Podcasts about brian hodgson

Episode 171 Chapter 30, EMS Analog Synthesizers. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 30, EMS Analog Synthesizers from my book Electronic and Experimental music.   Playlist: MUSIC MADE WITH EMS ANALOG SYNTHESIZERS   Time Track Time Start Introduction –Thom Holmes 01:34 00:00 1.     Delia Derbyshire, “Dance From ‘Noah' " (1970). Composed for a television program. Used the EMS VCS3. 00:55 01:44 2.     Selections from the demonstration disc, EMS Synthi And The Composer (1971). Excerpts from Harrison Birtwistle, “Medusa,” Peter Zinovieff, “January Tensions,” and Tristram Cary, “Continuum.” 06:15 02:34 3.     Peter Zinovieff and Harrison Birtwistle, “Chronometer” (1971–2). Featured both the EMS Synthi VCS3 and modified sound recordings of the ticking of Big Ben and the chimes of Wells Cathedral clock. 24:23 08:48 4.     Mike Hankinson, “Toccata And Fugue In D Minor” (Bach) (1972) from The Classical Synthesizer. South African record realized using the Putney (EMS) VCS3. 07:04 33:06 5.     Electrophon, “Arrival of the Queen of Sheba” (1973) from In a Covent Garden (1973).  Electrophon Music was described as the studio where the electronics were recorded and produced in the UK by Radiophonic musicians Brian Hodgson, Dudley Simpson. A variety of synthesizers were used including the obscure EMS Synthi Range, a multi-effect instrument. 03:04 40:10 6.     The Eden Electronic Ensemble, “Elite Syncopations” (Joplin) (1974) from The Eden Electronic Ensemble Plays Joplin. Realized using the EMS VCS3 and Minimoog synthesizers. 04:53 43:12 7.     Peter Zinovieff, “A Lollipop For Papa” (1974).  Realized with the EMS Synthi AKS. 06:26 48:04 8.     Peter Zinovieff and Hans Werner Henze, “Tristan” (Long Section) (1975). Tape accompaniment realized with the EMS Synthi AKS. 07:40 54:40 9.     J.D. Robb, “Poem of Summer” (1976) from Rhythmania And Other Electronic Musical Compositions. Realized using the EMS Synthi AKS. 02:04 01:02:18 10.   J.D. Robb, “Synthi Waltz” (1976) from Rhythmania And Other Electronic Musical Compositions. Realized using the EMS Synthi AKS and Synthi Sequencer 256 (digital sequencer). 01:52 01:04:24 11.   Bruno Spoerri, “Hymn Of Taurus (Taurus Is Calling You!)” (1978) from Voice Of Taurus. Realized using a host of equipment, including a few EMS instruments: EMS Synthi 100, EMS VCS3, EMS AKS, EMS Vocoder 2000, Alto Saxophone with EMS Pitch-to-voltage Converter & Random Generator, plus the Lyricon, Prophet-5 Polyphonic Synthesizer, ARP Omni & Odyssey, Minimoog, Moog Taurus Bass Pedal, RMI Keyboard Computer, Ondes Martenot , Vako Polyphonic Orchestron, Bode Frequency Shifter, AMS Tape Phase Simulator, Echoplex, Roland Echo, Roland Rhythm Box, Bruno Spoerri. 02:48 01:06:16 12.   Henry Sweitzer, “Open Windows” (1979) from Te Deum.  Realized with the EMS Synthi AKS. 11:11 01:09:02 13.   Eduard Artemyev, Yuri Bogdanov, Vladimir Martynov, “Le Vent Dans La Plaine,” “Io Mi Son Giovinetta,” and “Why Ask You?” (1980) from Metamorphoses. Composed and realized using the EMS Synthi 100, a large synthesizer unit combining several EMS3 models and connecting circuitry. 08:38 01:20:14 14.   Jean-Michel Jarre, “Les Chants Magnétiques,” (side 1) (1981) from Les Chants Magnétiques. Portions realized with the EMS Synthi AKS, EMS Synthi VCS3, and EMS Vocoder 1000. 17:58 01:28:52 15.   Alessandro Cortini and Merzbow, “AAMC” (2017) from Alessandro Cortini And Merzbow. Recent recording with all sounds realized using a vintage EMS Synthi AKS. 04:49 01:46:40   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.  

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

We're kicking off our 2025 podcasting year with a look back to the 2024 Doctor Who Christmas special: Joy to the World. David worries that the time hotel may open the door to temporal instability, and Ben comes up with an interesting what-if that could have tied the time hotel to The War Games. Opening music Brian Hodgson's "Galaxy Atmosphere" and closing music is "Hotel California" performed by the Gipsy Kings. We recorded this podcast on 15 January 2025.

We discuss the phenomenal animation of "The Wheel in Space" by Iz Skinner and her partner Steve Skinner. It easily ranks in the top three of Doctor Who animations. We speculated about this animation having an official release before Josh Snares released his informative "Making of" documentary. Thus our podcast is a little behind the times due to the editing and production lag. To view the animation, you may watch the complete episodes on Gav Rymill's Missing Episodes Patreon or a playlist on TARDIS Timegirl's YouTube channel. Opening and closing music is from Wheel's soundtrack and was composed by Brian Hodgson. We recorded this podcast on 2 December 2024.

Brian Hodgson is truly a pioneer of sound. A composer, and member of the famous BBC radiophonic workshop. An innovator within the realm of electronic music over two decades before the BBC acquired the first Macintosh computers, an actor, and Royal Airforce veteran, Brian came to prominence at the BBC. He began work on television in an era long before computers much less the digital technology and Artificial Intelligence his modern-day counterparts rely on to produce audio for shows such as Doctor Who. That particular show returns to our screens soon and is barely recognizable for the shows that first aired 60 years ago. The titular character has changed appearance more than a dozen times. Fundamentals of the Doctor's origins and back story have been written, altered, and revised by dozens of writers over the decades while the interior of his spaceship the Tardis is radically different. Even the iconic design of his infamous cyborg rivals the Daleks has been tinkered with. But two key aspects of the show remain unchanged, and they are both crucial audio features introduced by Brian six decades ago.  Music & Sound from Pixabay  

British actress Katy Manning has been a star of stage and screen for over five decades. During that time she has performed with stars including Jack Klugman, Derek Nimmo, and her partner Barry Crocker, in the UK, US and Australia.  Despite her success and multitude of starring roles she is perhaps best known for her role as Jo Grant in Doctor Who. She appeared alongside actor Jon Pertwee for three years during which time the long running show achieved record viewing figures and became a worldwide success.  In this interview we discuss Doctor Who, but also her career and  life from the early days through to her current projects. This is episode is part one of two celebrating the 60th anniversary of Doctor Who. In part two I speak with Brian Hodgson the musician who developed the iconic sounds of the Daleks and the TARDIS.  For more on Katy visit her official website: Katymanning.com Music: Pixabay

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

A double feature in this podcast. First up, Ben gives his report from the Worlds of Wonder Doctor Who exhibit currently running at the National Museum of Scotland in Edinburgh. Next David is joined by John (elvwood) and Peter (forpetessake), two quiz masters on the Games of Rassilon subforum on Gallifrey Base Doctor Who forum, where they discuss forum games and culture and the challenges and rewards of hosting forum games. Opening music is "The Axons Approach" by Brian Hodgson and closing music is "Scorched Earth" composed by Trevor Duncan and performed by the Group-Forty Orchestra. We recorded this episode on 28 January and 10 February 2023.

POW! is a selection of music keen to experiment with explosive sounds. This is music that transports the listener to different states of mind. The music is mainly rock by bands that use exploration, improvisation and rawness in their material. The selection includes legendary experimentalist German bands Can and Neu! Two essential bands from Manchester that emerged from the punk and post punk era, The Fall and A Certain Ratio. The American band from the current alternative scene of San Francisco Thee Oh Sees. Atom Rhumba is a band from Bilbao influenced by the powerful sounds of James Brown and the Stooges. The garage raw sound of the Australian punk band The Celibate Rifles. The Gainsbourg-Birkin inspired duo from France, The Limiñanas. The Cameroonian Afro funk-rock singer Joseph Kamga. The Swedish psychedelic and progressive group Dungen and their fellow compatriots Goat, a trailblazer music collective producing crossover world music with a punk attitude. Lucifer Rising is a lysergic hell of a tune of the early days of The Flaming Lips. Punk is one of the common denominators of most of the bands included. If not part of the punk scene, some artists here were punk influencers like the German bands mentioned above. But not all is rock. Brazilian current new Tropicalista sensation Sessa adds a more intimate and mellow tone to the mix. Finally, you will find a beguiling pop song at the end by one of the early pioneers of electronic music. She is the acclaimed BBC recording engineer Delia Derbyshire performing under the artist's name White Noise with fellow BBC sound engineer Brian Hodgson and American electronic student David Vorhaus in their eponymous album from 1969. Playlist 1- Millionenspiel - CAN 2- Dead Man's gun - THEE OH SEES 3- Je ne suis pas tres drogue - THE LIMIÑANAS 4- Sie Scheu - JOSEPH KAMGA 5- Relax - GOAT 6- Ingenting är sig likt - DUNGEN 7- Candace da Cura - SESSA 8- Hallo Gallo - NEU! 9- Gone (PICCO Mix) - ATOM RHUMBA 10- Last chance to turn around - THE FALL 11- Bill Boney regrets - THE CELIBATE RIFFLES 12- Mind made up - A CERTAIN RATIO 13- Lucifer rising - THE FLAMING LIPS 14- Firebird - WHITE NOISE Contact info NuDirections FM: Website - nudirectionfm.com Linktree - https://linktr.ee/NDFM

Episode 022: The Keys to Room Twenty-Two: Selections from the Post-Psychedelic Era Part TwoThe Bee Gees - Sweet Song of Summer (UK 1972) A true oddity in the brothers Gibb's sprawling discography, sounding like a lost track from their psych era four years previous.  They create quite an atmosphere that fuses trippy synth experiments with battle percussion and chants that sound like a crew of vikings backing them.  Part of their "lost" period where they are coming out of their early Beatle-esque pop sound, but before they'd stumble on a super successful style more informed by American soul and R&B.Vangelis Papathanis - Sunny Earth (Greece 1973) Originally part of Greek psychedelic warlords Aphrodite's Child, this moody sound piece comes from Vangelis' second solo album.  After a prolific run of albums, Vangelis would eventually find much success in the field of soundtrack world.Yoko Ono - Greenfield Morning I Pushed an Empty Baby Carriage All Over the City (US 1970) Yoko's work is often polarizing, sometimes dismissed as avant-garde rambling - but her early work does have its gems.  On this standout track from her first album, her trademark shriek is backed by a thumping groove that provides just enough grounding for her to deliver her audible freak out.Spirit - The Other Song (1975) Recorded several years after their "heyday", this song sounds like it could be a relic from their Dr. Sardonicus era.  Produced by the enigmatic Randy California, this phased wonder comes from the second album they recorded after their first initial reunion, Son of Spirit. White Noise - Love Without Sound (1969) Pioneers of early electronic exploration, this band began as a group project between David Vorhaus and BBC Radio Workshop members Delia Derbyshire and Brian Hodgson.  Their first album contains some of the most forward thinking and bizarre electronic music of the time, and foreshadows how music would be made in the future with it's use of tape loops and wacky machines.Kevin Ayers - The Confessions of Dr. Dream (UK 1974) Originally part of prog-psych legends The Soft Machine, Kev Ayers solo discography is filled with many highlights and is most definitely worth exploring.  This psychedelic masterpiece features the haunting voice of Nico, which adds to the spooky and otherworldly mood of the track.

This week's episode looks at “All You Need is Love”, the Our World TV special, and the career of the Beatles from April 1966 through August 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a thirteen-minute bonus episode available, on "Rain" by the Beatles. 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/ NB for the first few hours this was up, there was a slight editing glitch. If you downloaded the old version and don't want to redownload the whole thing, just look in the transcript for "Other than fixing John's two flubbed" for the text of the two missing paragraphs. Errata I say "Come Together" was a B-side, but the single was actually a double A-side. Also, I say the Lennon interview by Maureen Cleave appeared in Detroit magazine. That's what my source (Steve Turner's book) says, but someone on Twitter says that rather than Detroit magazine it was the Detroit Free Press. Also at one point I say "the videos for 'Paperback Writer' and 'Penny Lane'". I meant to say "Rain" rather than "Penny Lane" there. Resources No Mixcloud this week due to the number of songs by the Beatles. I have read literally dozens of books on the Beatles, and used bits of information from many of them. All my Beatles episodes refer to: The Complete Beatles Chronicle by Mark Lewisohn, All The Songs: The Stories Behind Every Beatles Release by Jean-Michel Guesdon, And The Band Begins To Play: The Definitive Guide To The Songs of The Beatles by Steve Lambley, The Beatles By Ear by Kevin Moore, Revolution in the Head by Ian MacDonald, and The Beatles Anthology. For this episode, I also referred to Last Interview by David Sheff, a longform interview with John Lennon and Yoko Ono from shortly before Lennon's death; Many Years From Now by Barry Miles, an authorised biography of Paul McCartney; and Here, There, and Everywhere: My Life Recording the Music of the Beatles by Geoff Emerick and Howard Massey. Particularly useful this time was Steve Turner's book Beatles '66. I also used Turner's The Beatles: The Stories Behind the Songs 1967-1970. Johnny Rogan's Starmakers and Svengalis had some information on Epstein I hadn't seen anywhere else. Some information about the "Bigger than Jesus" scandal comes from Ward, B. (2012). “The ‘C' is for Christ”: Arthur Unger, Datebook Magazine and the Beatles. Popular Music and Society, 35(4), 541-560. https://doi.org/10.1080/03007766.2011.608978 Information on Robert Stigwood comes from Mr Showbiz by Stephen Dando-Collins. And the quote at the end from Simon Napier-Bell is from You Don't Have to Say You Love Me, which is more entertaining than it is accurate, but is very entertaining. Sadly the only way to get the single mix of "All You Need is Love" is on this ludicrously-expensive out-of-print box set, but the stereo mix is easily available on Magical Mystery Tour. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I start the episode -- this episode deals, in part, with the deaths of three gay men -- one by murder, one by suicide, and one by an accidental overdose, all linked at least in part to societal homophobia. I will try to deal with this as tactfully as I can, but anyone who's upset by those things might want to read the transcript instead of listening to the episode. This is also a very, very, *very* long episode -- this is likely to be the longest episode I *ever* do of this podcast, so settle in. We're going to be here a while. I obviously don't know how long it's going to be while I'm still recording, but based on the word count of my script, probably in the region of three hours. You have been warned. In 1967 the actor Patrick McGoohan was tired. He had been working on the hit series Danger Man for many years -- Danger Man had originally run from 1960 through 1962, then had taken a break, and had come back, retooled, with longer episodes in 1964. That longer series was a big hit, both in the UK and in the US, where it was retitled Secret Agent and had a new theme tune written by PF Sloan and Steve Barri and recorded by Johnny Rivers: [Excerpt: Johnny Rivers, "Secret Agent Man"] But McGoohan was tired of playing John Drake, the agent, and announced he was going to quit the series. Instead, with the help of George Markstein, Danger Man's script editor, he created a totally new series, in which McGoohan would star, and which McGoohan would also write and direct key episodes of. This new series, The Prisoner, featured a spy who is only ever given the name Number Six, and who many fans -- though not McGoohan himself -- took to be the same character as John Drake. Number Six resigns from his job as a secret agent, and is kidnapped and taken to a place known only as The Village -- the series was filmed in Portmeirion, an unusual-looking town in Gwynnedd, in North Wales -- which is full of other ex-agents. There he is interrogated to try to find out why he has quit his job. It's never made clear whether the interrogators are his old employers or their enemies, and there's a certain suggestion that maybe there is no real distinction between the two sides, that they're both running the Village together. He spends the entire series trying to escape, but refuses to explain himself -- and there's some debate among viewers as to whether it's implied or not that part of the reason he doesn't explain himself is that he knows his interrogators wouldn't understand why he quit: [Excerpt: The Prisoner intro, from episode Once Upon a Time, ] Certainly that explanation would fit in with McGoohan's own personality. According to McGoohan, the final episode of The Prisoner was, at the time, the most watched TV show ever broadcast in the UK, as people tuned in to find out the identity of Number One, the person behind the Village, and to see if Number Six would break free. I don't think that's actually the case, but it's what McGoohan always claimed, and it was certainly a very popular series. I won't spoil the ending for those of you who haven't watched it -- it's a remarkable series -- but ultimately the series seems to decide that such questions don't matter and that even asking them is missing the point. It's a work that's open to multiple interpretations, and is left deliberately ambiguous, but one of the messages many people have taken away from it is that not only are we trapped by a society that oppresses us, we're also trapped by our own identities. You can run from the trap that society has placed you in, from other people's interpretations of your life, your work, and your motives, but you ultimately can't run from yourself, and any time you try to break out of a prison, you'll find yourself trapped in another prison of your own making. The most horrifying implication of the episode is that possibly even death itself won't be a release, and you will spend all eternity trying to escape from an identity you're trapped in. Viewers became so outraged, according to McGoohan, that he had to go into hiding for an extended period, and while his later claims that he never worked in Britain again are an exaggeration, it is true that for the remainder of his life he concentrated on doing work in the US instead, where he hadn't created such anger. That final episode of The Prisoner was also the only one to use a piece of contemporary pop music, in two crucial scenes: [Excerpt: The Prisoner, "Fall Out", "All You Need is Love"] Back in October 2020, we started what I thought would be a year-long look at the period from late 1962 through early 1967, but which has turned out for reasons beyond my control to take more like twenty months, with a song which was one of the last of the big pre-Beatles pop hits, though we looked at it after their first single, "Telstar" by the Tornadoes: [Excerpt: The Tornadoes, "Telstar"] There were many reasons for choosing that as one of the bookends for this fifty-episode chunk of the podcast -- you'll see many connections between that episode and this one if you listen to them back-to-back -- but among them was that it's a song inspired by the launch of the first ever communications satellite, and a sign of how the world was going to become smaller as the sixties went on. Of course, to start with communications satellites didn't do much in that regard -- they were expensive to use, and had limited bandwidth, and were only available during limited time windows, but symbolically they meant that for the first time ever, people could see and hear events thousands of miles away as they were happening. It's not a coincidence that Britain and France signed the agreement to develop Concorde, the first supersonic airliner, a month after the first Beatles single and four months after the Telstar satellite was launched. The world was becoming ever more interconnected -- people were travelling faster and further, getting news from other countries quicker, and there was more cultural conversation – and misunderstanding – between countries thousands of miles apart. The Canadian media theorist Marshall McLuhan, the man who also coined the phrase “the medium is the message”, thought that this ever-faster connection would fundamentally change basic modes of thought in the Western world. McLuhan thought that technology made possible whole new modes of thought, and that just as the printing press had, in his view, caused Western liberalism and individualism, so these new electronic media would cause the rise of a new collective mode of thought. In 1962, the year of Concorde, Telstar, and “Love Me Do”, McLuhan wrote a book called The Gutenberg Galaxy, in which he said: “Instead of tending towards a vast Alexandrian library the world has become a computer, an electronic brain, exactly as an infantile piece of science fiction. And as our senses have gone outside us, Big Brother goes inside. So, unless aware of this dynamic, we shall at once move into a phase of panic terrors, exactly befitting a small world of tribal drums, total interdependence, and superimposed co-existence.… Terror is the normal state of any oral society, for in it everything affects everything all the time.…” He coined the term “the Global Village” to describe this new collectivism. The story we've seen over the last fifty episodes is one of a sort of cultural ping-pong between the USA and the UK, with innovations in American music inspiring British musicians, who in turn inspired American ones, whether that being the Beatles covering the Isley Brothers or the Rolling Stones doing a Bobby Womack song, or Paul Simon and Bob Dylan coming over to the UK and learning folk songs and guitar techniques from Martin Carthy. And increasingly we're going to see those influences spread to other countries, and influences coming *from* other countries. We've already seen one Jamaican artist, and the influence of Indian music has become very apparent. While the focus of this series is going to remain principally in the British Isles and North America, rock music was and is a worldwide phenomenon, and that's going to become increasingly a part of the story. And so in this episode we're going to look at a live performance -- well, mostly live -- that was seen by hundreds of millions of people all over the world as it happened, thanks to the magic of satellites: [Excerpt: The Beatles, "All You Need is Love"] When we left the Beatles, they had just finished recording "Tomorrow Never Knows", the most experimental track they had recorded up to that date, and if not the most experimental thing they *ever* recorded certainly in the top handful. But "Tomorrow Never Knows" was only the first track they recorded in the sessions for what would become arguably their greatest album, and certainly the one that currently has the most respect from critics. It's interesting to note that that album could have been very, very, different. When we think of Revolver now, we think of the innovative production of George Martin, and of Geoff Emerick and Ken Townshend's inventive ideas for pushing the sound of the equipment in Abbey Road studios, but until very late in the day the album was going to be recorded in the Stax studios in Memphis, with Steve Cropper producing -- whether George Martin would have been involved or not is something we don't even know. In 1965, the Rolling Stones had, as we've seen, started making records in the US, recording in LA and at the Chess studios in Chicago, and the Yardbirds had also been doing the same thing. Mick Jagger had become a convert to the idea of using American studios and working with American musicians, and he had constantly been telling Paul McCartney that the Beatles should do the same. Indeed, they'd put some feelers out in 1965 about the possibility of the group making an album with Holland, Dozier, and Holland in Detroit. Quite how this would have worked is hard to figure out -- Holland, Dozier, and Holland's skills were as songwriters, and in their work with a particular set of musicians -- so it's unsurprising that came to nothing. But recording at Stax was a different matter.  While Steve Cropper was a great songwriter in his own right, he was also adept at getting great sounds on covers of other people's material -- like on Otis Blue, the album he produced for Otis Redding in late 1965, which doesn't include a single Cropper original: [Excerpt: Otis Redding, "Satisfaction"] And the Beatles were very influenced by the records Stax were putting out, often namechecking Wilson Pickett in particular, and during the Rubber Soul sessions they had recorded a "Green Onions" soundalike track, imaginatively titled "12-Bar Original": [Excerpt: The Beatles, "12-Bar Original"] The idea of the group recording at Stax got far enough that they were actually booked in for two weeks starting the ninth of April, and there was even an offer from Elvis to let them stay at Graceland while they recorded, but then a couple of weeks earlier, the news leaked to the press, and Brian Epstein cancelled the booking. According to Cropper, Epstein talked about recording at the Atlantic studios in New York with him instead, but nothing went any further. It's hard to imagine what a Stax-based Beatles album would have been like, but even though it might have been a great album, it certainly wouldn't have been the Revolver we've come to know. Revolver is an unusual album in many ways, and one of the ways it's most distinct from the earlier Beatles albums is the dominance of keyboards. Both Lennon and McCartney had often written at the piano as well as the guitar -- McCartney more so than Lennon, but both had done so regularly -- but up to this point it had been normal for them to arrange the songs for guitars rather than keyboards, no matter how they'd started out. There had been the odd track where one of them, usually Lennon, would play a simple keyboard part, songs like "I'm Down" or "We Can Work it Out", but even those had been guitar records first and foremost. But on Revolver, that changed dramatically. There seems to have been a complex web of cause and effect here. Paul was becoming increasingly interested in moving his basslines away from simple walking basslines and root notes and the other staples of rock and roll basslines up to this point. As the sixties progressed, rock basslines were becoming ever more complex, and Tyler Mahan Coe has made a good case that this is largely down to innovations in production pioneered by Owen Bradley, and McCartney was certainly aware of Bradley's work -- he was a fan of Brenda Lee, who Bradley produced, for example. But the two influences that McCartney has mentioned most often in this regard are the busy, jazz-influenced, basslines that James Jamerson was playing at Motown: [Excerpt: The Four Tops, "It's the Same Old Song"] And the basslines that Brian Wilson was writing for various Wrecking Crew bassists to play for the Beach Boys: [Excerpt: The Beach Boys, "Don't Talk (Put Your Head on My Shoulder)"] Just to be clear, McCartney didn't hear that particular track until partway through the recording of Revolver, when Bruce Johnston visited the UK and brought with him an advance copy of Pet Sounds, but Pet Sounds influenced the later part of Revolver's recording, and Wilson had already started his experiments in that direction with the group's 1965 work. It's much easier to write a song with this kind of bassline, one that's integral to the composition, on the piano than it is to write it on a guitar, as you can work out the bassline with your left hand while working out the chords and melody with your right, so the habit that McCartney had already developed of writing on the piano made this easier. But also, starting with the recording of "Paperback Writer", McCartney switched his style of working in the studio. Where up to this point it had been normal for him to play bass as part of the recording of the basic track, playing with the other Beatles, he now started to take advantage of multitracking to overdub his bass later, so he could spend extra time getting the bassline exactly right. McCartney lived closer to Abbey Road than the other three Beatles, and so could more easily get there early or stay late and tweak his parts. But if McCartney wasn't playing bass while the guitars and drums were being recorded, that meant he could play something else, and so increasingly he would play piano during the recording of the basic track. And that in turn would mean that there wouldn't always *be* a need for guitars on the track, because the harmonic support they would provide would be provided by the piano instead. This, as much as anything else, is the reason that Revolver sounds so radically different to any other Beatles album. Up to this point, with *very* rare exceptions like "Yesterday", every Beatles record, more or less, featured all four of the Beatles playing instruments. Now John and George weren't playing on "Good Day Sunshine" or "For No One", John wasn't playing on "Here, There, and Everywhere", "Eleanor Rigby" features no guitars or drums at all, and George's "Love You To" only features himself, plus a little tambourine from Ringo (Paul recorded a part for that one, but it doesn't seem to appear on the finished track). Of the three songwriting Beatles, the only one who at this point was consistently requiring the instrumental contributions of all the other band members was John, and even he did without Paul on "She Said, She Said", which by all accounts features either John or George on bass, after Paul had a rare bout of unprofessionalism and left the studio. Revolver is still an album made by a group -- and most of those tracks that don't feature John or George instrumentally still feature them vocally -- it's still a collaborative work in all the best ways. But it's no longer an album made by four people playing together in the same room at the same time. After starting work on "Tomorrow Never Knows", the next track they started work on was Paul's "Got to Get You Into My Life", but as it would turn out they would work on that song throughout most of the sessions for the album -- in a sign of how the group would increasingly work from this point on, Paul's song was subject to multiple re-recordings and tweakings in the studio, as he tinkered to try to make it perfect. The first recording to be completed for the album, though, was almost as much of a departure in its own way as "Tomorrow Never Knows" had been. George's song "Love You To" shows just how inspired he was by the music of Ravi Shankar, and how devoted he was to Indian music. While a few months earlier he had just about managed to pick out a simple melody on the sitar for "Norwegian Wood", by this point he was comfortable enough with Indian classical music that I've seen many, many sources claim that an outside session player is playing sitar on the track, though Anil Bhagwat, the tabla player on the track, always insisted that it was entirely Harrison's playing: [Excerpt: The Beatles, "Love You To"] There is a *lot* of debate as to whether it's George playing on the track, and I feel a little uncomfortable making a definitive statement in either direction. On the one hand I find it hard to believe that Harrison got that good that quickly on an unfamiliar instrument, when we know he wasn't a naturally facile musician. All the stories we have about his work in the studio suggest that he had to work very hard on his guitar solos, and that he would frequently fluff them. As a technical guitarist, Harrison was only mediocre -- his value lay in his inventiveness, not in technical ability -- and he had been playing guitar for over a decade, but sitar only a few months. There's also some session documentation suggesting that an unknown sitar player was hired. On the other hand there's the testimony of Anil Bhagwat that Harrison played the part himself, and he has been very firm on the subject, saying "If you go on the Internet there are a lot of questions asked about "Love You To". They say 'It's not George playing the sitar'. I can tell you here and now -- 100 percent it was George on sitar throughout. There were no other musicians involved. It was just me and him." And several people who are more knowledgeable than myself about the instrument have suggested that the sitar part on the track is played the way that a rock guitarist would play rather than the way someone with more knowledge of Indian classical music would play -- there's a blues feeling to some of the bends that apparently no genuine Indian classical musician would naturally do. I would suggest that the best explanation is that there's a professional sitar player trying to replicate a part that Harrison had previously demonstrated, while Harrison was in turn trying his best to replicate the sound of Ravi Shankar's work. Certainly the instrumental section sounds far more fluent, and far more stylistically correct, than one would expect: [Excerpt: The Beatles, "Love You To"] Where previous attempts at what got called "raga-rock" had taken a couple of surface features of Indian music -- some form of a drone, perhaps a modal scale -- and had generally used a guitar made to sound a little bit like a sitar, or had a sitar playing normal rock riffs, Harrison's song seems to be a genuine attempt to hybridise Indian ragas and rock music, combining the instrumentation, modes, and rhythmic complexity of someone like Ravi Shankar with lyrics that are seemingly inspired by Bob Dylan and a fairly conventional pop song structure (and a tiny bit of fuzz guitar). It's a record that could only be made by someone who properly understood both the Indian music he's emulating and the conventions of the Western pop song, and understood how those conventions could work together. Indeed, one thing I've rarely seen pointed out is how cleverly the album is sequenced, so that "Love You To" is followed by possibly the most conventional song on Revolver, "Here, There, and Everywhere", which was recorded towards the end of the sessions. Both songs share a distinctive feature not shared by the rest of the album, so the two songs can sound more of a pair than they otherwise would, retrospectively making "Love You To" seem more conventional than it is and "Here, There, and Everywhere" more unconventional -- both have as an introduction a separate piece of music that states some of the melodic themes of the rest of the song but isn't repeated later. In the case of "Love You To" it's the free-tempo bit at the beginning, characteristic of a lot of Indian music: [Excerpt: The Beatles, "Love You To"] While in the case of "Here, There, and Everywhere" it's the part that mimics an older style of songwriting, a separate intro of the type that would have been called a verse when written by the Gershwins or Cole Porter, but of course in the intervening decades "verse" had come to mean something else, so we now no longer have a specific term for this kind of intro -- but as you can hear, it's doing very much the same thing as that "Love You To" intro: [Excerpt: The Beatles, "Here, There, and Everywhere"] In the same day as the group completed "Love You To", overdubbing George's vocal and Ringo's tambourine, they also started work on a song that would show off a lot of the new techniques they had been working on in very different ways. Paul's "Paperback Writer" could indeed be seen as part of a loose trilogy with "Love You To" and "Tomorrow Never Knows", one song by each of the group's three songwriters exploring the idea of a song that's almost all on one chord. Both "Tomorrow Never Knows" and "Love You To" are based on a drone with occasional hints towards moving to one other chord. In the case of "Paperback Writer", the entire song stays on a single chord until the title -- it's on a G7 throughout until the first use of the word "writer", when it quickly goes to a C for two bars. I'm afraid I'm going to have to sing to show you how little the chords actually change, because the riff disguises this lack of movement somewhat, but the melody is also far more horizontal than most of McCartney's, so this shouldn't sound too painful, I hope: [demonstrates] This is essentially the exact same thing that both "Love You To" and "Tomorrow Never Knows" do, and all three have very similarly structured rising and falling modal melodies. There's also a bit of "Paperback Writer" that seems to tie directly into "Love You To", but also points to a possible very non-Indian inspiration for part of "Love You To". The Beach Boys' single "Sloop John B" was released in the UK a couple of days after the sessions for "Paperback Writer" and "Love You To", but it had been released in the US a month before, and the Beatles all got copies of every record in the American top thirty shipped to them. McCartney and Harrison have specifically pointed to it as an influence on "Paperback Writer". "Sloop John B" has a section where all the instruments drop out and we're left with just the group's vocal harmonies: [Excerpt: The Beach Boys, "Sloop John B"] And that seems to have been the inspiration behind the similar moment at a similar point in "Paperback Writer", which is used in place of a middle eight and also used for the song's intro: [Excerpt: The Beatles, "Paperback Writer"] Which is very close to what Harrison does at the end of each verse of "Love You To", where the instruments drop out for him to sing a long melismatic syllable before coming back in: [Excerpt: The Beatles, "Love You To"] Essentially, other than "Got to Get You Into My Life", which is an outlier and should not be counted, the first three songs attempted during the Revolver sessions are variations on a common theme, and it's a sign that no matter how different the results might  sound, the Beatles really were very much a group at this point, and were sharing ideas among themselves and developing those ideas in similar ways. "Paperback Writer" disguises what it's doing somewhat by having such a strong riff. Lennon referred to "Paperback Writer" as "son of 'Day Tripper'", and in terms of the Beatles' singles it's actually their third iteration of this riff idea, which they originally got from Bobby Parker's "Watch Your Step": [Excerpt: Bobby Parker, "Watch Your Step"] Which became the inspiration for "I Feel Fine": [Excerpt: The Beatles, "I Feel Fine"] Which they varied for "Day Tripper": [Excerpt: The Beatles, "Day Tripper"] And which then in turn got varied for "Paperback Writer": [Excerpt: The Beatles, "Paperback Writer"] As well as compositional ideas, there are sonic ideas shared between "Paperback Writer", "Tomorrow Never Knows", and "Love You To", and which would be shared by the rest of the tracks the Beatles recorded in the first half of 1966. Since Geoff Emerick had become the group's principal engineer, they'd started paying more attention to how to get a fuller sound, and so Emerick had miced the tabla on "Love You To" much more closely than anyone would normally mic an instrument from classical music, creating a deep, thudding sound, and similarly he had changed the way they recorded the drums on "Tomorrow Never Knows", again giving a much fuller sound. But the group also wanted the kind of big bass sounds they'd loved on records coming out of America -- sounds that no British studio was getting, largely because it was believed that if you cut too loud a bass sound into a record it would make the needle jump out of the groove. The new engineering team of Geoff Emerick and Ken Scott, though, thought that it was likely you could keep the needle in the groove if you had a smoother frequency response. You could do that if you used a microphone with a larger diaphragm to record the bass, but how could you do that? Inspiration finally struck -- loudspeakers are actually the same thing as microphones wired the other way round, so if you wired up a loudspeaker as if it were a microphone you could get a *really big* speaker, place it in front of the bass amp, and get a much stronger bass sound. The experiment wasn't a total success -- the sound they got had to be processed quite extensively to get rid of room noise, and then compressed in order to further prevent the needle-jumping issue, and so it's a muddier, less defined, tone than they would have liked, but one thing that can't be denied is that "Paperback Writer"'s bass sound is much, much, louder than on any previous Beatles record: [Excerpt: The Beatles, "Paperback Writer"] Almost every track the group recorded during the Revolver sessions involved all sorts of studio innovations, though rarely anything as truly revolutionary as the artificial double-tracking they'd used on "Tomorrow Never Knows", and which also appeared on "Paperback Writer" -- indeed, as "Paperback Writer" was released several months before Revolver, it became the first record released to use the technique. I could easily devote a good ten minutes to every track on Revolver, and to "Paperback Writer"s B-side, "Rain", but this is already shaping up to be an extraordinarily long episode and there's a lot of material to get through, so I'll break my usual pattern of devoting a Patreon bonus episode to something relatively obscure, and this week's bonus will be on "Rain" itself. "Paperback Writer", though, deserved the attention here even though it was not one of the group's more successful singles -- it did go to number one, but it didn't hit number one in the UK charts straight away, being kept off the top by "Strangers in the Night" by Frank Sinatra for the first week: [Excerpt: Frank Sinatra, "Strangers in the Night"] Coincidentally, "Strangers in the Night" was co-written by Bert Kaempfert, the German musician who had produced the group's very first recording sessions with Tony Sheridan back in 1961. On the group's German tour in 1966 they met up with Kaempfert again, and John greeted him by singing the first couple of lines of the Sinatra record. The single was the lowest-selling Beatles single in the UK since "Love Me Do". In the US it only made number one for two non-consecutive weeks, with "Strangers in the Night" knocking it off for a week in between. Now, by literally any other band's standards, that's still a massive hit, and it was the Beatles' tenth UK number one in a row (or ninth, depending on which chart you use for "Please Please Me"), but it's a sign that the group were moving out of the first phase of total unequivocal dominance of the charts. It was a turning point in a lot of other ways as well. Up to this point, while the group had been experimenting with different lyrical subjects on album tracks, every single had lyrics about romantic relationships -- with the possible exception of "Help!", which was about Lennon's emotional state but written in such a way that it could be heard as a plea to a lover. But in the case of "Paperback Writer", McCartney was inspired by his Aunt Mill asking him "Why do you write songs about love all the time? Can you ever write about a horse or the summit conference or something interesting?" His response was to think "All right, Aunt Mill, I'll show you", and to come up with a lyric that was very much in the style of the social satires that bands like the Kinks were releasing at the time. People often miss the humour in the lyric for "Paperback Writer", but there's a huge amount of comedy in lyrics about someone writing to a publisher saying they'd written a book based on someone else's book, and one can only imagine the feeling of weary recognition in slush-pile readers throughout the world as they heard the enthusiastic "It's a thousand pages, give or take a few, I'll be writing more in a week or two. I can make it longer..." From this point on, the group wouldn't release a single that was unambiguously about a romantic relationship until "The Ballad of John and Yoko",  the last single released while the band were still together. "Paperback Writer" also saw the Beatles for the first time making a promotional film -- what we would now call a rock video -- rather than make personal appearances on TV shows. The film was directed by Michael Lindsay-Hogg, who the group would work with again in 1969, and shows Paul with a chipped front tooth -- he'd been in an accident while riding mopeds with his friend Tara Browne a few months earlier, and hadn't yet got round to having the tooth capped. When he did, the change in his teeth was one of the many bits of evidence used by conspiracy theorists to prove that the real Paul McCartney was dead and replaced by a lookalike. It also marks a change in who the most prominent Beatle on the group's A-sides was. Up to this point, Paul had had one solo lead on an A-side -- "Can't Buy Me Love" -- and everything else had been either a song with multiple vocalists like "Day Tripper" or "Love Me Do", or a song with a clear John lead like "Ticket to Ride" or "I Feel Fine". In the rest of their career, counting "Paperback Writer", the group would release nine new singles that hadn't already been included on an album. Of those nine singles, one was a double A-side with one John song and one Paul song, two had John songs on the A-side, and the other six were Paul. Where up to this point John had been "lead Beatle", for the rest of the sixties, Paul would be the group's driving force. Oddly, Paul got rather defensive about the record when asked about it in interviews after it failed to go straight to the top, saying "It's not our best single by any means, but we're very satisfied with it". But especially in its original mono mix it actually packs a powerful punch: [Excerpt: The Beatles, "Paperback Writer"] When the "Paperback Writer" single was released, an unusual image was used in the advertising -- a photo of the Beatles dressed in butchers' smocks, covered in blood, with chunks of meat and the dismembered body parts of baby dolls lying around on them. The image was meant as part of a triptych parodying religious art -- the photo on the left was to be an image showing the four Beatles connected to a woman by an umbilical cord made of sausages, the middle panel was meant to be this image, but with halos added over the Beatles' heads, and the panel on the right was George hammering a nail into John's head, symbolising both crucifixion and that the group were real, physical, people, not just images to be worshipped -- these weren't imaginary nails, and they weren't imaginary people. The photographer Robert Whittaker later said: “I did a photograph of the Beatles covered in raw meat, dolls and false teeth. Putting meat, dolls and false teeth with The Beatles is essentially part of the same thing, the breakdown of what is regarded as normal. The actual conception for what I still call “Somnambulant Adventure” was Moses coming down from Mount Sinai with the Ten Commandments. He comes across people worshipping a golden calf. All over the world I'd watched people worshiping like idols, like gods, four Beatles. To me they were just stock standard normal people. But this emotion that fans poured on them made me wonder where Christianity was heading.” The image wasn't that controversial in the UK, when it was used to advertise "Paperback Writer", but in the US it was initially used for the cover of an album, Yesterday... And Today, which was made up of a few tracks that had been left off the US versions of the Rubber Soul and Help! albums, plus both sides of the "We Can Work It Out"/"Day Tripper" single, and three rough mixes of songs that had been recorded for Revolver -- "Doctor Robert", "And Your Bird Can Sing", and "I'm Only Sleeping", which was the song that sounded most different from the mixes that were finally released: [Excerpt: The Beatles, "I'm Only Sleeping (Yesterday... and Today mix)"] Those three songs were all Lennon songs, which had the unfortunate effect that when the US version of Revolver was brought out later in the year, only two of the songs on the album were by Lennon, with six by McCartney and three by Harrison. Some have suggested that this was the motivation for the use of the butcher image on the cover of Yesterday... And Today -- saying it was the Beatles' protest against Capitol "butchering" their albums -- but in truth it was just that Capitol's art director chose the cover because he liked the image. Alan Livingston, the president of Capitol was not so sure, and called Brian Epstein to ask if the group would be OK with them using a different image. Epstein checked with John Lennon, but Lennon liked the image and so Epstein told Livingston the group insisted on them using that cover. Even though for the album cover the bloodstains on the butchers' smocks were airbrushed out, after Capitol had pressed up a million copies of the mono version of the album and two hundred thousand copies of the stereo version, and they'd sent out sixty thousand promo copies, they discovered that no record shops would stock the album with that cover. It cost Capitol more than two hundred thousand dollars to recall the album and replace the cover with a new one -- though while many of the covers were destroyed, others had the new cover, with a more acceptable photo of the group, pasted over them, and people have later carefully steamed off the sticker to reveal the original. This would not be the last time in 1966 that something that was intended as a statement on religion and the way people viewed the Beatles would cause the group trouble in America. In the middle of the recording sessions for Revolver, the group also made what turned out to be their last ever UK live performance in front of a paying audience. The group had played the NME Poll-Winners' Party every year since 1963, and they were always shows that featured all the biggest acts in the country at the time -- the 1966 show featured, as well as the Beatles and a bunch of smaller acts, the Rolling Stones, the Who, the Yardbirds, Roy Orbison, Cliff Richard and the Shadows, the Seekers, the Small Faces, the Walker Brothers, and Dusty Springfield. Unfortunately, while these events were always filmed for TV broadcast, the Beatles' performance on the first of May wasn't filmed. There are various stories about what happened, but the crux appears to be a disagreement between Andrew Oldham and Brian Epstein, sparked by John Lennon. When the Beatles got to the show, they were upset to discover that they had to wait around before going on stage -- normally, the awards would all be presented at the end, after all the performances, but the Rolling Stones had asked that the Beatles not follow them directly, so after the Stones finished their set, there would be a break for the awards to be given out, and then the Beatles would play their set, in front of an audience that had been bored by twenty-five minutes of awards ceremony, rather than one that had been excited by all the bands that came before them. John Lennon was annoyed, and insisted that the Beatles were going to go on straight after the Rolling Stones -- he seems to have taken this as some sort of power play by the Stones and to have got his hackles up about it. He told Epstein to deal with the people from the NME. But the NME people said that they had a contract with Andrew Oldham, and they weren't going to break it. Oldham refused to change the terms of the contract. Lennon said that he wasn't going to go on stage if they didn't directly follow the Stones. Maurice Kinn, the publisher of the NME, told Epstein that he wasn't going to break the contract with Oldham, and that if the Beatles didn't appear on stage, he would get Jimmy Savile, who was compering the show, to go out on stage and tell the ten thousand fans in the audience that the Beatles were backstage refusing to appear. He would then sue NEMS for breach of contract *and* NEMS would be liable for any damage caused by the rioting that was sure to happen. Lennon screamed a lot of abuse at Kinn, and told him the group would never play one of their events again, but the group did go on stage -- but because they hadn't yet signed the agreement to allow their performance to be filmed, they refused to allow it to be recorded. Apparently Andrew Oldham took all this as a sign that Epstein was starting to lose control of the group. Also during May 1966 there were visits from musicians from other countries, continuing the cultural exchange that was increasingly influencing the Beatles' art. Bruce Johnston of the Beach Boys came over to promote the group's new LP, Pet Sounds, which had been largely the work of Brian Wilson, who had retired from touring to concentrate on working in the studio. Johnston played the record for John and Paul, who listened to it twice, all the way through, in silence, in Johnston's hotel room: [Excerpt: The Beach Boys, "God Only Knows"] According to Johnston, after they'd listened through the album twice, they went over to a piano and started whispering to each other, picking out chords. Certainly the influence of Pet Sounds is very noticeable on songs like "Here, There, and Everywhere", written and recorded a few weeks after this meeting: [Excerpt: The Beatles, "Here, There, and Everywhere"] That track, and the last track recorded for the album, "She Said She Said" were unusual in one very important respect -- they were recorded while the Beatles were no longer under contract to EMI Records. Their contract expired on the fifth of June, 1966, and they finished Revolver without it having been renewed -- it would be several months before their new contract was signed, and it's rather lucky for music lovers that Brian Epstein was the kind of manager who considered personal relationships and basic honour and decency more important than the legal niceties, unlike any other managers of the era, otherwise we would not have Revolver in the form we know it today. After the meeting with Johnston, but before the recording of those last couple of Revolver tracks, the Beatles also met up again with Bob Dylan, who was on a UK tour with a new, loud, band he was working with called The Hawks. While the Beatles and Dylan all admired each other, there was by this point a lot of wariness on both sides, especially between Lennon and Dylan, both of them very similar personality types and neither wanting to let their guard down around the other or appear unhip. There's a famous half-hour-long film sequence of Lennon and Dylan sharing a taxi, which is a fascinating, excruciating, example of two insecure but arrogant men both trying desperately to impress the other but also equally desperate not to let the other know that they want to impress them: [Excerpt: Dylan and Lennon taxi ride] The day that was filmed, Lennon and Harrison also went to see Dylan play at the Royal Albert Hall. This tour had been controversial, because Dylan's band were loud and raucous, and Dylan's fans in the UK still thought of him as a folk musician. At one gig, earlier on the tour, an audience member had famously yelled out "Judas!" -- (just on the tiny chance that any of my listeners don't know that, Judas was the disciple who betrayed Jesus to the authorities, leading to his crucifixion) -- and that show was for many years bootlegged as the "Royal Albert Hall" show, though in fact it was recorded at the Free Trade Hall in Manchester. One of the *actual* Royal Albert Hall shows was released a few years ago -- the one the night before Lennon and Harrison saw Dylan: [Excerpt: Bob Dylan, "Like a Rolling Stone", Royal Albert Hall 1966] The show Lennon and Harrison saw would be Dylan's last for many years. Shortly after returning to the US, Dylan was in a motorbike accident, the details of which are still mysterious, and which some fans claim was faked altogether. The accident caused him to cancel all the concert dates he had booked, and devote himself to working in the studio for several years just like Brian Wilson. And from even further afield than America, Ravi Shankar came over to Britain, to work with his friend the violinist Yehudi Menuhin, on a duet album, West Meets East, that was an example in the classical world of the same kind of international cross-fertilisation that was happening in the pop world: [Excerpt: Yehudi Menuhin and Ravi Shankar, "Prabhati (based on Raga Gunkali)"] While he was in the UK, Shankar also performed at the Royal Festival Hall, and George Harrison went to the show. He'd seen Shankar live the year before, but this time he met up with him afterwards, and later said "He was the first person that impressed me in a way that was beyond just being a famous celebrity. Ravi was my link to the Vedic world. Ravi plugged me into the whole of reality. Elvis impressed me when I was a kid, and impressed me when I met him, but you couldn't later on go round to him and say 'Elvis, what's happening with the universe?'" After completing recording and mixing the as-yet-unnamed album, which had been by far the longest recording process of their career, and which still nearly sixty years later regularly tops polls of the best album of all time, the Beatles took a well-earned break. For a whole two days, at which point they flew off to Germany to do a three-day tour, on their way to Japan, where they were booked to play five shows at the Budokan. Unfortunately for the group, while they had no idea of this when they were booked to do the shows, many in Japan saw the Budokan as sacred ground, and they were the first ever Western group to play there. This led to numerous death threats and loud protests from far-right activists offended at the Beatles defiling their religious and nationalistic sensibilities. As a result, the police were on high alert -- so high that there were three thousand police in the audience for the shows, in a venue which only held ten thousand audience members. That's according to Mark Lewisohn's Complete Beatles Chronicle, though I have to say that the rather blurry footage of the audience in the video of those shows doesn't seem to show anything like those numbers. But frankly I'll take Lewisohn's word over that footage, as he's not someone to put out incorrect information. The threats to the group also meant that they had to be kept in their hotel rooms at all times except when actually performing, though they did make attempts to get out. At the press conference for the Tokyo shows, the group were also asked publicly for the first time their views on the war in Vietnam, and John replied "Well, we think about it every day, and we don't agree with it and we think that it's wrong. That's how much interest we take. That's all we can do about it... and say that we don't like it". I say they were asked publicly for the first time, because George had been asked about it for a series of interviews Maureen Cleave had done with the group a couple of months earlier, as we'll see in a bit, but nobody was paying attention to those interviews. Brian Epstein was upset that the question had gone to John. He had hoped that the inevitable Vietnam question would go to Paul, who he thought might be a bit more tactful. The last thing he needed was John Lennon saying something that would upset the Americans before their tour there a few weeks later. Luckily, people in America seemed to have better things to do than pay attention to John Lennon's opinions. The support acts for the Japanese shows included  several of the biggest names in Japanese rock music -- or "group sounds" as the genre was called there, Japanese people having realised that trying to say the phrase "rock and roll" would open them up to ridicule given that it had both "r" and "l" sounds in the phrase. The man who had coined the term "group sounds", Jackey Yoshikawa, was there with his group the Blue Comets, as was Isao Bito, who did a rather good cover version of Cliff Richard's "Dynamite": [Excerpt: Isao Bito, "Dynamite"] Bito, the Blue Comets, and the other two support acts, Yuya Uchida and the Blue Jeans, all got together to perform a specially written song, "Welcome Beatles": [Excerpt: "Welcome Beatles" ] But while the Japanese audience were enthusiastic, they were much less vocal about their enthusiasm than the audiences the Beatles were used to playing for. The group were used, of course, to playing in front of hordes of screaming teenagers who could not hear a single note, but because of the fear that a far-right terrorist would assassinate one of the group members, the police had imposed very, very, strict rules on the audience. Nobody in the audience was allowed to get out of their seat for any reason, and the police would clamp down very firmly on anyone who was too demonstrative. Because of that, the group could actually hear themselves, and they sounded sloppy as hell, especially on the newer material. Not that there was much of that. The only song they did from the Revolver sessions was "Paperback Writer", the new single, and while they did do a couple of tracks from Rubber Soul, those were under-rehearsed. As John said at the start of this tour, "I can't play any of Rubber Soul, it's so unrehearsed. The only time I played any of the numbers on it was when I recorded it. I forget about songs. They're only valid for a certain time." That's certainly borne out by the sound of their performances of Rubber Soul material at the Budokan: [Excerpt: The Beatles, "If I Needed Someone (live at the Budokan)"] It was while they were in Japan as well that they finally came up with the title for their new album. They'd been thinking of all sorts of ideas, like Abracadabra and Magic Circle, and tossing names around with increasing desperation for several days -- at one point they seem to have just started riffing on other groups' albums, and seem to have apparently seriously thought about naming the record in parodic tribute to their favourite artists -- suggestions included The Beatles On Safari, after the Beach Boys' Surfin' Safari (and possibly with a nod to their recent Pet Sounds album cover with animals, too), The Freewheelin' Beatles, after Dylan's second album, and my favourite, Ringo's suggestion After Geography, for the Rolling Stones' Aftermath. But eventually Paul came up with Revolver -- like Rubber Soul, a pun, in this case because the record itself revolves when on a turntable. Then it was off to the Philippines, and if the group thought Japan had been stressful, they had no idea what was coming. The trouble started in the Philippines from the moment they stepped off the plane, when they were bundled into a car without Neil Aspinall or Brian Epstein, and without their luggage, which was sent to customs. This was a problem in itself -- the group had got used to essentially being treated like diplomats, and to having their baggage let through customs without being searched, and so they'd started freely carrying various illicit substances with them. This would obviously be a problem -- but as it turned out, this was just to get a "customs charge" paid by Brian Epstein. But during their initial press conference the group were worried, given the hostility they'd faced from officialdom, that they were going to be arrested during the conference itself. They were asked what they would tell the Rolling Stones, who were going to be visiting the Philippines shortly after, and Lennon just said "We'll warn them". They also asked "is there a war on in the Philippines? Why is everybody armed?" At this time, the Philippines had a new leader, Ferdinand Marcos -- who is not to be confused with his son, Ferdinand Marcos Jr, also known as Bongbong Marcos, who just became President-Elect there last month. Marcos Sr was a dictatorial kleptocrat, one of the worst leaders of the latter half of the twentieth century, but that wasn't evident yet. He'd been elected only a few months earlier, and had presented himself as a Kennedy-like figure -- a young man who was also a war hero. He'd recently switched parties from the Liberal party to the right-wing Nacionalista Party, but wasn't yet being thought of as the monstrous dictator he later became. The person organising the Philippines shows had been ordered to get the Beatles to visit Ferdinand and Imelda Marcos at 11AM on the day of the show, but for some reason had instead put on their itinerary just the *suggestion* that the group should meet the Marcoses, and had put the time down as 3PM, and the Beatles chose to ignore that suggestion -- they'd refused to do that kind of government-official meet-and-greet ever since an incident in 1964 at the British Embassy in Washington where someone had cut off a bit of Ringo's hair. A military escort turned up at the group's hotel in the morning, to take them for their meeting. The group were all still in their rooms, and Brian Epstein was still eating breakfast and refused to disturb them, saying "Go back and tell the generals we're not coming." The group gave their performances as scheduled, but meanwhile there was outrage at the way the Beatles had refused to meet the Marcos family, who had brought hundreds of children -- friends of their own children, and relatives of top officials -- to a party to meet the group. Brian Epstein went on TV and tried to smooth things over, but the broadcast was interrupted by static and his message didn't get through to anyone. The next day, the group's security was taken away, as were the cars to take them to the airport. When they got to the airport, the escalators were turned off and the group were beaten up at the arrangement of the airport manager, who said in 1984 "I beat up the Beatles. I really thumped them. First I socked Epstein and he went down... then I socked Lennon and Ringo in the face. I was kicking them. They were pleading like frightened chickens. That's what happens when you insult the First Lady." Even on the plane there were further problems -- Brian Epstein and the group's road manager Mal Evans were both made to get off the plane to sort out supposed financial discrepancies, which led to them worrying that they were going to be arrested or worse -- Evans told the group to tell his wife he loved her as he left the plane. But eventually, they were able to leave, and after a brief layover in India -- which Ringo later said was the first time he felt he'd been somewhere truly foreign, as opposed to places like Germany or the USA which felt basically like home -- they got back to England: [Excerpt: "Ordinary passenger!"] When asked what they were going to do next, George replied “We're going to have a couple of weeks to recuperate before we go and get beaten up by the Americans,” The story of the "we're bigger than Jesus" controversy is one of the most widely misreported events in the lives of the Beatles, which is saying a great deal. One book that I've encountered, and one book only, Steve Turner's Beatles '66, tells the story of what actually happened, and even that book seems to miss some emphases. I've pieced what follows together from Turner's book and from an academic journal article I found which has some more detail. As far as I can tell, every single other book on the Beatles released up to this point bases their account of the story on an inaccurate press statement put out by Brian Epstein, not on the truth. Here's the story as it's generally told. John Lennon gave an interview to his friend, Maureen Cleave of the Evening Standard, during which he made some comments about how it was depressing that Christianity was losing relevance in the eyes of the public, and that the Beatles are more popular than Jesus, speaking casually because he was talking to a friend. That story was run in the Evening Standard more-or-less unnoticed, but then an American teen magazine picked up on the line about the Beatles being bigger than Jesus, reprinted chunks of the interview out of context and without the Beatles' knowledge or permission, as a way to stir up controversy, and there was an outcry, with people burning Beatles records and death threats from the Ku Klux Klan. That's... not exactly what happened. The first thing that you need to understand to know what happened is that Datebook wasn't a typical teen magazine. It *looked* just like a typical teen magazine, certainly, and much of its content was the kind of thing that you would get in Tiger Beat or any of the other magazines aimed at teenage girls -- the September 1966 issue was full of articles like "Life with the Walker Brothers... by their Road Manager", and interviews with the Dave Clark Five -- but it also had a long history of publishing material that was intended to make its readers think about social issues of the time, particularly Civil Rights. Arthur Unger, the magazine's editor and publisher, was a gay man in an interracial relationship, and while the subject of homosexuality was too taboo in the late fifties and sixties for him to have his magazine cover that, he did regularly include articles decrying segregation and calling for the girls reading the magazine to do their part on a personal level to stamp out racism. Datebook had regularly contained articles like one from 1963 talking about how segregation wasn't just a problem in the South, saying "If we are so ‘integrated' why must men in my own city of Philadelphia, the city of Brotherly Love, picket city hall because they are discriminated against when it comes to getting a job? And how come I am still unable to take my dark- complexioned friends to the same roller skating rink or swimming pool that I attend?” One of the writers for the magazine later said “We were much more than an entertainment magazine . . . . We tried to get kids involved in social issues . . . . It was a well-received magazine, recommended by libraries and schools, but during the Civil Rights period we did get pulled off a lot of stands in the South because of our views on integration” Art Unger, the editor and publisher, wasn't the only one pushing this liberal, integrationist, agenda. The managing editor at the time, Danny Fields, was another gay man who wanted to push the magazine even further than Unger, and who would later go on to manage the Stooges and the Ramones, being credited by some as being the single most important figure in punk rock's development, and being immortalised by the Ramones in their song "Danny Says": [Excerpt: The Ramones, "Danny Says"] So this was not a normal teen magazine, and that's certainly shown by the cover of the September 1966 issue, which as well as talking about the interviews with John Lennon and Paul McCartney inside, also advertised articles on Timothy Leary advising people to turn on, tune in, and drop out; an editorial about how interracial dating must be the next step after desegregation of schools, and a piece on "the ten adults you dig/hate the most" -- apparently the adult most teens dug in 1966 was Jackie Kennedy, the most hated was Barry Goldwater, and President Johnson, Billy Graham, and Martin Luther King appeared in the top ten on both lists. Now, in the early part of the year Maureen Cleave had done a whole series of articles on the Beatles -- double-page spreads on each band member, plus Brian Epstein, visiting them in their own homes (apart from Paul, who she met at a restaurant) and discussing their daily lives, their thoughts, and portraying them as rounded individuals. These articles are actually fascinating, because of something that everyone who met the Beatles in this period pointed out. When interviewed separately, all of them came across as thoughtful individuals, with their own opinions about all sorts of subjects, and their own tastes and senses of humour. But when two or more of them were together -- especially when John and Paul were interviewed together, but even in social situations, they would immediately revert to flip in-jokes and riffing on each other's statements, never revealing anything about themselves as individuals, but just going into Beatle mode -- simultaneously preserving the band's image, closing off outsiders, *and* making sure they didn't do or say anything that would get them mocked by the others. Cleave, as someone who actually took them all seriously, managed to get some very revealing information about all of them. In the article on Ringo, which is the most superficial -- one gets the impression that Cleave found him rather difficult to talk to when compared to the other, more verbally facile, band members -- she talked about how he had a lot of Wild West and military memorabilia, how he was a devoted family man and also devoted to his friends -- he had moved to the suburbs to be close to John and George, who already lived there. The most revealing quote about Ringo's personality was him saying "Of course that's the great thing about being married -- you have a house to sit in and company all the time. And you can still go to clubs, a bonus for being married. I love being a family man." While she looked at the other Beatles' tastes in literature in detail, she'd noted that the only books Ringo owned that weren't just for show were a few science fiction paperbacks, but that as he said "I'm not thick, it's just that I'm not educated. People can use words and I won't know what they mean. I say 'me' instead of 'my'." Ringo also didn't have a drum kit at home, saying he only played when he was on stage or in the studio, and that you couldn't practice on your own, you needed to play with other people. In the article on George, she talked about how he was learning the sitar,  and how he was thinking that it might be a good idea to go to India to study the sitar with Ravi Shankar for six months. She also talks about how during the interview, he played the guitar pretty much constantly, playing everything from songs from "Hello Dolly" to pieces by Bach to "the Trumpet Voluntary", by which she presumably means Clarke's "Prince of Denmark's March": [Excerpt: Jeremiah Clarke, "Prince of Denmark's March"] George was also the most outspoken on the subjects of politics, religion, and society, linking the ongoing war in Vietnam with the UK's reverence for the Second World War, saying "I think about it every day and it's wrong. Anything to do with war is wrong. They're all wrapped up in their Nelsons and their Churchills and their Montys -- always talking about war heroes. Look at All Our Yesterdays [a show on ITV that showed twenty-five-year-old newsreels] -- how we killed a few more Huns here and there. Makes me sick. They're the sort who are leaning on their walking sticks and telling us a few years in the army would do us good." He also had very strong words to say about religion, saying "I think religion falls flat on its face. All this 'love thy neighbour' but none of them are doing it. How can anybody get into the position of being Pope and accept all the glory and the money and the Mercedes-Benz and that? I could never be Pope until I'd sold my rich gates and my posh hat. I couldn't sit there with all that money on me and believe I was religious. Why can't we bring all this out in the open? Why is there all this stuff about blasphemy? If Christianity's as good as they say it is, it should stand up to a bit of discussion." Harrison also comes across as a very private person, saying "People keep saying, ‘We made you what you are,' well, I made Mr. Hovis what he is and I don't go round crawling over his gates and smashing up the wall round his house." (Hovis is a British company that makes bread and wholegrain flour). But more than anything else he comes across as an instinctive anti-authoritarian, being angry at bullying teachers, Popes, and Prime Ministers. McCartney's profile has him as the most self-consciously arty -- he talks about the plays of Alfred Jarry and the music of Karlheinz Stockhausen and Luciano Berio: [Excerpt: Luciano Berio, "Momenti (for magnetic tape)"] Though he was very worried that he might be sounding a little too pretentious, saying “I don't want to sound like Jonathan Miller going on" --

On this episode Leading Edge Entertainment returns with Canadian Olympic Umpire - Brian Hodgson.   Topics include stories from the 2008 Olympics in Beijing, China, getting free umpire equipment, appeals to end Olympic games, awkward sized baseball stadiums, working professional baseball, his various accolades, 10 questions, his local legends and words of wisdom.   So, sit back, relax, get ready - it's coming!   Appeal (1:42 in) https://olympics.com/en/video/kor-vs-chn-preliminary-match-baseball-beijing-2008-replays Winnipeg Football/Baseball "Deformity" Stadium 1994-1998: http://www.nlfan.com/winnipeg/deformity/      

On this episode Leading Edge Entertainment talks with long time Manitoban umpire – Brian Hodgson.   Topics include stories from his 17 Baseball Canada National Championships – including working the 1997 Canada Games, the Senior Nationals in Weyburn, SK, flying first class and becoming a “big shooter” in Panama, working with current MLB umpires – Adrian Johnson, Scott Barry & Mike Estabrook at an Olympic Qualifier before they were MLB umpires, playing Texas Hold ‘Em poker with Alfonso Márquez  & Ted Barrett, Ernie Whitt's ejection at the 1999 Pan American games in Winnipeg, Manitoba and  much much more.   So, sit back, relax, get ready - it's coming!   Stubby Clapp/1999 Pan-American Games - https://youtu.be/gRUHzkTkCUs 1997 Canada Games Umpire Crew - Brandon, Manitoba - https://tinyurl.com/CGBM1997    

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

The Legend of Hell House is a 1973 supernatural horror film directed by John Hough, and starring Pamela Franklin, Roddy McDowall, Clive Revill, and Gayle Hunnicutt. It follows a group of researchers who spend a week in Belasco House, the "Mount Everest of haunted houses." , originally owned by Emeric Belasco, an imposing, perverted millionaire and supposed murderer whose acts of debauchery were loosely based on the occultist Aleister Crowley. Belasco disappeared soon after a massacre occurred at the home and since the house is haunted by the victims of his twisted and sadistic desires. Subsequently, paranormal investigators to the house have been inexplicably killed. Matheson's screenplay, based upon his 1971 novel Hell House, drastically reduced some of the more extreme elements of the novel, particularly its graphic sexuality and BDSM. It also changed the location of the events to England, whereas the novel took place at an estate in rural Maine in the United States.The external shots of the house were filmed at Wykehurst Park, West Sussex.The mansion in the opening sequence is Blenheim Palace. The interior shot of the long room is the palace's library.The role of Belasco was played by an uncredited Batman's Michael Gough. His part consisted of a couple of recorded lines and an on-camera appearance as an embalmed corpse seated upright in a chair.The film features a score with an electronic music bassline (with occasional woodwind and brass stabs). The score and electronic sound effects were created by Delia Derbyshire and Brian Hodgson, recorded at Hodgson's Electrophon studio in London.The shot of the cat in the opening credits sequence was later used for the Granada Night Time ident on the ITV network in the United Kingdom in 1988.$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$Just in case anyone has too much money and wants to give a bit to us to help with our hosting n stuff. It would be amazing if you fancied sending us some pennies - thank you.https://supporter.acast.com/general-witchfinders$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$ Get bonus content on PatreonSupport this show http://supporter.acast.com/general-witchfinders. See acast.com/privacy for privacy and opt-out information.

BBC Radiophonic Workshop / Blue Veils and Golden Sands Toto / Prologue Delia Derbyshire / Environmental Studies Clara Rockmore & Nadia Reisenberg / Firebird Roger Powell / Sands of Arrakis Bernard Szajner / Gom Jabbar, Ibad Cesar Comanche & DJ Flash Gordon / Awaken Daphne Oram/ Sound Patterns Delia Derbyshire, Brian Hodgson and Don Harper / Shock Chords Delia Derbyshire, Brian Hodgson and Don Harper / Liquid Energy GESSERIT / Dawn (Sandcrawlers Awakening) Level 42 / Starchild Richard Pinhas / Sur le Theme IV, 1V Laurel Halo / Serendip Terr / Tale of Devotion PSGirl / Mentat Majeure / Face Dancer

In about a week we'll either learn absolutely nothing or possibly slightly more than that as Doctor Who holds a panel at SDCC@Home featuring Jodie Whittaker, Chris Chibnall, Mandip Gill, new companion John Bishop and a “special guest” (possibly the ghost of Richard Hurndall?) and RFS will be there, at home, in a slightly delayed fashion to cover it. But here in the present there's audiobooks, a new version of the Doctor Who Role Playing Game, and more catching our attention, along with the final part of our Barry Letts directorial Miniscope, covering “Carnival of Monsters”, “Planet of the Spiders”, and “The Android Invasion”! What are you waiting for, Lett's CSGo! Links: Support Radio Free Skaro on Patreon! The Timelash SDCC@Home Doctor Who panel July 25, 10am SDCC@Home Titan Comics panel July 23, 1pm Neve McIntosh at Chicago TARDIS Billie Piper at MegaCon Orlando Time Fracture has flooding issues, cancellations Brian Hodgson's memoir Big Finish Dalek Universe 2 released Time and the Rani audio CD Timelash audio CD Face of Evil audio CD Reign of Terror audio CD Android Invasion audio CD Keys of Marinus audio CD Nightmare of Eden audio CD Sarah Jane Adventures added to UK BritBox Upcoming Abominable Snowmen action dollie set? TARDIS console lava lamp Cubicle7 Doctor Who RPG second edition coming soon Pip Madelay's YouTube channel Miniscope: Barry Letts Carnival of Monsters Planet of the Spiders The Android Invasion

Chapters00:00 - Introduction00:31 - Peter Vogel and the Fairlight CMI01:51 - First Fairlight in the UK03:25 - That Fairlight sound05:32 - Stravinsky Firebird Suite, London Philharmonia06:38 - The KPM albums08:25 - Working with Delia Derbyshire11:15 - Early technological limitations13:20 - Sequential Circuits14:56 - 12 bit sampling16:27 - The Kaleidophon18:40 - Interlude19:05 - The Maniac sequencer21:59 - Modern sampling24:35 - Using Reaktor25:50 - Sample libraries vs sound design28:17 - Creating something unique30:00 - EndingPhotographs on our website.https://www.soundonsound.com/people/david-vorhaus-podcastDavid Vorhaus BiogAn experimental electronic musician with a background in Physics and Electronic Engineering, David Vorhaus has been a pioneer of electronic music in Britain for over 30 years. In 1968 he formed the band White Noise with Delia Derbyshire and Brian Hodgson of the Radiophonic Workshop. Their debut release, An Electric Storm, has since garnered cult status and is recognised by Island Records as being an important album in its genre. One of his early samples on the Fairlight CMI was of an orchestral stab, taken from a recording of Stravinsky's Firebird by the Philharmonia Orchestra, that has since become the most used sample in music history. As a bassist with no interest in playing keyboards, David developed the Kaleidophon ribbon controller and the Maniac analogue sequencer, something he has since rebuilt in digital form using Reaktor.https://en.wikipedia.org/wiki/White_Noise_(band)Rob PuricelliRob Puricelli is a Music Technologist and Instructional Designer who has a healthy obsession with classic synthesizers and their history. In conjunction with former Fairlight Studio Manager, Peter Wielk, he fixes and restores Fairlight CMI's so that they can enjoy prolonged and productive lives with new owners.He also writes reviews and articles for his website, failedmuso.com, and other music-related publications, and has guested on a number of music technology podcasts and shows. He can often be found at various synthesizer shows demonstrating his own collection of vintage music technology.www.failedmuso.com

Ben and David brainstorm on which one-off monsters from Doctor Who should return for series 13 and find that they are more than a little stir-crazy after just one week of quarantine, aka "sheltering at home." Opening and closing music is the 1972 "Delaware version" of the theme realized by Delia Derbyshire and Brian Hodgson with Paddy Kingsland. We recorded this episode on 22 March 2020.

We look ahead to Delia Derbyshire Day 2019 with event organiser Caro C. Delia Derbyshire Day is a Manchester-based organisation, which pays homage to Delia Derbyshire. The organisation's work is centred around the Delia Derbyshire Archive which is held at John Rylands Library in Manchester city centre. A popular event in the cultural calendar, this year's Delia Derbyshire Day incorporates the Electric Storm 50 project, which honours the 50th anniversary of the album 'An Electric Storm' by White Noise, a trio made of up David Vorhaus, BBC Radiophonic workshop member Brian Hodgson and Delia Derbyshire. Best known for her realisation of Ron Grainer's original Dr Who theme in 1963, which is widely recognised as an iconic piece of early electronic music. Delia also produced music and sound for radio, theatre, film and even fashion shows.

In this, the first of our three-part Jon Pertwee centenary celebration, we talk about the man who played the Third Doctor and his legacy. Ben notes that Pertwee's Doctor is the first Time Lord and contrasts Pertwee's aristocratic portrayal of the Doctor to the more working-class character of the Doctor that Patrick Troughton gave. David comments on how there is a Pertwee revival now happening in fandom over the past few years. Opening music is "The Axons Approach" composed by Dudley Simpson and performed by Brian Hodgson. Closing music is "Silurians" composed by Carey Blyton. The clip at the end is of Pertwee being interviewed on Pebble Mill by Gloria Hunniford.

It's a Metebelis Twofer this week! First up, Ben and David review the new animation of The Macra Terror and discuss what it means now that Macra exist. The Two the release suitable for ming-mongs of all tastes. The second half is a podcast that was going to be the ol' Metebelis look at The Greatest Show in the Galaxy, which would have been part of our Ace retrospective, but David derailed Ben from the get-go and instead they spent their time talking about Brexit and the future of Doctor Who. So, instead of putting out the podcast with not much Doctor Who talk on it, we're adding it as a bonus. Listen to it or give it a skip -- totally up to you! Opening and closing/intermission music is by Brian Hodgson from the Macra soundtrack. Brexit music is from the 1986 single from Genesis, "Land of Confusion."

It seems that our podcast no 145 was extremely popular with our listeners going by the stats. Funny enough it was one of Micks shows he enjoyed compiling. Hopefully you will be again enthusiastic to hear what we bring to our latest edition, which brings such a diverse energy of electronic sounds. It was a privilege to bring Clifford Whites music to Sequences, with tracks from his 4 albums in the Synergy series, melodic upbeat & relaxing tunes. Ambient side filled with such dynamics & spacial depth from Astovia, Neostra & going deeper into the dark side with NIMH. Something a little bit different from Craig Padilla with his long term friend Marvin Allen, melodic and rhythmic, surreal and drifting, the result, a timeless adventure through illuminating guitar tonalities and majestic synthesizer vistas. If it’s modular sequencers you want, you are going to enjoy Adrian Beasley’s album Machine Code & d’Voxx arranged Berlin School inspired sequence lines, wrapped up in a gorgeous blanket of modern ambience on the Din label. Lighter sequencing from the prolific composer SpiralDreams. On the ethereal vocals & the symphonic side, check out Xyrion, Neostra & James Asher. The creative signature sound of Saul Stokes. NNYZ? gives us highly detailed textures with glitchy beats & field recordings. On the experimental side the amusing & eclectic Bloop & Quack. Some lovely echoing slightly off-in-the-distance piano excursions played by Whalt Thisney & Tedd Arnolds unique sonic style, edging on the progressive side. Blast from the past comes from the 1974 release Zygoat, composed by American Burt Alcantara with the main musicians on this album Brian Hodgson, Dudley Simpson & John Lewis, performing on ARP and R.S.E synthesizers. Brian & Dudley are known for their background music for various sci fi shows like Doctor Who and Blake's 7, Lewis was a member of the band M that had the huge worldwide hit, Pop Muzik. Playlist No 147 03.13 Adrian Beasley ‘MC1’ (album Machine Code) *** www.adrianbeasley.bandcamp.com 11.48 d’Voxx ‘Akalia Norr’ (album Telegraphe) www.DIN.org.uk 24.13 d’Voxx ‘Tempelhof’ 29.47 Clifford White 'Robot Dawn’ (album Robot Dawn, Synergy Vol 3) www.cliffordwhite.bandcamp.com 36.52 Clifford White ‘Froesen Dream’ (album The Speed Of Silence, Synergy Vol 2) 43.49 Clifford White ‘Kinetic’ (album Waterworld, Synergy Vol1) 51.10 Clifford White ‘The Darker Path’ (album Cityscapes, Synergy Vol 4) 56.52 Craig Padilla & Marvin Allen ‘Toward The Horizon’ (album Towards The Horizon) *** www.spottedpeccary.com 01.07.17 Craig Padilla & Marvin Allen ‘Liquid Heaven’ *** 01.11.25 Astrovia ’Sun’s Cradle’ (album Solar Nursery Vol 1) https://archive.org/details/PILOTELEVEN_018 01.17.43 NIMH ‘The Thanandar's Room ‘ (album Beyond The Crying Era) www.winter-light.nl 01.23.49 Neostra ‘Passage To Eternal’ (album Seven Colors) www.neostramusic.bandcamp.com 01.32.15 Neostra ‘Depth Of Sight’ 01.36.09 Saul Stokes ‘Replaced’ (album Expansion) https://saulstokes.com/album/expansion 01.48.29 Tedd Arnold ‘September’ (album Invisble Inside) www.teddarnold.bandcamp.com 01.55.51 SpiralDreams ‘Castle In The Sky Pt1’ (album Castle In The Sky) www.spiraldreams.bandcamp.com 02.03.17 Xyrion ’Storm: featuring Elisa’ (album Floating On Images & Waves) www.xyrion.bandcamp.com 02.05.35 Xyrion ‘Arais’ 02.15.52 James Asher & Arthur Hull ‘Camera Obscura’ (album On The Good Foot) www.rspromotionsus.com 02.22.21 James Asher & Arthur Hull ‘Far & Wide’ 02.27.50 nnyz? ‘Down’ (album aetiology) http://www.kahvi.org 02.31.21 nnyz? ‘Real Eyes’ 02.34.28 Whalt Thisney ‘Common’ (album This Memorial Device) https://archive.org/details/PILOTELEVEN_018 02.41.33 Burt Alcantara ‘Leaves Of Sand/The Libran Sea’ (album Zygoat) *** 02,49.05 Bloop & Quack ‘Melodic Moon’ ***(album Palo Radio) www.bloopandquack.bandcamp.com 02.53.21 Bloop & Quack ‘Wade In ‘ Edit ***

This week, the Metebelis 2 pay homage to Graham Strong, the man behind the "crystal clear" recordings of mid-1960s Doctor Who. As fans we owe a great debt to him and his hobby of recording and archiving our favourite television show. Despite neither of us ever meeting him, we wanted to pay our respects and talk about the legacy of his and others' off-the-air recordings from the sixties. We included a few excerpts of interviews with Strong from the BBC and Fantom Films, so we could hear his perspective directly. Opening music is "Mr. Oak and Mr. Quill" composed by Dudley Simpson for Fury from the Deep and closing music is the "Propaganda Sleep Machine" by Brian Hodgson from The Macra Terror. Both stories were recorded by Strong on broadcast.

Ben and David talk about their top five cliffhangers from the William Hartnell era and why the cliffhanger is such an important part of Doctor Who. But, before they delve back in time the lads discuss the new Target book covers illustrated by Anthony Dry and the new programme logo and the design of its promo video that was released in the past week or so. Opening music is "The Missing TARDIS" by Tristram Cary. Closing music is "Machinery in Tardis Goes Wild" by Brian Hodgson.

Back in 1981, then-Doctor Who producer John Nathan-Turner had a season of repeats called "The Five Faces of Doctor Who" that launched Peter Davison as fifth Doctor. So in this podcast, Ben and David suggest incoming showrunner Chris Chibnall have a summer season of the thirteen faces of Doctor Who to help launch Jodie Whittaker as the new Doctor, and being ever so helpful, they each have compiled a list of which thirteen stories to rebroadcast. Opening music is "The Axons Approach" by Brian Hodgson. Closing music is "The Mad Man in a Box" by Murray Gold.

Welcome back 2 Babes listeners! ​According to Martin Verwijmeren, CEO and Brian Hodgson, EVP of Mp Objects we are in the age of the customer and the perfect order is definitely a goal every company can achieve! How is your supply chain visibility? Do you know how to select the right partner and control tower for your business? In this episode, Martin and Brian takes us through the impact of a perfect order and how important visibility is in making that happen. In this age of the customer, the customer expects a lot from service providers as well as the vendors they spend their hard earned money with. The key? Martin and Brian gives us the insight into how visibility and the control tower affect within your supply chain will make a high difference in your business.  ​​Make sure to download the resource that Martin, Brian and his team have provided us with even more insight and reasons to get this right. ​Make sure to review and rate us on iTunes! Your feedback means a lot to us and goes into consideration for future episodes and improvements made to the 2 Babes podcast.

On this issue Sheeple Brian Hodgson leaves troll comment on the last episode. The Show Stuff Checkout our new UFO BUSTER RADIO GOODIES!! https://shop.spreadshirt.com/UFOBusterRadio/ Facebook Pages Manny Moonraker: https://www.facebook.com/MannyMoonraker/ UFO Buster Radio: https://www.facebook.com/UFOBusterRadio UFO Buster Radio Merch T-Shirts and stuff: https://shop.spreadshirt.com/UFOBusterRadio Patreon: Become a patron of the show and help us gear up with technology worthy of investigating UFO sightings both historical and new. www.patreon.com/ufobusterradio UFO Buster Radio YouTube Channel: https://www.youtube.com/channel/UCggl8-aPBDo7wXJQ43TiluA To contact Manny: manny@ufobusterradio.com, or on Twitter @ufobusterradio Call the show anytime at (972) 290-1329 and leave us a message with your point of view, UFO sighting, and ghostly experiences or join the discussion on www.ufobusterradio.com For Skype Users: bosscrawler

On this issue Sheeple Brian Hodgson leaves troll comment on the last episode. The Show Stuff Checkout our new UFO BUSTER RADIO GOODIES!! https://shop.spreadshirt.com/UFOBusterRadio/ Facebook Pages Manny Moonraker: https://www.facebook.com/MannyMoonraker/ UFO Buster Radio: https://www.facebook.com/UFOBusterRadio UFO Buster Radio Merch T-Shirts and stuff: https://shop.spreadshirt.com/UFOBusterRadio Patreon: Become a patron of the show and help us gear up with technology worthy of investigating UFO sightings both historical and new. www.patreon.com/ufobusterradio UFO Buster Radio YouTube Channel: https://www.youtube.com/channel/UCggl8-aPBDo7wXJQ43TiluA To contact Manny: manny@ufobusterradio.com, or on Twitter @ufobusterradio Call the show anytime at (972) 290-1329 and leave us a message with your point of view, UFO sighting, and ghostly experiences or join the discussion on www.ufobusterradio.com For Skype Users: bosscrawler

Our copies of Vworp Vworp #3 arrived! So this week on M2P we "unbox" the fanzine. Then after a week of reading through the issue cover-to-cover, we give our reactions and talk about the differences in how Doctor Who was experienced in the UK and the US. Ben concludes the episode with a tribute to Who fandom. Opening music is "Wall of Flame" by Tristram Cary from "The Daleks' Master Plan", interlude music is an excerpt from "Day Tripper" by The Beatles, and we close with "Dalek Spaceship Takes Off" by Brian Hodgson of the BBC Radiophonic Workshop.

Ben and David continue their examination of Who Horror with a look of the Jon Pertwee era. What did the white, middle-aged, male writers of Who in the early 1970s find so horrific? From the Autons to Giant Spiders, the Pertwee era was a mishmash of many things. Ben waxes fondly on the Green Death and, as the resident "pervy" European, delves into the possible sadomasochism in the Pertwee-era. Intro music is "Keller Machine Theme" by Brian Hodgson and outro music is incidental music from "The Planet of Spiders" by Dudley Simpson.

Ben and David chat about The Master in the classic era with much sinister laughing… Muahahaha. Intro music: "The Master's Theme" by Brian Hodgson from "The Mind of Evil". Outro music: "The Master's Plan" by Paddy Kingsland from "Logopolis".

  Ce samedi dans le Sandwich Triangle Dj Bon Goût, from Belgique, directly de Liège. L'homme officie dans les bals masqués, les cantines scolaires, et tout ce que la Belgique peut offrir comme lieux de divertissements et limonadiers. Il aime, non pas les, mais la musique, sans distinction "Quand j'aime pas je joue pas". Tirailleur dans les collectifs Dragattack et Digital Bal Musette, il a sa propre émission sur 48FM. L'homme est aussi musicien dans différents projets. On oublie pas ! ce soir Vagina Dentata invite Kord à la Rotonde, que nous avons reçu la semaine dernière dans votre programme favori du samedi soir. Et le week-end prochain, la grosse artillerie, dont Radio Campus Paris est partenaire, LES MERGUEZ ELECTRONIQUES, deux jours de festival perdu en pleine campagne, niché entre deux cités de Narvalo City Zoo aka Montreuil. 1ERE PARTIE - DJ BON GOÛT TRACKLIST : 01-Brian Hodgson & John Lewis - Logo Rythmic 1B 02-Rah Band - Clouds Across The Moon 03-Herbie Hancock - I Thought It Was You 04-Stereo Total - Schön Von Hinten (Andreas Dorau & DJ IT Remix) 05-Jean-Jacques Perrey & Gershon Kingsley - Swan's Splashdown 06-Fatima Al Qadiri - Vatican Vibes (Dubbel Dutch Remix) 07-Mory Kante - Yeke Yeke (Afro Acid Remix) 08-The Baka Forest People Of Southeast Cameroon - Water Drums 2 09-Black Zone Myth Chant - Two Stars, No Cross 10-DJ Pumphead -Acid Police 11-Katerine - Efféminé 12-Mme St.Onge - Prends-Moi 13-Rabit - Straps 14-Mr.Oizo - TOODOO (feat. Carmen Castro) 15-Vanessinha Picatchu - Pega Pega 16-Putirecords - Hazme el Amor 17-MC Gaff E - King of the Castle 18-Hamlet Minassian - Al Elnim 19-odso - baixada-xisquetes 20-David Watson - Skirl Repeater 21-Zumba - Cumbia Bomba 22-Infecticide - Dans Mes Rêves 2e PARTIE : VAGINA DENTATA SUMMERCAMP

  Ce samedi dans le Sandwich Triangle Dj Bon Goût, from Belgique, directly de Liège. L'homme officie dans les bals masqués, les cantines scolaires, et tout ce que la Belgique peut offrir comme lieux de divertissements et limonadiers. Il aime, non pas les, mais la musique, sans distinction "Quand j'aime pas je joue pas". Tirailleur dans les collectifs Dragattack et Digital Bal Musette, il a sa propre émission sur 48FM. L'homme est aussi musicien dans différents projets. On oublie pas ! ce soir Vagina Dentata invite Kord à la Rotonde, que nous avons reçu la semaine dernière dans votre programme favori du samedi soir. Et le week-end prochain, la grosse artillerie, dont Radio Campus Paris est partenaire, LES MERGUEZ ELECTRONIQUES, deux jours de festival perdu en pleine campagne, niché entre deux cités de Narvalo City Zoo aka Montreuil. 1ERE PARTIE - DJ BON GOÛT TRACKLIST : 01-Brian Hodgson et John Lewis - Logo Rythmic 1B 02-Rah Band - Clouds Across The Moon 03-Herbie Hancock - I Thought It Was You 04-Stereo Total - Schön Von Hinten (Andreas Dorau et DJ IT Remix) 05-Jean-Jacques Perrey et Gershon Kingsley - Swan's Splashdown 06-Fatima Al Qadiri - Vatican Vibes (Dubbel Dutch Remix) 07-Mory Kante - Yeke Yeke (Afro Acid Remix) 08-The Baka Forest People Of Southeast Cameroon - Water Drums 2 09-Black Zone Myth Chant - Two Stars, No Cross 10-DJ Pumphead -Acid Police 11-Katerine - Efféminé 12-Mme St.Onge - Prends-Moi 13-Rabit - Straps 14-Mr.Oizo - TOODOO (feat. Carmen Castro) 15-Vanessinha Picatchu - Pega Pega 16-Putirecords - Hazme el Amor 17-MC Gaff E - King of the Castle 18-Hamlet Minassian - Al Elnim 19-odso - baixada-xisquetes 20-David Watson - Skirl Repeater 21-Zumba - Cumbia Bomba 22-Infecticide - Dans Mes Rêves 2e PARTIE : VAGINA DENTATA SUMMERCAMP

Toby Hadoke set out to interview someone involved with every TV Doctor Who story in the show's first 50 years. Can he make it for intended #100 milestone...? And today's part two of the last interview means there's even less time to make it...

Inspired by the arrival of a very generous gift from listener Neil. Oh and the new Peter Capaldi regeneration. We thought it time to celebrate Doctor Who. So we have some very hard to find obscurities from the Whovian musical universe … Continue reading →

The broadcaster and Doctor Who fan MATTHEW SWEET travels to The University of Manchester - home of Delia Derbyshire's private collection of audio recordings - to learn more about the wider career and working methods of the woman who realised Ron Grainer's original theme to Doctor Who. Delia's collection of tapes was, until recently, in the safekeeping of MARK AYRES, archivist for the BBC Radiophonic Workshop. Matthew meets up at Manchester University with Mark, along with Delia's former colleagues from the BBC Radiophonic Workshop, BRIAN HODGSON and DICK MILLS - plus former 'White Noise' band member DAVID VORHAUS - to hear extracts from the archive, discuss their memories of Delia and the creative process behind some of her material. Her realisation of the Doctor Who theme is just one small example of her genius and we'll demonstrate how the music was originally created as well as hearing individual tracks from Delia's aborted 70's version. We'll also feature the make up tapes for her celebrated piece 'Blue Veils and Golden Sands', and hear Delia being interviewed on a previously 'lost' BBC recording from the 1960s. Matthew's journey of discovery will take in work with the influential poet Barry Bermange, as well as her 1971 piece marking the centenary of the Institution of Electrical Engineers. This Archive on 4 is brought up to date with an individual track from 'The Dance' from the children's programme 'Noah'. Recorded in the late 1960s this remarkable tape sounds like a contemporary dance track which wouldn't be out of place in today's most 'happening' trance clubs. Producer: Phil Collinge.

his article is about the 1972 Doctor Who serial. For other uses, see . 063 – The Mutants serial A mutated Solonian on the planet . Cast () () Others — The Marshal — Jaeger — Stubbs — Cotton — Varan — Varan's Son — Ky — Sondergaard — Administrator — Investigator — Warrior Guard , , — Guards — Old Man — Mutt Production Writer and Director Script editor Producer Executive producer(s) None Production code NNN Series Length 6 episodes, 25 minutes each Originally broadcast April 8–May 13, 1972 Chronology ← Preceded by Followed by → The Mutants is a in the series , which was first broadcast in six weekly parts from April 8 to May 13, 1972. The Mutants is also the title used by the production team for the series' second serial, which introduced the . To distinguish between the two, the earlier serial is usually referred to as . Sometimes both stories are referred to as The Mutants, further distinguished by the production codes — (B) for the former and (NNN) for the latter. Contents [] [] Synopsis It is the 30th century, near the end of the Earth Empire. On the colony world of Solos, something is transforming the human population, turning them into hideous mutants. But as the and find out, that is only the beginning. [] Plot In the 30th century, the Earth Empire is contracting and plans are being made to decolonise the colony world of Solos. The militaristic Marshal and other human soldiers, known as Overlords, rule it from Skybase One. The Marshal opposes the decolonisation plans outlined to him by Administrator sent from Earth, and is also obsessed with eradicating the Mutants or Mutts that have sprung up on the planet below. The Solonians themselves are a tribal people, split between those who actively oppose the occupation, such as Ky, and those like Varan who collaborate with the imperialists. Indeed, the Marshal and Varan ensure the Administrator is murdered before he can confirm to Ky and other tribal chiefs that the Earth Empire is indeed withdrawing from Solos. The and arrive on Skybase One, their having been transported there by the . They have with them a message box which will only open for an intended recipient – and that is not the Marshal or his entourage – but seems to be for Ky, who has been framed for the murder of the Administrator. Jo and Ky flee to the surface of Solos, which seems to be poisonous to humans during daylight hours, and this affects Jo quite soon. Ky saves her with a stolen oxygen mask. The Doctor learns from the Marshal and his chief scientist Jaeger that they are involved in an experiment using rocket barrages to terraform Solos, making the air breathable to humans, regardless of the cost to indigenous life. They continue to bombard the surface with ever more deadly rockets. Varan by now has discovered the Marshal's treachery and events make him an outlaw on Skybase. The Doctor makes contact and together they persuade Stubbs and Cotton, the most senior soldiers to the Marshal, that much is wrong on Skybase. He then flees to Solos with Varan, and at the thaesium mine where Ky and Jo are hiding he encounters many Mutts, who are not as hostile as they first appeared. The Doctor passes the message box to Ky, and it opens to reveal ancient tablets and etchings which are written in the language of the Old Ones of the planet. Help in avoiding poisonous gas released by the Marshal is provided by a fugitive human scientist, Sondergaard, who lives in the caves and knows much about Solonian anthropology. Sondergaard explains he tried to inform Earth Control about the Marshal's evil, but he was prevented and forced to flee to the caves, where the radiation seems to have affected him. He interprets the contents of the box as a “lost Solos Book of Genesis”, and the Doctor then calculates a Solonian year to be equivalent to two thousand human years, with natural changes in the population every five hundred years within the cycle. Investigating a more radioactive part of the caves, the Doctor thus deduces the Mutant phase is a natural part of the Solonian racial life-cycle. Varan has by now become a Mutt himself, the transformation beginning with his hand. He hides this and leads a Solonian attack on the Skybase which results in his death and those of many of his warriors. On Skybase Jo, Ky, Stubbs and Cotton are captured by the Marshal, and Stubbs is killed in a failed escape attempt. The Doctor meanwhile has returned to the Skybase – without Sondergaard, who seems too weak following the radiation contamination. He instead returns to the caves to communicate with the Mutants and explain to them the changes in their metabolisms are natural and not to be feared. The Doctor is now back on Skybase and surmises the Marshal to be mad. It becomes clear that the Earth Government has now dispatched an Investigator to look into the strange events on Solos. The Marshal's rocket attacks have not terraformed the planet, but they have left a hideous environmental impact and he knows he must clean this up or face problems when the Investigator arrives. Under duress the Doctor uses Jaeger's technology to conduct a rapid decontamination of the planet's surface. The Investigator arrives and demands answers, but is given more lies by the Marshal, supported by the Doctor, who fears Jo will be killed if he does not co-operate. Luckily Jo, Ky and Cotton have escaped their detention and arrive in time to help the Investigator see the truth of the situation on Solos and the crimes of the Marshal and Jaeger. The Doctor accuses them of "the most brutal and callous series of crimes against a defenseless people it's ever been my misfortunate to encounter." Sondergaard now reaches the Skybase with some Mutants, one of whom scares the Investigator enough that he accepts the Marshal's analysis that the creatures should be killed. Ky now begins a process of mutation, but it is accelerated beyond the Mutant phase so that he emerges as a radiant angel-like super-being. He communicates with thought transference, can float and can move through whole walls. Dispensing justice, Ky eradicates the Marshal. Jaeger has been killed too and the Investigator now makes sense of the situation. Sondergaard and Cotton elect to stay on Solos to see the other Solonians go through the mutation process, while Jo and the Doctor slip away, their mission from the Time Lords complete. [] Continuity A Mutt appears in the beginning of . The Doctor describes it as being one of a mutant insect species that is widely established in the Nebula of Cyclops. Whether this is the location of Solos is not stated. [] Production Serial details by episode Episode Broadcast date Run time Viewership (in millions) Archive "Episode One" 8 April 1972 (1972-04-08) 24:25 9.1 PAL colour conversion "Episode Two" 15 April 1972 (1972-04-15) 24:24 7.8 PAL colour conversion "Episode Three" 22 April 1972 (1972-04-22) 24:32 7.9 PAL 2" colour videotape "Episode Four" 29 April 1972 (1972-04-29) 24:00 7.5 PAL 2" colour videotape "Episode Five" 6 May 1972 (1972-05-06) 24:37 7.9 PAL 2" colour videotape "Episode Six" 13 May 1972 (1972-05-13) 23:43 6.5 PAL 2" colour videotape Working titles for this story included Independence and The Emergents. The opening shot of the story features a bedraggled, hermit-like bearded figure (Sidney Johnson) shambling out of the mist towards the camera. Both fans and Jon Pertwee alike have compared the scene to the at the start of most episodes of . [] Outside references This serial is mentioned in 's controversial novel , where it is criticised for alleged attitudes. Writers Bob Baker and Dave Martin, as well as producer Barry Letts, actually intended for the story to have an anti-racist message. So powerful was this story's condemnation of the policy of Apartheid in South Africa, many polytechnic student unions renamed buildings "Bob Baker and Dave Martin House", in honour of its writing team.[] [] In print book Doctor Who and the Mutants Series Release number 44 Writer Publisher Cover artist ISBN Release date 29 September 1977 Preceded by Followed by A novelisation of this serial, written by , was published by in September 1977. This was the only book to feature the abbreviation "Dr Who" on the spine. [] Broadcast and commercial releases This story came out on in February 2003. This story is due for release in 2011 and will have an audio commentary by Katy Manning, Garrick Hagon, Bob Baker, Jeremy Bear, Brian Hodgson, Terrance Dicks and Christopher Barry moderated by Nick Pegg. The music from this serial was released as part of in 2003.

Tracklist - Tomorrow people • Delia Derbyshire w/ Dudley Simpson, Brian Hodgson, David Vorhaus Galant(es?) • Encre Count to down • Gry What about fish • Hypo & Michiko Kusaki Gobaith • Sidan Whispers of winter • Jane Weaver You make me blue • The Living Sisters El color del amor • Soledad Miranda Coming […]

  Rare Frequency Podcast 29: Toned Down (opening music: Brian Hodgson, “Chumbley at Rest [Galaxy Four],” Doctor Who at the BBC Radiophonic Workshop- Volume 1: the Early Years 1963-1969 (BBC Worldwide) CD) 1 Kode9 & Space Ape, "Konfusion (vocal)" Konfusion EP (Hyperdub) 12” 2008 2 Skream, "Blue Eyez" Skream! (Tempa) CD 2007 3 Byetone, "Plastic Star (Dr. Walker remix)" Plastic Star EP (Raster-Noton) 12” 2008 4 Frank Bretschneider, "Expecting Someone Taller" Party of Two Parts EP. (Underscan) EP 2003 5 Abdel Hadi Halo & The El Gusto Orchestra Of Algiers, "Fatouma" Abdel Hadi Halo & The El Gusto Orchestra Of Algiers (Honest Jon’s) CD 2008 6 Jozef van Wissem, "The Soul Leaves the Body in Eternal Glory" A Priori (Incunabulum) CD 2008 7 Svyatoslav Lunyov, "Urbi et Orbi" Para Pacem Para Bellum (Quasi Pop) CD 2007 8 Tom Dissevelt, "Fantasy in Orbit" Popular Electronics (Basta) 4CD 2004 9 Joji Yuasa, "Projection Esemplastic For White Noise, 1964" OHM: The Early Gurus Of Electronic Music (Ellipsis Arts) CD 2005 10 Pita, "CE3Get Out (Editions Mego) CD 2008 11 People Like Us, "Who CaresAbridged Too Far (Ubu) mp3 2004