my website: www.beyondthetitle.co.uk www.facebook.com/beyondthetitle

Jim White & guests Baz Bamigboye, Brian Viner & Claudia Connell on the hilarious trend ‘spoiler trailers’. Plus is Julian Fellow’s ‘Belgravia’ the new Downton Abbey? And Adrian Thrills on his best music picks this week.

If you're a "twitcher" in the UK, Stephen Moss is a familiar household name, and a beloved birding celebrity. He was the original producer of the BAFTA award-winning TV series Springwatch, worked with the TV shows Big Cat Diary, Birds Brittania, and Birding with Bill Oddie, and has authored no less than forty books on birds and British wildlife. Stephen writes a monthly Birdwatch column for The Guardian, is president of the Somerset Wildlife Trust, is an honorary professor at Nottingham University Business School, and currently leads courses and lectures at Bath Spa University in MA Travel & Nature Writing. As a close friend of both Bill Thompson III and Wendy Clark, Stephen and his family have hosted them many times at their lovely home in Somerset UK. This podcast was recorded in August, 2019 as Wendy and Stephen chatted on the Moss family patio in butterfly garden. Learn more about Stephen's expansive career, his passion for birds, conservation, and education, and take a stroll down memory lane as Stephen and Wendy share fond memories of the late Bill Thompson III.

Ravens or Swallows? Wonder which you prefer? Yes, this is a folk music podcast and today's episode is the second part about gigging. However, the topic of birds came up in the episode! Do let us know. We'd love to know. Anyway onto Episode 6. We continue are journey on the road with stories and observations from Said the Maiden gigs including meeting a witch, pumpkin soup and egg on a head! Oh, and we discuss birds - a lot! Bill Oddie, you'd be proud. Seth Lakeman gets another mention as does Chesham Folk Club. Plus there is a special musical surprise at the end! --- Send in a voice message: https://anchor.fm/on-the-folking-road/message

Last week the TickyOff Boyz visited the ancient pyramids. As they approached these magnificent desert triangles, Sam jumped down from James's mighty back and noticed something. “A triangle has three points!” Sam bellowed powerfully. James snorted in agreement and they both immediately reached the same conclusion. They should find a guest who had been on the TickyOff twice before and invite them back on the TickyOff for a third TickyOff appearance so that they could be the first triangular guest on the TickyOff. What better way to pay homage to their favourite shape, the triangle? There was only one possible human who could achieve this milestone, Eater London editor, Adam Coghlan. Sam jumped back astride his trusty steed with a powerful cry of: “To home, my equine buddy!” They turned away from the sandy three sided brick stacks and rode home to TickyOff Towers to anoint the very first TickyOff Triangle Human. Adam ponders on why some people hate Eater London, the AA Gill award controversy, influencers, nuance torpedoes and reaching across an aisle. He comes out in support of a foul crisp and raves about Tata Eatery. Also, Sam has had an operation on his back and legged it from a nurse. James went to Yorkshire and cooked a rubbish salmon-based meal. There's gildas discussion, Adam wears something called The Bill Oddie and Sam goes up to the top of the Royal Opera House only to discover a strange genre of toilet. This weeks' episode is sponsored by legendary whisperers of wine dropwine.co.uk

RHLSTP Special The Goodies - War With Babies. Rich is at the Bristol Slapstick Festival and almost bursting with excitement to meet and chat with his childhood and adulthood heroes, Graeme Garden, Bill Oddie and Tim Brooke-Taylor, aka The Goodies. They chat about the origins of the team and the cartoons and slapstick stars that influenced them, how the special effects still stand up today, why they left the BBC and whether they resent the fact they’ve never been repeated, the kitten, the gibbon, the music and the stunt man that they shared with a legend. It’s beautiful to see the boys back together and to see how quickly they slip back into the old triple act and for them to get the ovation that they deserve.Buy the complete Goodies BBC collection here - https://networkonair.com/all-products/2875-goodies-the-the-complete-bbc-collectionSUPPORT THE SHOW!Check out our website and become a badger and see extra content http://rhlstp.co.ukSee details of the RHLSTP tour dates http://richardherring.com/gigsBuy DVDs and Books at http://gofasterstripe.com See acast.com/privacy for privacy and opt-out information.

3:41 Question, bongo lesson, Bill Oddie watch, Iain needs art

Rætt er við karlmenn á öllum aldri sem stunda prjónaskap og ýmsa fagaðila sem koma að ullarframleiðslu og framgangi prjónamennsku á Íslandi. Viðmælendur eru Ásdís Jóelsdóttir, Sigurbjörn Hjartarson, Sigurður Sævar Gunnarsson, Sunna Jökulsdóttir, Þuríður Einarsdóttir , Ármann Eggertsson, Kristján Atli Sævarsson, Ólafur Benediktsson, Hallbjörn Rúnarsson, Karen Ósk Sigurðardóttir, Elís Bergmann Valgeirsson, Bergþór Pálsson, Gísli Víkingsson, Sigmundur Grétar Hermannsson og Eldar Arnarsson. Í þættinum heyrist frumsamin tónlist eftir Helga Rafn Ingvarsson. Jafnframt hljómar tónlist eftir My Bubba, Bill Oddie og Helga Björnsson. Umsjónarmaður: Pétur Oddbergur Heimisson.

Brian Briggs used to travel the country as a founding member of the band Stornoway, utilising the stops on the tour to sample the local wildlife. Now he's had a career change, leaving the music world behind and he is now is the reserve manager of the Wetlands and Wildlife Trust's Llanelli Wetland Centre in West Wales. This omnibus edition contains the following repeated episodes; Mandarin Duck - presented by Penny Anderson Bluethroat - presented by Fyfe Dangerfield Sanderling - presented by David Attenborough Horned Screamer - presented by Michael Palin CBE Rook - presented by Bill Oddie

Tim Brooke-Taylor, Graeme Garden and Bill Oddie talk to Matthew Sweet about how humour changes and the targets of their TV comedy show which ran during the '70s and early '80s. A box set of the 67 half hour episodes is being released. Producer: Harry Parker.

It's where it's at! In this week's episode, the two Crime Writers mainly celebrate on of the pair's bestselling status. THIRTEEN races into the top 20, but at what number... Joining us for a special extended interview, it's the incredible Mark Billingham! He talks about his new novel THE KILLING HABIT, Bill Oddie, King Kitten, Theakstons Crime Festival, and much more. Credits: Produced by Twenty Inches of Monkey Productions Music by Stuart Neville

I watched a programme called "It was alright in the 70s" where various programmes were shown from that era which would be regarded as sexist or racist these days....y'know...now we are the Nanny State.........programmes like The Black and White Minstrels and Benny Hill type stuff....with so-called "celebs" looking totally shocked at what they were watching....foe goodness sake GET REAL!!!...the likes of that silly old sod Bill Oddie shaking his head in disbelief saying "They wouldn't get away with that now... as if he hasn't seen it all before....personally I object to being told what I can and can't watch....it was called ENTERTAINMENT which has sadly vanished these days. 2.Also we had to suffer one of those whinging feminists on the morning news programme prattling on about how badly women are treated....then a picture of the bloke who plays Poldark was displayed....with no shirt on... which had apparently delighted our female population...and she was asked about the reaction to male strippers at women's hen parties.....oh it's FINE that way round....and she was asked about the young ladies who lost their jobs as glamour girls at formula one events because a handful of female do-gooders were offended.....it was good viewing watching her squirm....we KNOW how you feminists feel ladies we don't need telling every 10 minutes....fortunately most women enjoy being who they are and straight blokes (which most of us are) will continue to look at females in the same way as we have done since time began....some of you girls need to get over yourselves....and as for the "Men At Work" sign being sexist just about sums it all up....what next PERSONCHESTER UNITED? 3.The recent drama about Jeremy Thorpe has caused quite a stir...I must admit I didn't know a lot about this...it was very interesting and well acted by Hugh Grant who played the politician really well.....I do like to see and actor actually looking like the person he is portraying.........apparently a lot of facts have been "hidden" over the years (now there's a surprise) and it's all come out in the wash....it covered how old Jeremy allegedly hired a hit man to kill his boyfriend....all very enlightening...I think Hugh will get an award for this. 4.How about the guy in France who climbed up the side of that building to rescue a baby who was hanging off a balcony...what a hero...and he was am immigrant and has quite rightly been offered French citizenship....and the soldier who has received an award for bravery for taking on the enemy single handed....nice to see a bit of positive publicity as opposed to the usual terrorists dominating the news.....and because of changes in the railway timetables there is total disruption on the northern trains....displaying what a bunch of idiots we have in our wonderful government. 5.The song this week was the first record I produced when I formed my record company in 1980...I wrote it for my pal Pauline Daniels who went on to make a name for herself over the years....listening to this brings back a lot of memories....I had just built my studio and had made my mind up that I was going to "layer" my recordings....in other words play all the instruments myself (I'm actually playing the drums on this one as well) which solves a lot of problems as I can arrange stuff as I go along....so I give you BD 001 on Big Dee Records...."You're No Good To Me If You Can't Boogie"...

I watched a programme called "It was alright in the 70s" where various programmes were shown from that era which would be regarded as sexist or racist these days....y'know...now we are the Nanny State.........programmes like The Black and White Minstrels and Benny Hill type stuff....with so-called "celebs" looking totally shocked at what they were watching....foe goodness sake GET REAL!!!...the likes of that silly old sod Bill Oddie shaking his head in disbelief saying "They wouldn't get away with that now... as if he hasn't seen it all before....personally I object to being told what I can and can't watch....it was called ENTERTAINMENT which has sadly vanished these days. 2.Also we had to suffer one of those whinging feminists on the morning news programme prattling on about how badly women are treated....then a picture of the bloke who plays Poldark was displayed....with no shirt on... which had apparently delighted our female population...and she was asked about the reaction to male strippers at women's hen parties.....oh it's FINE that way round....and she was asked about the young ladies who lost their jobs as glamour girls at formula one events because a handful of female do-gooders were offended.....it was good viewing watching her squirm....we KNOW how you feminists feel ladies we don't need telling every 10 minutes....fortunately most women enjoy being who they are and straight blokes (which most of us are) will continue to look at females in the same way as we have done since time began....some of you girls need to get over yourselves....and as for the "Men At Work" sign being sexist just about sums it all up....what next PERSONCHESTER UNITED? 3.The recent drama about Jeremy Thorpe has caused quite a stir...I must admit I didn't know a lot about this...it was very interesting and well acted by Hugh Grant who played the politician really well.....I do like to see and actor actually looking like the person he is portraying.........apparently a lot of facts have been "hidden" over the years (now there's a surprise) and it's all come out in the wash....it covered how old Jeremy allegedly hired a hit man to kill his boyfriend....all very enlightening...I think Hugh will get an award for this. 4.How about the guy in France who climbed up the side of that building to rescue a baby who was hanging off a balcony...what a hero...and he was am immigrant and has quite rightly been offered French citizenship....and the soldier who has received an award for bravery for taking on the enemy single handed....nice to see a bit of positive publicity as opposed to the usual terrorists dominating the news.....and because of changes in the railway timetables there is total disruption on the northern trains....displaying what a bunch of idiots we have in our wonderful government. 5.The song this week was the first record I produced when I formed my record company in 1980...I wrote it for my pal Pauline Daniels who went on to make a name for herself over the years....listening to this brings back a lot of memories....I had just built my studio and had made my mind up that I was going to "layer" my recordings....in other words play all the instruments myself (I'm actually playing the drums on this one as well) which solves a lot of problems as I can arrange stuff as I go along....so I give you BD 001 on Big Dee Records...."You're No Good To Me If You Can't Boogie"...

Bill Oddie talks to Robert Ross about his career, including his years with The Goodies and his work presenting wildlife programmes.

We visit the RHS London Autumn Garden Show to hear expert advice on growing an edible forest garden, growing avocado plants and some imaginative ideas on floristry from the RHS Floral Artist in Residence. We’re also joined by bird and wildlife enthusiast Bill Oddie who recalls memories of the gardens of his youth and how they inspired his love of birds.

For the first hour Iain is joined by Comedian, Musician and TV presenter Bill Oddie, Iain talks the game of Tag he did, Paul from Stoke Poges stands corrected, Dirty James Whale, Virushka plays dirty at tag, Pete’s comedians lunch. Fist in a snake, Tribunal fees and Iain makes Gerry an offer

Our heroes become concerned with the effects of sex and violence on the more susceptible members of our society - particularly Bill Oddie. (Radio Times synopsis)

Toby Hadoke travels all of space, finding people who worked on the past 53 years of Doctor Who and getting them to travel in time as they look back on their careers for this free download and podcast!

Sue Cook’s pulled out, Sophie and Ben are 'at it' and there's a mentalist on the loose in episode 5. We cover real-life encounters with Bill Oddie, concealed nipples, and our hunt for the real Jed Maxwell (spoiler alert: It doesn't end well). Plus! Our hosts are put through the Partridge Mastermind challenge.

Use your ears and spend time on your own just listening and observing birds - good advice from one of the world's best known bird-watchers and ex-Goodie, Bill Oddie.

Use your ears and spend time on your own just listening and observing birds - good advice from one of the world's best known bird-watchers and ex-Goodie, Bill Oddie.

Goodies news & happenings for April 2016. Includes DVD boxset news, Bill Oddie to New Zealand and more. Link: Bill Oddie at the Auckland Writers FestivalLink: Anything Anywhere Anytime [BBC Radio]  

In episode seventy-seven of Paul and Rach, Paul Murray and Rachel Corbett discuss why they're the gypsies of podcasting, Rach's latest course obsession, how many times you can say 'like' before you get punched in the face and why networking SUCKS.  They chat about the small business women Paul met in Las Vegas, why there are gears in an automatic car, what Paulie did to a rental and they 'alert the papers' over some underwhelming news.  They talk embarrassing bodies, disappointing photos and why Rach was bird watching with Bill Oddie.  They discuss what you should do before buying anything, why companies should call you back, Kanye's pleas for money and why Rach is afraid of puddles.  As always they finish up with Rach's Story Time. www.paulandrach.com.au

In episode seventy-seven of Paul and Rach, Paul Murray and Rachel Corbett discuss why they're the gypsies of podcasting, Rach's latest course obsession, how many times you can say 'like' before you get punched in the face and why networking SUCKS.  They chat about the small business women Paul met in Las Vegas, why there are gears in an automatic car, what Paulie did to a rental and they 'alert the papers' over some underwhelming news.  They talk embarrassing bodies, disappointing photos and why Rach was bird watching with Bill Oddie.  They discuss what you should do before buying anything, why companies should call you back, Kanye's pleas for money and why Rach is afraid of puddles.  As always they finish up with Rach's Story Time. www.paulandrach.com.au

Lucky Brits will soon be asked if they want IN or OUT of the EU. What should you do if you love the planet? Ol and Dave grill an EU expert, Sam Lowe. We gawp at the UK Government pushing Chinese Weetabix onto the world, ask whether it can ever be OK to fly return to Germany just to make a point about train fares, and send a very cross message to Card Factory. All this, and what on Earth is happening to oil company profits? Sustainababble is your weekly comedy podcast about politics, prattle and the planet. Out Mondays. Music by Dicky Moore from Bearcraft and Dream Themes. Available on iTunes, Stitcher, Soundcloud, and on sustainababble.fish. Visit us at @thebabblewagon and at Facebook.com/sustainababble (special nod to the Don Bradmans, and their track 'Bill Oddie's Body')

We snuffle around the garden in search of hedgehogs. As their population continues its decline in the UK, what can we do to help?

Barry and Angelos are joined by Ray Quinn, Rich Peppiatt, Laura Pradelska, and Bill Oddie

Welcome back to Budley; although due to our confusing one way system, we suspect you never actually left. We’d also like to sincerely apologise about the recent wave of gnome-based attacks. Rest assured, the town of Budley will not be seen as a ‘soft touch’ when it comes to the recent increased number of gnomes on our streets. We will also continue our ‘zero tolerance’ policy on Bill Oddie hiding in your bushes. He is a menace, and we will stop him...

Get out the way, dad! It's time for Verbal Discharge! You do know what that is! I talk about it all the time! It's that podcast thing with the- Yeah, that's right. Yeah, they did talk about Bill Oddie's penis last week. Yeah, but it's more than that. No, honestly, it is, dad. It is. I know that. I'm sorry. I'll do it now.This week, James produces his celebrity death almanac, Jordan as ever asks all the important questions (And has his prepared bit bumped for time reasons) and Robbie gets really angry about Peppa Pig. Just you wait and hear him go. It's like a pork tornado.

This Friday: Goats, erotica, the KKK and a game show. It's either ITV's coverage of the apocalypse or it's Verbal Discharge. Thankfully for mankind, it's the latter. BBC has exclusivity on rapturous events.On this week's show, Jordan ponders Bill Oddie and game shows, James presents tales of old ladies and wedding ladies and Robbie prattles on about doughnuts and barnyard animals. Oh, and we also exclusively reveal what happens on episode 780 of Verbal Discharge, howmanyever years early.

Comedian and naturalist Bill Oddie talks to Jeremy Vine about being bi-polar and his extraordinary life story

Interview with author David Stringer, whose fine book The Insect Hotel is heartily endorsed by Bill Oddie. http://theinsecthotel.com/

As Bill Oddie concludes his Australian tour, Jeffers records all sorts of peripheral nonsense and the gig itself...

Goodies news, Bill tour info, Steve & Megan return, and Jeffers & Jane prepare to be oddified by watching Bill's appearances on Australian TV.

All three Goodies were on Australian breakfast TV recently and Bill Oddie was taking over the airwaves. The trandem is soon to hit the streets of Aussie cities and all of this is hot gossip for Jeffers and Jane-o. Plus the Goodies Twitter league tables!

Robert Ross is “the top chronicler of British comedy” (Howard Maxford, Film Review). Robert has written best-selling books such as the Monty Python Encyclopedia, Last of the Summer Wine the Finest Vintage and The Complete Goodies. As a consultant, researcher, writer and audio commentary moderator, Robert has worked on many dvd releases, recording with the likes of Jim Dale, Leslie Phillips, Norman Wisdom and June Whitfield. Robert has narrated documentaries for several Minder releases and was thrilled to re-live one of his childhood television memories when Fabulous Films dubbed the thirteen ‘lost’ episodes of Monkey! into English for the first time. He wrote the narration for the behind-the-scenes documentary Monkey Nuts and interviewed voice-over artistes including Andrew Sachs, Miriam Margolyes, David Collings and Burt Kwouk. Robert has also written sleeve notes for several compact disc collections of comedy tunes and songs, worked on interactive dvd quiz releases and acted as consultant for various Carry On franchise releases, including the most recent Slowdazzle calendars and a collection of Royal Doulton Character Toby Jugs! He was also the consultant for the official 31st anniversary Slowdazzle Monty Python and the Holy Grail calendar of 2005. Inaugurating the popular Carry On events at Pinewood Studios that reunited cast and crew alongside devoted fans of the series, Robert interviewed writer Norman Hudis, Liz Fraser, Patsy Rowlands and other stars of the series. Robert has also hosted sell-out events at the National Film Theatre, interviewing The Goodies and the League of Gentlemen on stage, as well as attending the Edinburgh Festival and interviewing classic comedy stars like Terry Jones and Melvyn Hayes. Robert was a regular guest at the Cult TV conventions from 2000 until 2004, interviewing such heroes as Ray Galton and Alan Simpson, Jack Douglas, Bill Oddie, Don Estelle, Nicholas Courtney and Colin Baker. He is now proud to be involved with the Telly Nation charity festivals as well as the signing conventions run by Showmasters. He was a judge, in the Best Comedy category, for the 2004 British Animation Awards and sat on the committee for the first Best of British Comedy luncheon at B.A.F.T.A. in aide of The Cinema and Television Benevolent Fund. His passion for the best in British comedy also saw Robert contribute heavily to the best-selling part work The Classic Carry On Collection, as well as the part-work devoted to the popular situation comedy Dad’s Army. Robert co-wrote the television documentary, What’s A Carry On? and the radio special, Thou Art Awful?, a celebration of bawdy British humour through the centuries. More recently he has turned his attention to drama, writing Doctor Who for Big Finish; his star casts including sixth Doctor, Colin Baker, Leslie Phillips, Roy Hudd, Doug Bradley and David Tennant who thrilled as the Doctor from 2005 to 2010. He is a frequent guest on radio, taking part in hundreds of broadcasts and often being assigned a mammoth talkathon by the BBC during promotions for their latest dvd and cd releases. His many television credits include interviews for What’s A Carry On?, Top Ten: Comedy Records, Will the Real Basil Fawlty Please Stand Up?, Legends: Hattie Jacques, Legends: Terry-Thomas, What the Pythons Did Next, Richard & Judy and the BBC News. As an ‘actor’ he has made several appearances in perennial sitcom favourite, Last of the Summer Wine, playing a pub customer in ‘Last Post and Pigeon’ and a mourner at Compo’s funeral in ‘Just a Small Funeral’. Read about Robert’s latest project “The Forgotten Heroes of Comedy”: http://unbound.co.uk/books/forgotten-heroes-of-comedy www.robertross.co.uk @RobertWRossEsq - Sara Shulman is the Founder and Editor of Comedy Blogedy, TEDxUCL speaker on 'The Power of Funny', former Head of Comedy at UCLU Rare FM and produces the Humour Me Comedy Podcast. Sara is also a Classics Undergraduate at UCL and occasionally gigs on the comedy circuit. www.comedyblogedy.com www.twitter.com/comedyblog 
 http://tedxtalks.ted.com/video/TEDxUCL-SARA-SHULMAN-The-power;search%3Asara%20shulman UCL is consistently ranked as one of the world's top universities. Across all disciplines our faculties are known for their research-intensive approaches, academic excellence and engagement with global challenges. This is the basis of our world-renowned degree programmes. Visit us at ucl.ac.uk.

Boom! Goodies Podcast deploys the dynamite with a deadly duo of Bill Oddie speaking and JJ Garden tweaking. Oh, and Steve sings again. Bless you, yes YOU, lovely Goodies fan!

Plug the kids' ears - it's an improv commentary on the Goodies' playgirl antics in 'Caught in the Act'. Plus we get the answer to the question "What will Bill Oddie be worth in 50 years?".

Tim Brooke-Taylor, Graeme Garden and Bill Oddie... our comedy Gods. We are honored to know their comedic brilliance through The Goodies - the slapstick, the witty cutting remarks, the perfect set ups for the well-timed falls. But who influenced them? Who were the stars of their youth that they studied as they honed their own acting skills? Who are the Comedy Gods our Superchaps Three worship? And do those Gods still pack a punch today? In this, the first of an infrequent series, we look back at the work of Buster Keaton, the silent film comedy star from America, who both Tim and Graeme have said they were heavily influenced by. Having never seen any of his work before, both Steve and Megan sit down on the Commentary Couch to see if watching Keaton is like watching a Goodies episode, and to try to spot any Goodies parallels in these silent classics that are nearly 100 years old. As Buster himself would say... "             " So sit back and enjoy this extra long Goodies Podcast, and the brilliance of The Great Stone Face.

Bill Banana Bundy! We look at Bill Oddie's 1970s morning kids show The Saturday Banana and also Bill's appearance in a trio of episodes of the US classic sitcom Married With Children.

Bill Oddie at the Great Gorilla Run 2011. Bills Bird food snub! Unbelievable Truth. Tim Brooke-Taylor Soldier Spy. Bring Graeme the head of Alfredo Garcia!

Bill Oddie, for those of you who don't know, is a legendary British television birdwatcher - twitcher as they're known.  He is also the subject of one of the most famous of all mondegreens: Madonna's "Bill Oddie, Bill Oddie, put your hands all over my body".  Anyhow, as a legendary feather flutterer it seemed only appropriate that his name should adorn a podcast entirely made up of bands with ornithological names.  We have everything here, from the albatross to the gull to the guillemot to the owl to the sparrow to the pigeon.  Honestly, this podcast could have been twice the length that it is, there were just so many appropriate bands - no Flock of Seagulls, for example, no Sparrow & the Workshop, no Sheryl Crow. So I hope you enjoy it.  While you're listening to this, Mrs. Toad and I will be enjoying the End of the Road Festival, and hopefully getting a few interesting interviews in for you all.  It'll be my first ever attendance as a legitimate press person, so I am feeling very full of myself at the moment, but with a bit of luck I'll justify the inflated sense of self-importance and bring back some fine bits and pieces for you to enjoy in the next week or two. Toadcast #37 - The Oddcast 01. Hate Beak - Feral Parrot (02.27) 02. The Eagles - Outlaw Man (04.52) 03. Eagleowl - Motherfucker (10.55) 04. Woodpigeon - Knock Knock (15.22) 05. The Lovely Sparrows - Department of Foreseeable Outcomes (19.45) 06. The Bowerbirds - In Our Talons (23.47) 07. Doves - A House (35.30) 08. Counting Crows - Start Again (38.12) 09. Andrew Bird - Why (Live) (46.32) 10. Guillemots - Take Me Out (Live Lounge) (50.43) 11. A Hawk & a Hacksaw - Portlandtown (56.07) 12. Gossamer Albatross - Held Hands (59.57) 13. The Housemartins - Me & the Farmer (63.26) Song, by Toad

This week the guys talk Nasa made beds and fair-trade tea. Giles tells us he hates Bill Oddie and they all discuss their favourite British comedies and what they think the best and worst musicals are.