Podcasts about British Invasion

Steph recaps her British Invasion. A Lithuanian chip company releases a new favor & Magic Mike's Last Dance. Plus; Sex Position of the Day, Five Things, new music from Custard Flux and a lot more! [EP152]

Scotts sits in person again with lead singer and creative force behind Young the Giant, Sameer Gadhia. They get into lots of great conversation this week.Along the way they talk about growing up in Ann Arbor Michigan, Orange County and a bit about his family life. From Bollywood to the British Invasion, they get into the music that shaped his path from Pink Floyd, the Beatles and of course Freddie Mercury.They talked about Sameer's journey and dropping out of Stanford and what his parents though to getting together with the other members to form the Jakes to Young the Giant.The two also discuss how touring life has changed and  get into influences on the new record.Lastly, they discuss "Point of Origin," his new podcast and then chat about current day… Tune in!

In this episode:Mike and Ed discuss whether the Fantastic Four or the Beatles are more famous. The Thing and the Human Torch were recently at a Beatles show and did some damage while capturing thieves who targeted the cashboxes. Who should pay for that damage? Should good samaritans like the Fantastic Four be held responsible? If they are, what type of disincentive does that create for other superheroes to help others? Are there more superpowered people out there who are keeping their abilities secret because they can't afford the insurance?Behind the issue:The Beatles are first mentioned in the Marvel Universe in Fantastic Four #34 (two months prior to this issue's release), but this is the first appearance of the actual band. The Beatles' first comic book appearance was a few months earlier in July 1964 when Dell Giant released a special issue focused on the fabulous foursome. A few days after the Dell book hit the stands, an Archie title also mentioned the Beatles (Archie's Girls Betty and Veronica #105) and the girls shopped for wigs, but the actual musicians did not appear. Perhaps the very first appearance was in the aforementioned Archie series #104, which teased the following issue and had a page of text explaining who the Beatles were (see below). The Beatles are mentioned in Marvel Comics a number of times through the years, but, as far as we are aware, they do not appear again until 2007, when it is revealed that the band had been kidnapped years ago and had been replaced by Skrulls (who were responsible for the majority of their music in the Marvel Universe).In this issue:The Thing and the Human Torch are getting under each others' skin, and likely need a break from each other. No such luck, as their girlfriends convince them to go see the breakout sensation from Britain, the Beatles. The foursome head to the show, but before it begins, they learn that the venue's payroll has been stolen. The Thing and the Torch head out and capture the criminals, but unfortunately miss the entire show.Assumed before the next episode:People are more interested in being entertained by the Beatles than being saved by the Fantastic Four, or so we assumeThis episode takes place:After the Beatles have started their British Invasion!Full transcript:Edward: Mike, who is more popular? The Beatles or the Fantastic Four ?Michael: I think if you listen to our show regularly, you would assume the Fantastic Four. But if you lived in the real world you'd probably say The Beatles people meaning it for a reason, right?Edward: Fantastic Four have clubs, fan clubs, but there's no fantastic mania. How even the four mania how would you even say that?Michael: Yeah, I don't know ff mania, but like, you know, there's, I thinkEdward: we don't swear on the show, Mike. No swearing on the show.Michael: Yeah, . Well, they're certainly popular. They're incredibly popular and they're being followed and there's celebrity magazines that report on them, but, Nothing like the Beatles. Nothing like The Beatles has happened in a superhero superpowered world. Yeah.Edward: And in this particular case, we had the Fantastic Four went to go and see a Beatles show and we've had no incidences, we know about where the Beatles have gone to see a Fantastic four show.Michael: No, they're not showing up the Baxter Building, you know, pen and paper hand asking for autographs. Although, funny about it is maybe it's just a comment on human nature or our society, but like the Fantastic Floor have saved the world more than once.Edward: And Beatles, the Beatles have not, Beatles have never saved the world.Michael: So you think, you'd think that if there's gonna be this adulation, idolatry, of anyone, it would be the fantastic for, but no, it definitely isn't. It definitely is not. The Beatles are far more popular.Edward: Yeah. The, I guess the Beatles have saved music.Michael: Okay, we'll go with that. They definitely struck a nerve in our society and they're making their mark. And so time will tell us whether the Beatles will be remembered. But right now it's hard to avoid them. If you're trying to avoid them, they're everywhere.Edward: There's that question too, a thousand years from. Looking far, very, very far in the future, are we gonna remember the Fantastic four of the Beatles and I think it would be the Fantastic four, the first real superheroes on the planet are I imagine more memorable than any music bandMichael: the Fantastic four are, as we chronicled or the vanguard of this new evolution of almost post humanity then this is a moment in our history, where there's, who knows where we're going to evolve to. So my money would be that the Beatles are a flash in the pan and the Fantastic four are here to stayEdward: and interesting there's four of each of them. I think that's a coincidence?Michael: Oh my, I didn't think about that. So do you think that maybe, do you think that there's a matching principle going on here, we noted in, remember we talked about recently with the frightful four, there's four of them and we're just confused as to why they would limit them.Why wouldn't they be like the hateful eight or something. But instead it's like they pick the four and the beetles are quarted as well. So do you think. Are we? Are the Beatles being influenced by the Fantastic Four? Is music being influenced by superhero culture?Edward: Yeah, maybe. Or maybe the other way around. Maybe the Fantastic Four just search out for groups of four things.Michael: Yeah.Edward: They go to the grocery store and be like, yeah, I know you have a dozen eggs, but do you have like a smaller package, like maybe a third the size?Michael: Or maybe. Or maybe it's just. Things come into four, right? There's the four of food groups, there's four seasons. It kinda just naturally would evolve to where the Fantastic four, who, when you really think about their powers are quite elemental in nature. They have this sort of,Edward: there's four elements. There you go.Michael: There's four elements. Yeah. So maybe there's an inherent connection to the idea of having teams of four. Although maybe I'm just spinning some mirror here. But anyways,Edward: Can you match them? Can you look at the, we talked about this before, the frightful four. There's like a match almost between, Medusa had her stretchy hair. Mr. Fantastic Reed, Richards could stretch his body. There was kind of a rough match betweenMichael: mm-hmm.Edward: the Frightful Four and the Fantastic Four. Can we do the same thing with the Beatles, is there does Paul match to Sue? Like what is the match? The Four Beatles and the four Fantastic. Four.Michael: You know, I just don't know enough about 'em but maybe there might be something there. Maybe that's something that if they stick around, we can we'll explore it a little more and look, maybe they're the first. Maybe the Beatles were the first super. Powered band. Maybe we're gonna find out that they have powers too. Just don't know about, we just know, knowEdward: IF it happens to anybody, it'll happen to the Beatles. I think a couple things to talk about. I think with this encounter with the Beatles and the Fantastic Four, well, I guess the Fantastic Half, the Fantastic four, it was The Thing in the Human. Torch were going to see a show and in the process, I guess someone tried to steal all the money from the show andMichael: mm-hmm.Edward: the Fantastic Four prevented that. So I guess they did, they did their good deed for the day. But in the process of doing that good deed, they did some damage and. I think this is interesting is that the damage that they caused is not being paid for by the theater, not being paid for by the Beatles, not being paid for by the government, not even being paid for by an insurance company. The fantastic for themselves are gonna cover that damage. And I think that's just, it's interesting that it wasn't like The Thing and the Human Torch were being professionally employed by anybody. They went out of their way to help the Beatles or to help the theater anyway with these thieves, and now because of that good deed, they're gonna have to pay. They're taking the money outta their own pocket, and that doesn't seem,Michael: It doesn't, and it, but it's interesting. It probably, it gives us some insight into the institutional nature of the, or at least the institutional connection between the Fantastic Four the society that they live in. So we've talked before about how the Avengers seem to have a pretty direct connection, almost be a separate like military force or arm of the armed forces in America. But the Fantastic Four haven't. You think that Fantastic Four has some kind of formal relationship. As being almost a police force that they would. They'd have an immunity from any kind of possible civil liability or prosecution if they're,Edward: are you saying that they are a police force or they should be a police force?Michael: I'm saying that they aren't, because if they were then if they're acting in the course of their duties, then they would have an immunity from prosecution and civil liability to provide that they were still carry of their duties within their own responsibility. And so then they wouldn't care about paying the damage themselves because if they got sued, they have an insurance policy, they would respond. And they're not, they won't be worried about, say, being arrested for the damage that they caused in the course of exercising their duties.Edward: And that's, I was gonna say that's probably true. If when the US military went and asked the Fantastic four to go and take down the Hulk, they were basically working under the under the authority of the US military, and I'm assuming that any damage caused during that battle with the huk was paid for by the US government, by the military. In this case nobody asked Ben and Johney to go and stop the thieves. They just, they were good Samaritans and they went and did it. That changes the calculation a little bit.Michael: It does up that. I think when they're tasked by the American military, I think that they could be considered to be contractors in that role. But I am saying that here, that they just acted as good Samaritans and did a public good. They acted as if they were, police officers. But the fact that they paid outta pocket tells me that they don't have any kind of special protection or immunity from prosecution or from civil liability. So they did, then they wouldn't have reached into their own pocket. But the fact they reach into their own pocket tells me that they're doing the analysis, which is that it's probably better for us just to pay outta pocket than to get sued by the people that owned the buildings that were damaged or anyone that had a possible liability claim.It's probably just worth their time to pay it out. So they must have number one tons of money. And number two they don't have any kind of protection. So number three, they're gonna use their money to avoid getting sued and have their time being eaten up. It's just worth their time to just pay people rather than having a claim against them.Edward: But I guess why are they doing it at all? So basically these thieves came in, they stole the money, they took off if Ben and Johney just said, oh, you know what, that's not our problem. We're gonna go sit and watch the show.Michael: Mm-hmm. ,Edward: Then number one, they get to see the show, and number two is they're only out of the ticket price. Instead, they went and chased these guys down. They didn't get to see the show, and they had not having to pay a bunch of money outta their pocket. What was the incentive for them to do that?Michael: That's The Thing, right? If there was a, they had immunity from a civil lawsuit, then they would go do it. But here they clearly don't. And so they had to pay out of pocket because they're involved in this incident that caused damage and they pay out pocket cuz it's easier for them to make the claim go away, the potential gifts go away. And I don't know what their incentive is other than to do that other than that they're heroic or because they feel they can solve the problem and they have so much money that it's worth it for them to both be heroic and to also make sure that they don't have their time wasted that they're, after you keep against them,Edward: you keep saying they have so much money. Is that true?Michael: They'd have to, otherwise they wouldn't do it. If they didn't why would they pay out of pocket? Why would they wait and get sued? I guess.Edward: I guess that's my question. So where's that money coming from? I guess they had that one movie that they had a while back. And Reed has some inventions that he's invented. He lost all his inventions that he invented in the past due to that bankruptcy. But he presumably he's invented other things since then but it doesn't seem that that's an unlimited fund of money. I just, I think there's a, from my business world. One of the heroes of the business world was Adam Smith, who invented the whole idea the trade is good. And one of his famous quotes was, it's not the benevolence of the butcher, the baker, or the brewer that we expect our dinner, but it's regards to their self interest. We don't count on the butchers and the bakers to give us their foods for free. Why are we counting on superheroes to do all of their work for free?Michael: We're missing some information then, right? Because it's clearly happening. So number one, the Fantastic Four don't have this protection from being suit for damage that they cause in the course of acting heroically because they're paying out pocket, because that's the only reason that you would pay outta pocket. So why would they continue? Why would they do it?Edward: So let me dive into that cause it's exactly right. It sounds like of there's an incentive to be a butcher, there's an incentive to be a baker.Michael: Mm-hmm.Edward: society incentivizes people to be police officers and salesmen and retail clerks and radio personalities like us, there's all sorts of incentives in the system for these things. It sounds like right now there's a disincentive to be a superhero, and so that's what, okay, go ahead.Michael: I was gonna say that, but that's where I think this is going is that. On its face it doesn't make any sense unless they have so much money and how are they getting so much money? I don't know. Perhaps it's that we are talking about the Fantastic four who have access to space travel and interdimensional travel, right? Based on their recent adventures to our knowledge.Edward: They're just stealing from other dimensions and bringing,Michael: I don't, yeah, I don't know. I do not know if they have access to resources or minerals or something that we don't have access to here and that we're just not made aware of it. Or Reed has been inventing things and selling and profiting off of that.Edward: Yeah. So I guess that could be it, right? So you could be Right. Maybe they're just obscenely wealthy and in order to keep that wealth, in order to keep getting access to these other dimensions and keep the government off their back, they go and do good deeds for good public relations and those good deeds cost them money. But in the same way that, I dunno, Proctor and Gamble donates to clean water in Kenya, they're just like going like they're, it's like the tax on them. The good deed tax is there to keep their good PR so that they can go and make their money some other way that we don't really know.Michael: Yeah but on a personal level I work as a lawyer, so I make my money by going to work and billing and I bill my time. And so if I'm walking to work and I see someone's gonna walk into traffic and I'm gonna stop them because that's a normal human thing to do and it, but on a cost benefit, I guess it costs me time so therefore it costs me money. Cause I don't get to go to work early enough. But, It's on a human level it's what you wanna do. Now if it's now if to save, if I saw someone fall into traffic and for me to save them would require me to, you know, run.Edward: You don't want to skuff your shoes.Michael: No, but if I could lose my life, then I think that it might be more, I'd hope I'd be heroic and chance losing my life to save somebody who's falling into traffic but I don't know, maybe that's where there would be a line. And what I'm saying is that the fantastic core haven't hit that line yet. Yeah, it's still worth their time.Edward: Let's going back to this scenario, it's even worse than that. It's imagine if now you go and you save that guy, he falls down the road and you rush into the road and you save him but in so doing so, you cause a car to swerve and hit another car. And so now they wanna fine you for that car accident because you jumped in the way to save that dude. That doesn't seem right either. It's one thing you've already risked your life, you've already taken your time. Now we're gonna say, Hey, oh, and by the way, now we want your money too.Michael: That analysis only works, that analogy only works, is that I said, whoa, whoa, whoa, whoa, whoa. Okay, hold on a second. Let me pay for everything outta my own pocket. But I have an insurance policy that would respond to it. So likely I'm gonna be okay. So even if I did that quick math in my head, is it worth it for me to go in traffic?Edward: Yeah. But should your insurance company be paying for that? The guy who busted his car up again, not, not his fault, maybe the guy who felt that in traffic, you go after him, but going after the insurance company of the guy who saved the person's life, that doesn't seem right,Michael: It doesn't work like that though. If somebody falls into traffic and I go in and try to save them, as a result, some other car gets into an accident. I guess if they sustained injury, they would sue me. They wouldn't Sue the insurance company. My insurance company would respond on behalf of me. And there are some legitimate legal defenses that would apply to that very scenario where it's there. I didn't do anything wrong. I wasn't negligent. They'd have to establish negligence in order to trigger it. But my point was less about the intricacies of motor vehicle law and claims, and more just to say that my analysis is not gonna be influenced. I wouldn't have to think I take into my pocket and pay this person out rather than pay my deductible so that when I got sued, that my insurance company would respond and defend me. Whereas the Fantastic Four, clearly it's just not worth it for them to. To possibly don't have insurance, which I don't think they do to respond to the claims that would be made them damaging thatEdward: if they did their insurance would be so high ,Michael: they'd be so high.Edward: What insurance?Michael: You're an orange, rocky, monster that could destroy a building. So I think the insurance would be quite high if you had it. But at the same time, they could sued personally. The, Thing would have to, he is paying outta pocket. They must have so much money that it's just like there's, they're not even thinking about being tied up in a potential lawsuit later because so much doughEdward: and so clearly all these disincentives that we're creating haven't stopped the Fantastic Four from existing. But what's I always find interesting is when these disincentives exist, we have to ask what isn't happening because of these disincentives. Are there lots and lots of other superheroes out there that are being like, you know what, I don't wanna be a superhero. Look how much it's gonna cost. It's too expensive to be a superhero, like being a lawyer. I'll just be a lawyer by day and a nothing by night because it's too expensive.Michael: Well, I'm not, nothing by night a cause you know that.No that's why Spider-Man wears a mask. We've been quite critical on Spider-Man, how he wears a mask and doesn't reveal his identity would be super critical of him.Edward: And it's not, it's not afraid of a villain's attacking him. It's not because he's wants to do criminal things. It's because he's not super rich. Everyone who's not super rich wants to be a superhero, has to cover their face.Michael: So maybe, so I think the solution would be if we recognize it being a superhero is public good, much like having volunteer firefighters and police officers and things like that, then there needs to be new legislation passed in order to provide some immunity from civil prosecution civil claims, if he did, it would remove that disincentive if The Thing and the Torch burned down a building or destroy a building, the building owner can't sue them because they were legitimately acting the course of their superhero duties and roles, then I guess I had to put a claim over to their insurance company. But what would, and I think the only way that works is that probably all of our insurance rates are gonna rise to accommodate that but it's pretty fair to spread their risk out of superhero related damageEdward: It does. And then what that should open up is all these other superheroes that are presumably hiding right now and aren't doing anything. Or have they have secret identities or they have no identities at all because they're not super, they're just, well, they're super, but not heroes. If you wanna take, if you want more of your supers to be heroes, fix the insurance laws.Michael: No fix. You know what we need to have, there? Have to be local, state level and federal legislation that's passed in order to have, immunity from prosecution and immunity from civil claims pass. And that the question for us, I guess as a society, is that a better way to go? Or is it better to have them running around with masks and I don't know. I used to be pretty anti masked, but now I'm kind of seeing the value of it.Edward: Yeah. I think these laws, when you create these new laws, don't they have like catchy names and stuff too?Can we call this law the put the hero back in supers?Michael: I like where you're going with this, but what it be like, there's no i n team, but there's I Insurance Act from 1965. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.superserious616.com

The British Invasion brought a wave of psychedelic rock and pop to the US in the mid-60s. With it came a plethora of classic albums that would come to define the movement. On today's show we discuss 3 classic British Invasion albums: The Beatles – Revolver (Dude)The Zombies – Odessey and Oracle (Don)The Yardbirds – […]

Travel writer Tim Hannigan discusses with Ivan six things which should be better known. Tim Hannigan was born and brought up in the far west of Cornwall, but he now lives in Ireland. After leaving school he trained as a chef. He later studied journalism and began his writing career as a journalist and guidebook writer, based in Indonesia. He is the author of a number of nonfiction books, including Murder in the Hindu Kush, which was shortlisted for the Boardman Tasker Prize, and Raffles and the British Invasion of Java, which won the John Brooks Award. His most recent book is The Travel Writing Tribe, about a quest to answer the trickiest questions about the travel genre. His next book, The Granite Kingdom, is an exploration of his own homeland, Cornwall, and is due out in May 2023. Find out more at https://timhannigan.com/. Indonesia https://www.nybooks.com/articles/1966/05/26/in-search-of-indonesia/ The 1811 British invasion of Java https://www.thehighlandersmuseum.com/?p=30029 Cornwall is one of the poorest regions in western Europe https://www.newstatesman.com/politics/2016/02/real-cornwall-county-poorer-lithuania-and-hungary The Cornish language https://omniglot.com/writing/cornish.htm The public footpaths of England and Wales https://footpathmap.co.uk/ Eland Books https://www.travelbooks.co.uk/ This podcast is powered by ZenCast.fm

The British Invasion is here! I'm joined by Brad, Shelley, and Chris—All UK Kansas City Chiefs fans, and we answer all of your mailbag questions! It's a very fun and informative show! Enjoy!

This is the second half of my conversation with Adam Abraham, author of the engaging new book Attack Of The Monster Musical – A Cultural History Of Little Shop Of Horrors. If you missed the previous episode you may want to catch up with that one before listening to this one. Last week Adam shared the unlikely behind-the-scenes story of the making of Rodger Corman's original low budget horror film The Little Shop Of Horrors, and then how that inspired a young writer and director named Howard Ashman to transform it into the stage musical, Little Shop Of Horrors, which quickly became a long running Off-Broadway smash.  This week Adam takes us inside the creation of the hit movie adaptation of the musical -- which opened which opened while the original Off-Broadway stage production was still playing. And we discuss the incredible legacy of Little Shop and its impact on American culture over the past 40 years. Most especially, how it kept the flame alive for American musical comedy during the “British Invasion” of Broadway in the 1980s. Perhaps most importantly we explore the significant influence that Howard Ashman, Alan Menken and Little Shop Of Horrors have had on the several generations of musical theater writers who have followed in their footsteps. Adam Abraham is a Postdoctoral Teaching Fellow at Auburn University, and he also has taught at Virginia Commonwealth University, NYU, and Harvard. His previous books include When Magoo Flew: The Rise And Fall of Animation Studio UPA, and Plagiarizing The Victorian Novel: Imitation, Parody, Aftertext. He has also written for film, television, and theater. Attack of the Monster Musical provides a fascinating, in depth, look into the dynamic partnership of Howard Ashman & Alan Menken and their creation of what I believe is one of the best and most perfectly crafted musicals of all time!   Learn more about your ad choices. Visit megaphone.fm/adchoices

Did Walter Cronkite actually start rock n roll's British Invasion? On THIS DAY, November 2nd with Chris Conley.See omnystudio.com/listener for privacy information.

Shely Talmy is a record producer, songwriter, and arranger. His credits include The Kinks, The Who, David Bowie, and The EasyBeats. Shel Talmy was an important figure in the British Invasion, cutting sessions that had a harder and more distorted guitar sound than anything else that had been heard before the mid-'60s. Check out Shely Talmy's Website here: https://www.sheltalmy.me Subscribe to the email list and get yourself some free goodies: https://producelikeapro.com  Want to create radio ready mixes from the comfort of your home? Go check out https://promixacademy.com/courses/  Check out all other services here: https://linktr.ee/producelikeapro

Shely Talmy is a record producer, songwriter, and arranger. His credits include The Kinks, The Who, David Bowie, and The EasyBeats. Shel Talmy was an important figure in the British Invasion, cutting sessions that had a harder and more distorted guitar sound than anything else that had been heard before the mid-'60s. Check out Shely Talmy's Website here: https://www.sheltalmy.me Subscribe to the email list and get yourself some free goodies: https://producelikeapro.com  Want to create radio ready mixes from the comfort of your home? Go check out https://promixacademy.com/courses/  Check out all other services here: https://linktr.ee/producelikeapro

https://ontargetpodcast.caMod Marty spends an hour spinning a wealth of singles assembled with the intent to titillate and agitate. Singlephiles only. Reap the rewards of this rich black wax as it circumducts the spindle of the highest quality equipment for maximum audio pleasure.-----------------------------------------------The Playlist Is:"She's Alright"Bo Diddley - Reo "Dancin' Everywhere"Bob & Earl- Mirwood"Three Hundred and Sixty-Five Days"Donald Height- Shout "Stand Up Straight and Tall"Jackie Shane- Modern"Look At The Girl"Otis Redding- Atco "Stop Running Around"Gladys Knight & the Pips - Fury "I'm Leaving"The Mark Four- Decca"Sorry"The Easybeats- Parlophone "It's So Right"The Swinging Blue Jeans - Capitol "The Hippy Hippy Shake"Bill Fury & The Gamblers- London "New Babe (Since I Found You)"Invictas- Rama Rama"Let Yourself Go"Marv Johnson- United Artists "Nothing In This World Can Hurt Me"Buddy Ace- Duke"Tell Me"Larry & The Larks- Veep "This Heart Of Mine"The Artistics- Okeh "Why Girl"The Precisions- Drew "Shake"The Selective Service- Main Line "Don'tcha Feel Like Crying"Nobody's Children- Bullet "It Couldn't Be Mercy"Frans Hoeke Spacetrack- Havoc "The Scratch"Robert Parker- Nola"I'll Be Your Servant"Ray Charles- ABC "Drop It On Me"The Living Souls- Revue

Scoot talks to Peter Noone about his love for Louisiana and his role in the mid-century British Invasion of American pop music

Anglophiles rejoice! All of this week's old time radio mysteries star performers from across the pond. Herbert Marshall is secret agent Ken Thurston in an exciting adventure of The Man Called X. Thurston is on the hunt for a missing atomic scientist in this episode that originally aired on NBC on November 3, 1950. Then, Rex Harrison is a debonair gumshoe in "When They Track Down the Human Game" from The Private Files of Rex Saunders (originally aired on NBC on August 1, 1951). Finally, an all-British cast dramatizes a case from the Scotland Yard files in "The Case of the Fatal Bath" from Whitehall 1212 (originally aired on NBC on April 13, 1952).

John Waters joins Simon to go through his favourite compilation album "60's British Invasion" and to chat about his amazing career on stage and screen and as a singer!See omnystudio.com/listener for privacy information.

As you have probably heard, The Phantom Of The Opera – the longest running show in Broadway history –– recently announced that it will close this coming February, just over 35 years after it first opened on Broadway. This New York production of Phantom has been seen by nearly 20 million people and has grossed $1.3 billion dollars. Globally the show has been seen by 145 million people in 42 countries. Since this week marks the anniversaries of both CATS – which first opened on Broadway on October 7, 1982, and Les Misérables – which first opened in London on October 8, 1985, it seemed like the perfect time to bring back Episode 28 of Broadway Nation which is titled Cameron Mackintosh & The British Invasion of Broadway (or Sondheim vs. the Poperetta). In a recent interview in the New York Times, Mackintosh stated that the weekly running cost for TPOTO were more than $950,000, which is about $100,000 more than it was pre-Covid. And at the same time ticket sales have been down 10 to 15 percent on average.  And when asked why the show was so expensive to run, he went on to say this:  “Many of the long-runners — “Cats,” “Chicago,” “Chorus Line,” even “Hamilton,” which will be a long-runner — they're all single-set shows with mostly limited costumes. We've got 27 musicians. It was a different world that Andrew and I created the show in. Most of my great shows were created during the '80s, and that world has disappeared. We are in different times.” So, today I thought it would be interesting to journey back to those different times by revisiting one my favorite episodes! Learn more about your ad choices. Visit megaphone.fm/adchoices

https://ontargetpodcast.caMod Marty is on The Face radio for the first time and coming at you with full force. This show has been finely honed and aims to be a stand-out addition to The Face in every way. This week Marty brings you a stack of 7s that'll shake your groove thing and rattle your bones.-----------------------------------------------The Playlist Is:"Brain Washed"David Clayton Thomas & The Bossmen- Roman"Meet Me Down In Soulville"Little Joe Cook- Okeh"Doing The Philly Dog"Lou Lawton- Capitol"My Baby Likes To Boogaloo"Don Gardner- Tru-Glo-Town"Gimme Your Love"Bobby Marchan - Dial"Honey Hush"Henry Lumpkin- Buddah"Happenings Ten Years Ago"The Yardbirds- Capitol"Psychotic Reaction"Count Five- Double-Shot"Is This The Dream"The Zombies- Parrot"How Can I Forget You"Marvin Gaye- Tamla-Motown"A Little Taste Of Soul"Sugar Pie DeSanto- Wax"Chills And Fever"Tom Jones- Decca"Tightrope"Inez & Charlie Foxx- Dynamo"It Ain't What You Got"Jimmy Hughes- Atlantic"Stop Her On Sight (SOS)"Edwin Starr- Ric-Tic"Kocka Mow Mow"The Dinks- Sully"Tonight You Belong To Me"Patience & Prudence- Chattahoochee"Tale Of A Man"The Good Feeling- Eagle"What's This I See"June Conquest-Curtom"She Can"The Coasters - Date"Spider Man" Eddie McCoy- Prestige

Hello from Drum Channel! Billy Amendola is with his guest today Jim McCarty, co-founder and original member of the 60's English band the Yardbirds.  Not many can claim to have drummed for three early bandmates who went on to become the greatest guitarists in the world, Eric Clapton, Jimmy Page, and Jeff Beck, who were all in the same band for a short period.  As part of the sixties British Invasion, the band had a string of hits, including the 1965 top-charting songs "For Your Love,” “Heart Full of Soul,” and “Shape of Things.” Jim is currently on the road with a new line-up as we speak and was kind enough to take a bit of time between shows to talk about his early days and touring today. Also, popping on to say hello is Yardbirds guitarist Godfrey Townshed.  The new group also features along with Townshed and McCarty, bassist Kenny Aaronson.  Jim has been the only drummer/band member in the group for the past five decades. Let's listen! 

Jim McCarty is the original drummer for The Yardbirds, one of the greatest bands of the British Invasion era of the 1960s. They had a string of hits including “For Your Love” and “Heartful Of Soul”. But the band is perhaps best known for having three of the greatest guitarists of the rock era in succession: Eric Clapton, Jeff Beck and Jimmy Page.My featured song in this episode is “Right Now”. Spotify link here. “Dream With Robert Miller”. Click here.---------------------------------------------   In this episode Jim and I discuss:The British Invasion eraForming The YardbirdsTheir American tour in 1965Eric ClaptonThe Jeff Beck eraJimmy Page together with Beck Songfest:“For Your Love”“Heartful Of Soul”“Shapes Of Things”“Over, Under, Sideways, Down”“Happenings Ten Years Time Ago” If you enjoyed the show, please Subscribe, Rate, and Review. Just Click Here. “All Of The Time” is Robert's most recent single by his band Project Grand Slam. It's a playful, whimsical love song. It's light and airy and exudes the happiness and joy of being in love. The reviewers agree. Melody Maker gives it 5 Stars and calls it “Pure bliss…An intimate sound with abundant melodic riches!”. Pop Icon also gives it 5 Stars and calls it “Ecstasy…One of the best all-around bands working today!”. And Mob York City says simply “Excellence…A band in full command of their powers!” Watch the video here. You can stream “All Of The Time” on Spotify, Apple, Amazon or any of the other streaming platforms. And you can download it here. “The Shakespeare Concert” is the latest album by Robert's band, Project Grand Slam. It's been praised by famous musicians including Mark Farner of Grand Funk Railroad, Jim Peterik of the Ides Of March, Joey Dee of Peppermint Twist fame, legendary guitarist Elliott Randall, and celebrated British composer Sarah Class. The music reviewers have called it “Perfection!”, “5 Stars!”, “Thrilling!”, and “A Masterpiece!”. The album can be streamed on Spotify, Apple and all the other streaming services. You can watch the Highlight Reel HERE. And you can purchase a digital download or autographed CD of the album HERE.  “The Fall Of Winter” is Robert's single in collaboration with legendary rocker Jim Peterik of the Ides Of March and formerly with Survivor. Also featuring renowned guitarist Elliott Randall (Steely Dan/Doobie Brothers) and keyboard ace Tony Carey (Joe Cocker/Eric Burden). “A triumph!” (The Indie Source). “Flexes Real Rock Muscle!” (Celebrity Zone). Stream it on Spotify or Apple. Watch the lyric video here. Download it here. Robert's “Follow Your Dream Handbook” is an Amazon #1 Bestseller. It's a combination memoir of his unique musical journey and a step by step how-to follow and succeed at your dream. Available on Amazon and wherever books are sold. Connect with Jim at:Website: http://www.jamesmccarty.comFacebook https://www.facebook.com/profile.php?id=100063451668431&ref=sgm  Connect with the Follow Your Dream Podcast:WebsiteFacebookLinkedInEmail RobertYouTube Listen to the Follow Your Dream Podcast on these podcast platforms:CastBoxSpotifyApple Follow Robert's band, Project Grand Slam, and his music:WebsiteInstagramPGS StoreYouTubeFacebookSpotify MusicApple MusicEmail

Garage rock can be a catch-all term that rubs shoulders with punk, rockabilly, surf, and more. But thanks to a variety of known and lesser-known bands, there has always been a group of dedicated musicians writing and playing revved up and relatively simple rock that traces its lineage back to the primitive and raw sounds of 60s that popped up after the British Invasion with roots in American rhythm and blues. After a very underground 80s, the sound returned in fits and starts with bands like Jon Spencer Blues Explosion and later The White Stripes, The Hives, The Strokes, and plenty of other bands starting with "The." We dig into the whole sound, the local scenes that helped foster the sound over decades, and much more.   Songs In This Episode: Intro - Fell In Love With A Girl by The White Stripes 16:20 - Paint It Black by The Avengers 21:49 - Touch Me I'm Sick by Mudhoney 31:09 - (Gotta Get Some Action) Now! by The Hellacopters 40:11 - Heaven by The Hydromatics 1:07:31 - The Reproduction of Death by The (International) Noise Conspiracy Outro - Singin' A Song About Today by The Mooney Suzuki   Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

ontargetpodcast.caNot your average radio show. Not your average podcast. An hour spent doing something above average and experiencing something outstanding. On Target offers nothing short of a musical experience to remember with every episode. For music lovers, record collectors, nostalgics, audiophiles, anoraks, and more. Something for everyone and everything for someone. Join us, won't you?-----------------------------------------------The Playlist Is:"Boomerang" Ernie K-Doe- Duke"Happy"Velvet Hammer- Soozi"Having A Party"The Pointer Sisters- Blue Thumb"Greazee (Part I & II)" Billy Preston- Derby"Lovin' Time"Bertha Tillman- Brent"Let Me Turn You On"Lou Courtney- Buddah"Beatle Time"The Livers (Chicagoans) - Constellation"Smiling Phases"The Midnight Rebels- Mr."Bring It To Jerome"Manfred Mann- United Artists"Broken Heart Attack"The Sweet- Smash"I'll Never Forget You"The O'Jays- Imperial"I'm So Thankful"Chuck Overton- Kapp"Born To Be A Lover"Allison- King"Baby, Try Me"Bobby Bennett - Phil-L.A. of Soul"Just A Little Bit"Roy Head- Scepter"Leaving Here"Jimmy Hanna & The Dynamics- Seafair Bolo"I'll Keep On Holding On"The Action- Parlophone"Nobody Like My Baby"The Dennisons- Decca"Teach Me (The "Philly" Dog)"The Manhattans- Reo"We're Not Old Enough"Allen Collay- Instant"Packin' Up"Chris Kenner- Instant"Soul Poppin'"Johnny Jones & the King Casuals - Brunswick

Brenna Ehrlich is Chief Research Editor at Rolling Stone as well as a young adult author, short story writer, and freelance journalist. In this episode, Jack and Brenna discuss how The Beatles can be introduced to you at any age, how the John & Paul Dynamic is evident in many other bands, the best cover of "Monkberry Moon Delight", and more!   Follow Brenna on Twitter @BrennaEhrlich and check out her new book, "Killing Time", here.   If you enjoy this episode, please remember to subscribe to this podcast so you can receive a notification on your phone every week when a new episode is released! Follow us on Twitter Follow us on Instagram Follow us on YouTube ------------------------------ The Beatles were an English rock band, formed in Liverpool in 1960, that comprised John Lennon, Paul McCartney, George Harrison and Ringo Starr. They are regarded as the most influential band of all time[1] and were integral to the development of 1960s counterculture and popular music's recognition as an art form. Rooted in skiffle, beat and 1950s rock 'n' roll, their sound incorporated elements of classical music and traditional pop in innovative ways; the band later explored music styles ranging from ballads and Indian music to psychedelia and hard rock. As pioneers in recording, songwriting and artistic presentation, the Beatles revolutionised many aspects of the music industry and were often publicised as leaders of the era's youth and sociocultural movements. Led by primary songwriters Lennon and McCartney, the Beatles evolved from Lennon's previous group, the Quarrymen, and built their reputation playing clubs in Liverpool and Hamburg over three years from 1960, initially with Stuart Sutcliffe playing bass. The core trio of Lennon, McCartney and Harrison, together since 1958, went through a succession of drummers, including Pete Best, before asking Starr to join them in 1962. Manager Brian Epstein moulded them into a professional act, and producer George Martin guided and developed their recordings, greatly expanding their domestic success after signing to EMI Records and achieving their first hit, "Love Me Do", in late 1962. As their popularity grew into the intense fan frenzy dubbed "Beatlemania", the band acquired the nickname "the Fab Four", with Epstein, Martin and other members of the band's entourage sometimes given the informal title of "fifth Beatle". By early 1964, the Beatles were international stars and had achieved unprecedented levels of critical and commercial success. They became a leading force in Britain's cultural resurgence, ushering in the British Invasion of the United States pop market, and soon made their film debut with A Hard Day's Night (1964). A growing desire to refine their studio efforts, coupled with the untenable nature of their concert tours, led to the band's retirement from live performances in 1966. At this time, they produced records of greater sophistication, including the albums Rubber Soul (1965), Revolver (1966) and Sgt. Pepper's Lonely Hearts Club Band (1967), and enjoyed further commercial success with The Beatles (also known as "the White Album", 1968) and Abbey Road (1969). Heralding the album era, their success elevated the album to the dominant form of record consumption over singles; they also inspired a greater public interest in psychedelic drugs and Eastern spirituality, and furthered advancements in electronic music, album art and music videos. In 1968, they founded Apple Corps, a multi-armed multimedia corporation that continues to oversee projects related to the band's legacy. After the group's break-up in 1970, all principal members enjoyed success as solo artists and some partial reunions have occurred. Lennon was murdered in 1980 and Harrison died of lung cancer in 2001. McCartney and Starr remain musically active. The Beatles are the best-selling music act of all time, with estimated sales of 600 million units worldwide. They hold the record for most number-one albums on the UK Albums Chart (15), most number-one hits on the Billboard Hot 100 chart (20), and most singles sold in the UK (21.9 million). The band received many accolades, including seven Grammy Awards, four Brit Awards, an Academy Award (for Best Original Song Score for the 1970 documentary film Let It Be) and fifteen Ivor Novello Awards. They were inducted into the Rock and Roll Hall of Fame in 1988, and each principal member was inducted individually between 1994 and 2015. In 2004 and 2011, the group topped Rolling Stone's lists of the greatest artists in history. Time magazine named them among the 20th century's 100 most important people.

Episode one hundred and fifty-four of A History of Rock Music in Five Hundred Songs is the last of our four-part mini-series on LA sunshine pop and folk-rock in summer 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "Baby, Now That I've Found You" by the Foundations. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources There is no Mixcloud this week, because there were too many Turtles songs in the episode. There's relatively little information available about the Turtles compared to other bands of their era, and so apart from the sources on the general LA scene referenced in all these podcasts, the information here comes from a small number of sources. This DVD is a decent short documentary on the band's career. Howard Kaylan's autobiography, Shell Shocked: My Life with the Turtles, Flo and Eddie, and Frank Zappa, Etc.,  is a fun read, if inevitably biased towards his own viewpoint. Jim Pons' Hard Core Love: Sex, Football, and Rock and Roll in the Kingdom of God is much less fun, being as it is largely organised around how his life led up to his latter-day religious beliefs, but is the only other book I'm aware of with a substantial amount of coverage of the Turtles. There are many compilations of the Turtles' material available, of which All The Singles is by far and away the best. The box set of all their albums with bonus tracks is now out of print on CD, but can still be bought as MP3s. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We've spent a lot of time recently in the LA of summer 1967, at the point where the sunshine pop sound that was created when the surf harmonies of the Beach Boys collided with folk rock was at its apex, right before fashions changed and tight sunny pop songs with harmonies from LA became yesterday's news, and extended blues-rock improvisations from San Francisco became the latest in thing. This episode is the last part of this four-episode sequence, and is going to be shorter than those others. In many ways this one is a bridge between this sequence and next episode, where we travel back to London, because we're saying goodbye for a while to the LA scene, and when we do return to LA it will be, for the most part, to look at music that's a lot less sunshine and a lot more shadow. So this is a brief fade-out while we sing ba-ba-ba, a three-minute pop-song of an episode, a last bit of sunshine pop before we return to longer, more complicated, stories  in two weeks' time, at which point the sun will firmly set. Like many musicians associated with LA, Howard Kaylan was born elsewhere and migrated there as a child, and he seems to have regarded his move from upstate New York to LA as essentially a move to Disneyland itself. That impression can only have been made stronger by the fact that soon after his family moved there he got his first childhood girlfriend -- who happened to be a Mouseketeer on the TV. And TV was how young Howard filtered most of his perceptions -- particularly TV comedy. By the age of fourteen he was the president of the Soupy Sales Fan Club, and he was also obsessed with the works of Ernie Kovacs, Sid Caesar, and the great satirist and parodist Stan Freberg: [Excerpt: Stan Freberg, "St. George and the Dragonet"] Second only to his love of comedy, though, was his love of music, and it was on the trip from New York to LA that he saw a show that would eventually change his life. Along the way, his family had gone to Las Vegas, and while there they had seen Louis Prima and Keeley Smith do their nightclub act. Prima is someone I would have liked to do a full podcast episode on when I was covering the fifties, and who I did do a Patreon bonus episode on. He's now probably best known for doing the voice of King Louis in the Jungle Book: [Excerpt: Louis Prima, "I Wanna Be Like You (the Monkey Song)"] But he was also a jump blues musician who made some very good records in a similar style to Louis Jordan, like "Jump, Jive, an' Wail" [Excerpt: Louis Prima, "Jump, Jive, an' Wail"] But like Jordan, Prima dealt at least as much in comedy as in music -- usually comedy involving stereotypes about his Italian-American ethnic origins. At the time young Howard Kaylan saw him, he was working a double act with his then-wife Keeley Smith. The act would consist of Smith trying to sing a song straight, while Prima would clown around, interject, and act like a fool, as Smith grew more and more exasperated, and would eventually start contemptuously mocking Prima. [Excerpt: Louis Prima and Keeley Smith, "Embraceable You/I've Got It Bad and That Ain't Good"] This is of course a fairly standard double-act format, as anyone who has suffered through an episode of The Little and Large Show will be all too painfully aware, but Prima and Smith did it better than most, and to young Howard Kaylan, this was the greatest entertainment imaginable. But while comedy was the closest thing to Kaylan's heart, music was a close second. He was a regular listener to Art Laboe's radio show, and in a brief period as a teenage shoplifter he obtained records like Ray Charles' album Genius + Soul = Jazz: [Excerpt: Ray Charles, "One Mint Julep"] and the single "Tossin' and Turnin'" by Bobby Lewis: [Excerpt: Bobby Lewis, "Tossin' and Turnin'"] "Tossin' and Turnin'" made a deep impression on Kaylan, because of the saxophone solo, which was actually a saxophone duet. On the record, baritone sax player Frank Henry played a solo, and it was doubled by the great tenor sax player King Curtis, who was just playing a mouthpiece rather than a full instrument, making a high-pitched squeaking sound: [Excerpt: Bobby Lewis, "Tossin' and Turnin'"] Curtis was of course also responsible for another great saxophone part a couple of years earlier, on a record that Kaylan loved because it combined comedy and rock and roll, "Yakety Yak": [Excerpt: The Coasters, "Yakety Yak"] Those two saxophone parts inspired Kaylan to become a rock and roller. He was already learning the clarinet and playing part time in an amateur Dixieland band, and it was easy enough to switch to saxophone, which has the same fingering. Within a matter of weeks of starting to play sax, he was invited to join a band called the Nightriders, who consisted of Chuck Portz on bass, Al Nichol on guitar, and Glen Wilson on drums. The Nightriders became locally popular, and would perform sets largely made up of Johnny and the Hurricanes and Ventures material. While he was becoming a budding King Curtis, Kaylan was still a schoolkid, and one of the classes he found most enjoyable was choir class. There was another kid in choir who Kaylan got on with, and one day that kid, Mark Volman came up to him, and had a conversation that Kaylan would recollect decades later in his autobiography: “So I hear you're in a rock 'n' roll band.” “Yep.” “Um, do you think I could join it?” “Well, what do you do?” “Nothing.” “Nothing?” “Nope.” “Sounds good to me. I'll ask Al.” Volman initially became the group's roadie and occasional tambourine player, and would also get on stage to sing a bit during their very occasional vocal numbers, but was mostly "in the band" in name only at first -- he didn't get a share of the group's money, but he was allowed to say he was in the group because that meant that his friends would come to the Nightriders' shows, and he was popular among the surfing crowd. Eventually, Volman's father started to complain that his son wasn't getting any money from being in the band, while the rest of the group were, and they explained to him that Volman was just carrying the instruments while they were all playing them. Volman's father said "if Mark plays an instrument, will you give him equal shares?" and they said that that was fair, so Volman got an alto sax to play along with Kaylan's tenor. Volman had also been taking clarinet lessons, and the two soon became a tight horn section for the group, which went through a few lineup changes and soon settled on a lineup of Volman and Kaylan on saxes, Nichol on lead guitar, Jim Tucker on rhythm guitar, Portz on bass, and Don Murray on drums. That new lineup became known as the Crossfires, presumably after the Johnny and the Hurricanes song of the same name: [Excerpt: Johnny and the Hurricanes, "Crossfire"] Volman and Kaylan worked out choreographed dance steps to do while playing their saxes, and the group even developed a group of obsessive fans who called themselves the Chunky Club, named after one of the group's originals: [Excerpt: The Crossfires, "Chunky"] At this point the group were pretty much only playing instrumentals, though they would do occasional vocals on R&B songs like "Money" or their version of Don and Dewey's "Justine", songs which required more enthusiasm than vocal ability. But their first single, released on a tiny label, was another surf instrumental, a song called "Dr. Jekyll and Mr. Hyde": [Excerpt: The Crossfires, "Dr. Jekyll and Mr Hyde"] The group became popular enough locally that they became the house band at the Revelaire Club in Redondo Beach. There as well as playing their own sets, they would also be the backing band for any touring acts that came through without their own band, quickly gaining the kind of performing ability that comes from having to learn a new artist's entire repertoire in a few days and be able to perform it with them live with little or no rehearsal. They backed artists like the Coasters, the Drifters, Bobby Vee, the Rivingtons, and dozens of other major acts, and as part of that Volman and Kaylan would, on songs that required backing vocals, sing harmonies rather than playing saxophone. And that harmony-singing ability became important when the British Invasion happened, and suddenly people didn't want to hear surf instrumentals, but vocals along the lines of the new British groups. The Crossfires' next attempt at a single was another original, this one an attempt at sounding like one of their favourite new British groups, the Kinks: [Excerpt: The Crossfires, "One Potato, Two Potato"] This change to vocals necessitated a change in the group dynamic. Volman and Kaylan ditched the saxophones, and discovered that between them they made one great frontman. The two have never been excessively close on a personal level, but both have always known that the other has qualities they needed. Frank Zappa would later rather dismissively say "I regard Howard as a fine singer, and Mark as a great tambourine player and fat person", and it's definitely true that Kaylan is one of the truly great vocalists to come out of the LA scene in this period, while Volman is merely a good harmony singer, not anything particularly special -- though he *is* a good harmony singer -- but it undersells Volman's contribution. There's a reason the two men performed together for nearly sixty years. Kaylan is a great singer, but also by nature rather reserved, and he always looked uncomfortable on stage, as well as, frankly, not exactly looking like a rock star (Kaylan describes himself not inaccurately as looking like a potato several times in his autobiography). Volman, on the other hand, is a merely good singer, but he has a naturally outgoing personality, and while he's also not the most conventionally good-looking of people he has a *memorable* appearance in a way that Kaylan doesn't. Volman could do all the normal frontman stuff, the stuff that makes a show an actual show -- the jokes, the dancing, the between-song patter, the getting the crowd going, while Kaylan could concentrate on the singing. They started doing a variation on the routine that had so enthralled Howard Kaylan when he'd seen Louis Prima and Keeley Smith do it as a child. Kaylan would stand more or less stock still, looking rather awkward, but singing like an angel, while Volman would dance around, clown, act the fool, and generally do everything he could to disrupt the performance -- short of actually disrupting it in reality. It worked, and Volman became one of that small but illustrious group of people -- the band member who makes the least contribution to the sound of the music but the biggest contribution to the feel of the band itself, and without whom they wouldn't be the same. After "One Potato, Two Potato" was a flop, the Crossfires were signed to their third label. This label, White Whale, was just starting out, and the Crossfires were to become their only real hit act. Or rather, the Turtles were. The owners of White Whale knew that they didn't have much promotional budget and that their label was not a known quantity -- it was a tiny label with no track record. But they thought of a way they could turn that to their advantage. Everyone knew that the Beatles, before Capitol had picked up their contracts, had had their records released on a bunch of obscure labels like Swan and Tollie. People *might* look for records on tiny independent labels if they thought it might be another British act who were unknown in the US but could be as good as the Beatles. So they chose a name for the group that they thought sounded as English as possible -- an animal name that started with "the", and ended in "les", just like the Beatles. The group, all teenagers at the time, were desperate enough that they agreed to change their name, and from that point on they became the Turtles. In order to try and jump on as many bandwagons as possible, the label wanted to position them as a folk-rock band, so their first single under the Turtles name was a cover of a Bob Dylan song, from Another Side of Bob Dylan: [Excerpt: Bob Dylan, "It Ain't Me Babe"] That song's hit potential had already been seen by Johnny Cash, who'd had a country hit with it a few months before. But the Turtles took the song in a different direction, inspired by Kaylan's *other* great influence, along with Prima and Smith. Kaylan was a big fan of the Zombies, one of the more interesting of the British Invasion groups, and particularly of their singer Colin Blunstone. Kaylan imitated Blunstone on the group's hit single, "She's Not There", on which Blunstone sang in a breathy, hushed, voice on the verses: [Excerpt: The Zombies, "She's Not There"] before the song went into a more stomping chorus on which Blunstone sang in a fuller voice: [Excerpt: The Zombies, "She's Not There"] Kaylan did this on the Turtles' version of "It Ain't Me Babe", starting off with a quiet verse: [Excerpt: The Turtles, "It Ain't Me Babe"] Before, like the Zombies, going into a foursquare, more uptempo, louder chorus: [Excerpt: The Turtles, "It Ain't Me Babe"] The single became a national top ten hit, and even sort of got the approval of Bob Dylan. On the group's first national tour, Dylan was at one club show, which they ended with "It Ain't Me Babe", and after the show the group were introduced to the great songwriter, who was somewhat the worse for wear. Dylan said “Hey, that was a great song you just played, man. That should be your single", and then passed out into his food. With the group's first single becoming a top ten hit, Volman and Kaylan got themselves a house in Laurel Canyon, which was not yet the rock star Mecca it was soon to become, but which was starting to get a few interesting residents. They would soon count Henry Diltz of the Modern Folk Quartet, Danny Hutton, and Frank Zappa among their neighbours. Soon Richie Furay would move in with them, and the house would be used by the future members of the Buffalo Springfield as their rehearsal space. The Turtles were rapidly becoming part of the in crowd. But they needed a follow-up single, and so Bones Howe, who was producing their records, brought in P.F. Sloan to play them a few of his new songs. They liked "Eve of Destruction" enough to earmark it as a possible album track, but they didn't think they would do it justice, and so it was passed on to Barry McGuire. But Sloan did have something for them -- a pseudo-protest song called "Let Me Be" that was very clearly patterned after their version of "It Ain't Me Babe", and which was just rebellious enough to make them seem a little bit daring, but which was far more teenage angst than political manifesto: [Excerpt: The Turtles, "Let Me Be"] That did relatively well, making the top thirty -- well enough for the group to rush out an album which was padded out with some sloppy cover versions of other Dylan songs, a version of "Eve of Destruction", and a few originals written by Kaylan. But the group weren't happy with the idea of being protest singers. They were a bunch of young men who were more motivated by having a good time than by politics, and they didn't think that it made sense for them to be posing as angry politicised rebels. Not only that, but there was a significant drop-off between "It Ain't Me Babe" and "Let Me Be". They needed to do better. They got the clue for their new direction while they were in New York. There they saw their friends in the Mothers of Invention playing their legendary residency at the Garrick Theatre, but they also saw a new band, the Lovin' Spoonful, who were playing music that was clearly related to the music the Turtles were doing -- full of harmonies and melody, and inspired by folk music -- but with no sense of rebelliousness at all. They called it "Good Time Music": [Excerpt: The Lovin' Spoonful, "Good Time Music"] As soon as they got back to LA, they told Bones Howe and the executives at White Whale that they weren't going to be a folk-rock group any more, they were going to be "good time music", just like the Lovin' Spoonful. They were expecting some resistance, but they were told that that was fine, and that PF Sloan had some good time music songs too. "You Baby" made the top twenty: [Excerpt: The Turtles, "You Baby"] The Turtles were important enough in the hierarchy of LA stars that Kaylan and Tucker were even invited by David Crosby to meet the Beatles at Derek Taylor's house when they were in LA on their last tour -- this may be the same day that the Beatles met Brian and Carl Wilson, as I talked about in the episode on "All You Need is Love", though Howard Kaylan describes this as being a party and that sounded like more of an intimate gathering. If it was that day, there was nearly a third Beach Boy there. The Turtles knew David Marks, the Beach Boys' former rhythm guitarist, because they'd played a lot in Inglewood where he'd grown up, and Marks asked if he could tag along with Kaylan and Tucker to meet the Beatles. They agreed, and drove up to the house, and actually saw George Harrison through the window, but that was as close as they got to the Beatles that day. There was a heavy police presence around the house because it was known that the Beatles were there, and one of the police officers asked them to drive back and park somewhere else and walk up, because there had been complaints from neighbours about the number of cars around. They were about to do just that, when Marks started yelling obscenities and making pig noises at the police, so they were all arrested, and the police claimed to find a single cannabis seed in the car. Charges were dropped, but now Kaylan was on the police's radar, and so he moved out of the Laurel Canyon home to avoid bringing police attention to Buffalo Springfield, so that Neil Young and Bruce Palmer wouldn't get deported. But generally the group were doing well. But there was a problem. And that problem was their record label. They rushed out another album to cash in on the success of "You Baby", one that was done so quickly that it had "Let Me Be" on it again, just as the previous album had, and which included a version of the old standard "All My Trials", with the songwriting credited to the two owners of White Whale records. And they pumped out a lot of singles. A LOT of singles, ranging from a song written for them by new songwriter Warren Zevon, to cover versions of Frank Sinatra's "It Was a Very Good Year" and the old standard "We'll Meet Again". Of the five singles after "You Baby", the one that charted highest was a song actually written by a couple of the band members. But for some reason a song with verses in 5/4 time and choruses in 6/4 with lyrics like "killing the living and living to kill, the grim reaper of love thrives on pain" didn't appeal to the group's good-time music pop audience and only reached number eighty-one: [Excerpt: The Turtles, "Grim Reaper of Love"] The group started falling apart. Don Murray became convinced that  the rest of the band were conspiring against him and wanted him out, so he walked out of the group in the middle of a rehearsal for a TV show. They got Joel Larson of the Grass Roots -- the group who had a number of hits with Sloan and Barri songs -- to sub for a few gigs before getting in a permanent replacement, Johnny Barbata, who came to them on the recommendation of Gene Clark, and who was one of the best drummers on the scene -- someone who was not only a great drummer but a great showman, who would twirl his drumsticks between his fingers with every beat, and who would regularly engage in drum battles with Buddy Rich. By the time they hit their fifth flop single in a row, they lost their bass player as well -- Chuck Portz decided he was going to quit music and become a fisherman instead. They replaced him with Chip Douglas of the Modern Folk Quartet. Then they very nearly lost their singers. Volman and Kaylan both got their draft notices at the same time, and it seemed likely they would end up having to go and fight in the Vietnam war. Kaylan was distraught, but his mother told him "Speak to your cousin Herb". Cousin Herb was Herb Cohen, the manager of the Mothers of Invention and numerous other LA acts, including the Modern Folk Quartet, and Kaylan only vaguely knew him at this time, but he agreed to meet up with them, and told them “Stop worrying! I got Zappa out, I got Tim Buckley out, and I'll get you out.” Cohen told Volman and Kaylan to not wash for a week before their induction, to take every drug of every different kind they could find right before going in, to deliberately disobey every order, to fail the logic tests, and to sexually proposition the male officers dealing with the induction. They followed his orders to the letter, and got marked as 4-F, unfit for service. They still needed a hit though, and eventually they found something by going back to their good-time music idea. It was a song from the Koppelman-Rubin publishing company -- the same company that did the Lovin Spoonful's management and production. The song in question was by Alan Gordon and Gary Bonner, two former members of a group called the Magicians, who had had a minor success with a single called "An Invitation to Cry": [Excerpt: The Magicians, "An Invitation to Cry"] The Magicians had split up, and Bonner and Gordon were trying to make a go of things as professional songwriters, but had had little success to this point. The song on the demo had been passed over by everyone, and the demo was not at all impressive, just a scratchy acetate with Bonner singing off-key and playing acoustic rhythm guitar and Gordon slapping his knees to provide rhythm, but the group heard something in it. They played the song live for months, refining the arrangement, before taking it into the studio. There are arguments to this day as to who deserves the credit for the sound on "Happy Together" -- Chip Douglas apparently did the bulk of the arrangement work while they were on tour, but the group's new producer, Joe Wissert, a former staff engineer for Cameo-Parkway, also claimed credit for much of it. Either way, "Happy Together" is a small masterpiece of dynamics. The song is structured much like the songs that had made the Turtles' name, with the old Zombies idea of the soft verse and much louder chorus: [Excerpt: The Turtles, "Happy Together"] But the track is really made by the tiny details of the arrangement, the way instruments and vocal parts come in and out as the track builds up, dies down, and builds again. If you listen to the isolated tracks, there are fantastic touches like the juxtaposition of the bassoon and oboe (which I think is played on a mellotron): [Excerpt: The Turtles, "Happy Together", isolated tracks] And a similar level of care and attention was put into the vocal arrangement by Douglas, with some parts just Kaylan singing solo, other parts having Volman double him, and of course the famous "bah bah bah" massed vocals: [Excerpt: The Turtles, "Happy Together", isolated vocals] At the end of the track, thinking he was probably going to do another take, Kaylan decided to fool around and sing "How is the weather?", which Bonner and Gordon had jokingly done on the demo. But the group loved it, and insisted that was the take they were going to use: [Excerpt: The Turtles, "Happy Together"] "Happy Together" knocked "Penny Lane" by the Beatles off the number one spot in the US, but by that point the group had already had another lineup change. The Monkees had decided they wanted to make records without the hit factory that had been overseeing them, and had asked Chip Douglas if he wanted to produce their first recordings as a self-contained band. Given that the Monkees were the biggest thing in the American music industry at the time, Douglas had agreed, and so the group needed their third bass player in a year. The one they went for was Jim Pons. Pons had seen the Beatles play at the Hollywood Bowl in 1964, and decided he wanted to become a pop star. The next day he'd been in a car crash, which had paid out enough insurance money that he was able to buy two guitars, a bass, drums, and amps, and use them to start his own band. That band was originally called The Rockwells, but quickly changed their name to the Leaves, and became a regular fixture at Ciro's on Sunset Strip, first as customers, then after beating Love in the auditions, as the new resident band when the Byrds left. For a while the Leaves had occasionally had guest vocals from a singer called Richard Marin, but Pons eventually decided to get rid of him, because, as he put it "I wanted us to look like The Beatles. There were no Mexicans in The Beatles". He is at pains in his autobiography to assure us that he's not a bigot, and that Marin understood. I'm sure he did. Marin went on to be better known as Cheech Marin of Cheech and Chong. The Leaves were signed by Pat Boone to his production company, and through that company they got signed to Mira Records. Their first single, produced by Nik Venet, had been a version of "Love Minus Zero (No Limit)", a song by Bob Dylan: [Excerpt: The Leaves, "Love Minus Zero (No Limit)"] That had become a local hit, though not a national one, and the Leaves had become one of the biggest bands on the Sunset Strip scene, hanging out with all the other bands. They had become friendly with the Doors before the Doors got a record deal, and Pat Boone had even asked for an introduction, as he was thinking of signing them, but unfortunately when he met Jim Morrison, Morrison had drunk a lot of vodka, and given that Morrison was an obnoxious drunk Boone had second thoughts, and so the world missed out on the chance of a collaboration between the Doors and Pat Boone. Their second single was "Hey Joe" -- as was their third and fourth, as we discussed in that episode: [Excerpt: The Leaves, "Hey Joe"] Their third version of "Hey Joe" had become a top forty hit, but they didn't have a follow-up, and their second album, All The Good That's Happening, while it's a good album, sold poorly. Various band members quit or fell out, and when Johnny Barbata knocked on Jim Pons' door it was an easy decision to quit and join a band that had a current number one hit. When Pons joined, the group had already recorded the Happy Together album. That album included the follow-up to "Happy Together", another Bonner and Gordon song, "She'd Rather Be With Me": [Excerpt: The Turtles, "She'd Rather Be With Me"] None of the group were tremendously impressed with that song, but it did very well, becoming the group's second-biggest hit in the US, reaching number three, and actually becoming a bigger hit than "Happy Together" in parts of Europe. Before "Happy Together" the group hadn't really made much impact outside the US. In the UK, their early singles had been released by Pye, the smallish label that had the Kinks and Donovan, but which didn't have much promotional budget, and they'd sunk without trace. For "You Baby" they'd switched to Immediate, the indie label that Andrew Oldham had set up, and it had done a little better but still not charted. But from "Happy Together" they were on Decca, a much bigger label, and "Happy Together" had made number twelve in the charts in the UK, and "She'd Rather Be With Me" reached number four. So the new lineup of the group went on a UK tour. As soon as they got to the hotel, they found they had a message from Graham Nash of the Hollies, saying he would like to meet up with them. They all went round to Nash's house, and found Donovan was also there, and Nash played them a tape he'd just been given of Sgt Pepper, which wouldn't come out for a few more days. At this point they were living every dream a bunch of Anglophile American musicians could possibly have. Jim Tucker mentioned that he would love to meet the Beatles, and Nash suggested they do just that. On their way out the door, Donovan said to them, "beware of Lennon". It was when they got to the Speakeasy club that the first faux-pas of the evening happened. Nash introduced them to Justin Hayward and John Lodge of the Moody Blues, and Volman said how much he loved their record "Go Now": [Excerpt: The Moody Blues, "Go Now"] The problem was that Hayward and Lodge had joined the group after that record had come out, to replace its lead singer Denny Laine. Oh well, they were still going to meet the Beatles, right? They got to the table where John, Paul, and Ringo were sat, at a tense moment -- Paul was having a row with Jane Asher, who stormed out just as the Turtles were getting there. But at first, everything seemed to go well. The Beatles all expressed their admiration for "Happy Together" and sang the "ba ba ba" parts at them, and Paul and Kaylan bonded over their shared love for "Justine" by Don and Dewey, a song which the Crossfires had performed in their club sets, and started singing it together: [Excerpt: Don and Dewey, "Justine"] But John Lennon was often a mean drunk, and he noticed that Jim Tucker seemed to be the weak link in the group, and soon started bullying him, mocking his clothes, his name, and everything he said. This devastated Tucker, who had idolised Lennon up to that point, and blurted out "I'm sorry I ever met you", to which Lennon just responded "You never did, son, you never did". The group walked out, hurt and confused -- and according to Kaylan in his autobiography, Tucker was so demoralised by Lennon's abuse that he quit music forever shortly afterwards, though Tucker says that this wasn't the reason he quit. From their return to LA on, the Turtles would be down to just a five-piece band. After leaving the club, the group went off in different directions, but then Kaylan (and this is according to Kaylan's autobiography, there are no other sources for this) was approached by Brian Jones, asking for his autograph because he loved the Turtles so much. Jones introduced Kaylan to the friend he was with, Jimi Hendrix, and they went out for dinner, but Jones soon disappeared with a girl he'd met. and left Kaylan and Hendrix alone. They were drinking a lot -- more than Kaylan was used to -- and he was tired, and the omelette that Hendrix had ordered for Kaylan was creamier than he was expecting... and Kaylan capped what had been a night full of unimaginable highs and lows by vomiting all over Jimi Hendrix's expensive red velvet suit. Rather amazingly after all this, the Moody Blues, the Beatles, and Hendrix, all showed up to the Turtles' London gig and apparently enjoyed it. After "She'd Rather Be With Me", the next single to be released wasn't really a proper single, it was a theme song they'd been asked to record for a dire sex comedy titled "Guide for the Married Man", and is mostly notable for being composed by John Williams, the man who would later go on to compose the music for Star Wars. That didn't chart, but the group followed it with two more top twenty hits written by Bonner and Gordon, "You Know What I Mean" and "She's My Girl". But then the group decided that Bonner and Gordon weren't giving them their best material, and started turning down their submissions, like a song called "Celebrity Ball" which they thought had no commercial potential, at least until the song was picked up by their friends Three Dog Night, retitled "Celebrate", and made the top twenty: [Excerpt: Three Dog Night, "Celebrate"] Instead, the group decided to start recording more of their own material. They were worried that in the fast-changing rock world bands that did other songwriters' material were losing credibility. But "Sound Asleep", their first effort in this new plan, only made number forty-seven on the charts. Clearly they needed a different plan. They called in their old bass player Chip Douglas, who was now an experienced hitmaker as a producer. He called in *his* friend Harry Nilsson, who wrote "The Story of Rock & Roll" for the group, but that didn't do much better, only making number forty-eight. But the group persevered, starting work on a new album produced by Douglas, The Turtles Present The Battle of the Bands, the conceit of which was that every track would be presented as being by a different band. So there were tracks by  Chief Kamanawanalea and his Royal Macadamia Nuts,  Fats Mallard and the Bluegrass Fireball, The Atomic Enchilada, and so on, all done in the styles suggested by those band names. There was even a track by "The Cross Fires": [Excerpt: The Cross Fires, "Surfer Dan"] It was the first time the group had conceived of an album as a piece, and nine of the twelve tracks were originals by the band -- there was a track written by their friend Bill Martin, and the opening track, by "The US Teens Featuring Raoul", was co-written by Chip Douglas and Harry Nilsson. But for the most part the songs were written by the band members themselves, and jointly credited to all of them. This was the democratic decision, but one that Howard Kaylan would later regret, because of the song for which the band name was just "Howie, Mark, Johnny, Jim & Al". Where all the other songs were parodies of other types of music, that one was, as the name suggests, a parody of the Turtles themselves. It was written by Kaylan in disgust at the record label, who kept pestering the group to "give us another 'Happy Together'". Kaylan got more and more angry at this badgering, and eventually thought "OK, you want another 'Happy Together'? I'll give you another 'Happy Together'" and in a few minutes wrote a song that was intended as an utterly vicious parody of that kind of song, with lyrics that nobody could possibly take seriously, and with music that was just mocking the whole structure of "Happy Together" specifically. He played it to the rest of the group, expecting them to fall about laughing, but instead they all insisted it was the group's next single. "Elenore" went to number six on the charts, becoming their biggest hit since "She'd Rather Be With Me": [Excerpt: The Turtles, "Elenore"] And because everything was credited to the group, Kaylan's songwriting royalties were split five ways. For the follow-up, they chose the one actual cover version on the album. "You Showed Me" is a song that Roger McGuinn and Gene Clark had written together in the very early days of the Byrds, and they'd recorded it as a jangly folk-rock tune in 1964: [Excerpt: The Byrds, "You Showed Me"] They'd never released that track, but Gene Clark had performed it solo after leaving the Byrds, and Douglas had been in Clark's band at the time, and liked the song. He played it for the Turtles, but when he played it for them the only instrument he had to hand was a pump organ with one of its bellows broken. Because of this, he had to play it slowly, and while he kept insisting that the song needed to be faster, the group were equally insistent that what he was playing them was the big ballad hit they wanted, and they recorded it at that tempo. "You Showed Me" became the Turtles' final top ten hit: [Excerpt: The Turtles, "You Showed Me"] But once again there were problems in the group. Johnny Barbata was the greatest drummer any of them had ever played with, but he didn't fit as a personality -- he didn't like hanging round with the rest of them when not on stage, and while there were no hard feelings, it was clear he could get a gig with pretty much anyone and didn't need to play with a group he wasn't entirely happy in. By mutual agreement, he left to go and play with Crosby, Stills, Nash, and Young, and was replaced by John Seiter from Spanky and Our Gang -- a good drummer, but not the best of the best like Barbata had been. On top of this, there were a whole host of legal problems to deal with. The Turtles were the only big act on White Whale records, though White Whale did put out some other records. For example, they'd released the single "Desdemona" by John's Children in the US: [Excerpt: John's Children, "Desdemona"] The group, being the Anglophiles they were, had loved that record, and were also among the very small number of Americans to like the music made by John's Children's guitarist's new folk duo, Tyrannosaurus Rex: [Excerpt: Tyrannosaurus Rex, "Debora"] When Tyrannosaurus Rex supported the Turtles, indeed, Volman and Kaylan became very close to Marc Bolan, and told him that the next time they were in England they'd have to get together, maybe even record together. That would happen not that many years later, with results we'll be getting to in... episode 201, by my current calculations. But John's Children hadn't had a hit, and indeed nobody on White Whale other than the Turtles had. So White Whale desperately wanted to stop the Turtles having any independence, and to make sure they continued to be their hit factory. They worked with the group's roadie, Dave Krambeck, to undermine the group's faith in their manager, Bill Utley, who supported the group in their desire for independence. Soon, Krambeck and White Whale had ousted Utley, and Krambeck had paid Utley fifty thousand dollars for their management contract, with the promise of another two hundred thousand later. That fifty thousand dollars had been taken by Krambeck as an advance against the Turtles' royalties, so they were really buying themselves out. Except that Krambeck then sold the management contract on to a New York management firm, without telling the group. He then embezzled as much of the group's ready cash as he could and ran off to Mexico, without paying Utley his two hundred thousand dollars. The Turtles were out of money, and they were being sued by Utley because he hadn't had the money he should have had, and by the big New York firm, because  since the Turtles hadn't known they were now legally their managers they were in breach of contract. They needed money quickly, and so they signed with another big management company, this one co-owned by Bill Cosby, in the belief that Cosby's star power might be able to get them some better bookings. It did -- one of the group's first gigs after signing with the new company was at the White House. It turned out they were Tricia Nixon's favourite group, and so they and the Temptations were booked at her request for a White House party. The group at first refused to play for a President they rightly thought of as a monster, but their managers insisted. That destroyed their reputation among the cool antiestablishment youth, of course, but it did start getting them well-paid corporate gigs. Right up until the point where Kaylan became sick at his own hypocrisy at playing these events, drank too much of the complimentary champagne at an event for the president of US Steel, went into a drunken rant about how sick the audience made him, and then about how his bandmates were a bunch of sellouts, threw his mic into a swimming pool, and quit while still on stage. He was out of the band for two months, during which time they worked on new material without him, before they made up and decided to work on a new album. This new album, though, was going to be more democratic. As well as being all original material, they weren't having any of this nonsense about the lead singer singing lead. This time, whoever wrote the song was going to sing lead, so Kaylan only ended up singing lead on six of the twelve songs on what turned out to be their final album, Turtle Soup. They wanted a truly great producer for the new album, and they all made lists of who they might call. The lists included a few big names like George Martin and Phil Spector, but one name kept turning up -- Ray Davies. As we'll hear in the next episode, the Kinks had been making some astonishing music since "You Really Got Me", but most of it had not been heard in the US. But the Turtles all loved the Kinks' 1968 album The Kinks Are The Village Green Preservation Society, which they considered the best album ever made: [Excerpt: The Kinks, "Animal Farm"] They got in touch with Davies, and he agreed to produce the album -- the first time he did any serious outside production work -- and eventually they were able to persuade White Whale, who had no idea who he was, to allow him to produce it. The resulting album is by far the group's strongest album-length work, though there were problems -- Davies' original mix of the album was dominated by the orchestral parts written by Wrecking Crew musician Ray Pohlman, while the group thought that their own instruments should be more audible, since they were trying to prove that they were a proper band. They remixed it themselves, annoying Davies, though reissues since the eighties have reverted to a mix closer to Davies' intentions. Some of the music, like Pons' "Dance This Dance With Me", perhaps has the group trying a little *too* hard to sound like the Kinks: [Excerpt: The Turtles, "Dance This Dance With Me"] But on the other hand, Kaylan's "You Don't Have to Walk in the Rain" is the group's last great pop single, and has one of the best lines of any single from the sixties -- "I look at your face, I love you anyway": [Excerpt: The Turtles, "You Don't Have to Walk in the Rain"] But the album produced no hits, and the group were getting more and more problems from their label. White Whale tried to get Volman and Kaylan to go to Memphis without the other band members to record with Chips Moman, but they refused -- the Turtles were a band, and they were proud of not having session players play their parts on the records. Instead, they started work with Jerry Yester producing on a new album, to be called Shell Shock. They did, though bow to pressure and record a terrible country track called "Who Would Ever Think That I Would Marry Margaret" backed by session players, at White Whale's insistence, but managed to persuade the label not to release it. They audited White Whale and discovered that in the first six months of 1969 alone -- a period where they hadn't sold that many records -- they'd been underpaid by a staggering six hundred and fifty thousand dollars. They sued the label for several million, and in retaliation, the label locked them out of the recording studio, locking their equipment in there. They basically begged White Whale to let them record one last great single, one last throw of the dice. Jim Pons had, for years, known a keyboard player named Bob Harris, and had recently got to know Harris' wife, Judee Sill. Sill had a troubled life -- she was a heroin addict, and had at times turned to streetwalking to earn money, and had spent time in prison for armed robbery -- but she was also an astonishing songwriter, whose music was as inspired by Bach as by any pop or folk composer. Sill had been signed to Blimp, the Turtles' new production and publishing company, and Pons was co-producing some tracks on her first album, with Graham Nash producing others. Pons thought one song from that album, "Lady-O", would be perfect for the Turtles: [Excerpt: Judee Sill, "Lady-O"] (music continues under) The Turtles stuck closely to Sill's vision of the song. So closely that you haven't noticed that before I started talking, we'd already switched from Sill's record to the Turtles' version. [Excerpt: The Turtles, "Lady-O"] That track, with Sill on guitar backing Kaylan, Volman, and Nichol's vocals, was the last Turtles single to be released while the band were together. Despite “Lady O” being as gorgeous a melody as has ever been produced in the rock world, it sank without trace, as did a single from the Shell Shock sessions released under a pseudonym, The Dedications. White Whale followed that up, to the group's disgust, with "Who Would Ever Think That I Would Marry Margaret?", and then started putting out whatever they had in the vaults, trying to get the last few pennies, even releasing their 1965 album track version of "Eve of Destruction" as if it were a new single. The band were even more disgusted when they discovered that, thanks to the flurry of suits and countersuits, they not only could no longer perform as the Turtles, but White Whale were laying legal claim to their own names. They couldn't perform under those names -- Howard Kaylan, Mark Volman, and the rest were the intellectual property of White Whale, according to the lawyers. The group split up, and Kaylan and Volman did some session work, including singing on a demo for a couple of new songwriters: [Excerpt: Steely Dan, "Everyone's Gone to the Movies"] When that demo got the songwriters a contract, one of them actually phoned up to see if Kaylan wanted a permanent job in their new band, but they didn't want Volman as well, so Kaylan refused, and Steely Dan had to do without him. Volman and Kaylan were despondent, washed-up, has-been ex-rock stars. But when they went to see a gig by their old friend Frank Zappa, it turned out that he was looking for exactly that. Of course, they couldn't use their own names, but the story of the Phlorescent Leech and Eddie is a story for another time...

ontargetpodcast.caIs music the soundtrack to your life but you feel like you can't find anything to ignite your soul? Join Mod Marty as he delves into the sounds and complexities of Mod and Soul music. If you need help discovering new sounds and need a little more variety in your musical diet, this is the podcast for you!-----------------------------------------------The Playlist Is:"Topsy 65"Hal Blaine - Dunhill"Tiny Tim"LaVern Baker- Atlantic"Mama's Got A Bag Of Her Own"Anna King- End"The Shift"Dave "Baby" Cortez- Clock"Gotta Keep Rolling"Rosco Gordon- Old Town"Little Miss Soul"The Lovettes- Carnival"Hurricane"Dave "Baby" Cortez- Clock"Mighty Fine Girl"The Redcaps- Decca"Don't Bring Me Down"The Pretty Things- Fontana"It's All Right"The Kinks- Pye"You Don't Mean Me No Good"The Jelly Beans- Eskee"Without Your Heart"St. George & Tana- Kapp"You're Good Enough For Me"Spyder Turner- MGM"Cigarette Ashes"Jimmy Conwell - Mirwood"Back Up Baby"The Sophisticates- Sonny"A Little Bit Hurt"Julien Covey & The Machine- Island"Come On And Dance With Me"Eddie Quinteros- Brent"Yesterday, Today And Tomorrow"The Preachers- Columbus"She's Coming Home"The Zombies- Parrot"You're Mean"B.B. King - Bluesway"Louisiana Woman"Lightnin' Hopkins- Jewel"Cry Me A River"The Sophisticates- Sonny

It's time for a British Invasion with The Beatles: A Hard Day's Night (Paul McCartney, John Lennon, George Harrison, and Ringo Starr) and Spice World (Victoria Beckham/Posh, Melanie Brown/Scary, Emma Bunton/Baby, Melanie Chisholm/Sport, and Geri Halliwell/Ginger).  We discuss the rise and fall of the bands and the scandalous moment between the Spice Girls and King Charles III.(This episode contains spoilers)Where to watch Beatles: A Hard Day's Night?HBO MaxWhere to watch Spice World?Not available for rent or streaming :(* As of September 2022 in the USAFor more shenanigans, follow us on Instagram @couplescutpodcast or TikTok @couplescutpodcast, Twitter @couplescutpod or send us an e-mail at CouplesCutPodcast@gmail.comTranscript available on our website: https://CouplesCut.buzzprout.com/

Jake Fogelnest is an Emmy Award nominated writer, producer, and broadcaster. In 1994, when Jake was 14 years old, he started his own pop culture TV show called "Squirt TV on MTV". Jake has since worked on shows such as Comedy Central's “Corporate”, Marvel's "Runaways", and "Wet Hot American Summer". Jake's a huge Beatles fan and loves all kinds of music. In this episode, Jake and Jack discuss how COVID affected the creative process that The Beatles once innovated, Magic Alex and his legacy, why The Beatles bring the world together, the mysterious Carnival of Light song, and more. Follow Jake on Twitter: @jakefogelnest If you enjoy this episode, please remember to subscribe to this podcast so you can receive a notification on your phone every week when a new episode is released! Follow us on Twitter Follow us on Instagram Follow us on YouTube ------------------------------ The Beatles were an English rock band, formed in Liverpool in 1960, that comprised John Lennon, Paul McCartney, George Harrison and Ringo Starr. They are regarded as the most influential band of all time[1] and were integral to the development of 1960s counterculture and popular music's recognition as an art form. Rooted in skiffle, beat and 1950s rock 'n' roll, their sound incorporated elements of classical music and traditional pop in innovative ways; the band later explored music styles ranging from ballads and Indian music to psychedelia and hard rock. As pioneers in recording, songwriting and artistic presentation, the Beatles revolutionised many aspects of the music industry and were often publicised as leaders of the era's youth and sociocultural movements. Led by primary songwriters Lennon and McCartney, the Beatles evolved from Lennon's previous group, the Quarrymen, and built their reputation playing clubs in Liverpool and Hamburg over three years from 1960, initially with Stuart Sutcliffe playing bass. The core trio of Lennon, McCartney and Harrison, together since 1958, went through a succession of drummers, including Pete Best, before asking Starr to join them in 1962. Manager Brian Epstein moulded them into a professional act, and producer George Martin guided and developed their recordings, greatly expanding their domestic success after signing to EMI Records and achieving their first hit, "Love Me Do", in late 1962. As their popularity grew into the intense fan frenzy dubbed "Beatlemania", the band acquired the nickname "the Fab Four", with Epstein, Martin and other members of the band's entourage sometimes given the informal title of "fifth Beatle". By early 1964, the Beatles were international stars and had achieved unprecedented levels of critical and commercial success. They became a leading force in Britain's cultural resurgence, ushering in the British Invasion of the United States pop market, and soon made their film debut with A Hard Day's Night (1964). A growing desire to refine their studio efforts, coupled with the untenable nature of their concert tours, led to the band's retirement from live performances in 1966. At this time, they produced records of greater sophistication, including the albums Rubber Soul (1965), Revolver (1966) and Sgt. Pepper's Lonely Hearts Club Band (1967), and enjoyed further commercial success with The Beatles (also known as "the White Album", 1968) and Abbey Road (1969). Heralding the album era, their success elevated the album to the dominant form of record consumption over singles; they also inspired a greater public interest in psychedelic drugs and Eastern spirituality, and furthered advancements in electronic music, album art and music videos. In 1968, they founded Apple Corps, a multi-armed multimedia corporation that continues to oversee projects related to the band's legacy. After the group's break-up in 1970, all principal members enjoyed success as solo artists and some partial reunions have occurred. Lennon was murdered in 1980 and Harrison died of lung cancer in 2001. McCartney and Starr remain musically active. The Beatles are the best-selling music act of all time, with estimated sales of 600 million units worldwide. They hold the record for most number-one albums on the UK Albums Chart (15), most number-one hits on the Billboard Hot 100 chart (20), and most singles sold in the UK (21.9 million). The band received many accolades, including seven Grammy Awards, four Brit Awards, an Academy Award (for Best Original Song Score for the 1970 documentary film Let It Be) and fifteen Ivor Novello Awards. They were inducted into the Rock and Roll Hall of Fame in 1988, and each principal member was inducted individually between 1994 and 2015. In 2004 and 2011, the group topped Rolling Stone's lists of the greatest artists in history. Time magazine named them among the 20th century's 100 most important people.  

Bubbling over with action and mood this episode gives you permission to make a mess and shout out loud. Give the souls of your feet a beating and let loose your limbs. Get up and shake that thing.-----------------------------------------------The Playlist Is:"Studio 69"Alan Hawkshaw- KPM"Money"Little Richard- Okeh"Security"The Glories- Date"Feelin' Alright"Lulu- Atco"Come On And Stop"Marv Johnson- United Artists"Sly Girl"Derek Martin- Tuba"Exclusive Blend"Keith Mansfield - KPM"Funny Things"The Redcaps- Decca"The Uncle Willie"Zoot Money & His Big Roll Band- Decca"Shake That Thing"The Preachers- Columbus"Tryin' To Find My Woman"Lou Courtney- Buddah"These Chains Of Love"Chuck Jackson - Wand"Blowing My Mind To Pieces"Bob Relf - Trans-American"Soul Dance No.3"Carl Holmes & The Commanders - Hit Blackjack"I Can't Get Enough"Donald Height- Shout"His And Hers Shuffle"Bob & Earl Band - Jay Boy"Junco Partner (A Worthless Cajun)"Nobody's Children- United Artists"Gonna Get Along Without You Now"Tracey Dey- Amy"Spooky"Dusty Springfield- Philips"Think"Soul Searchers- Sussex"Stop Look and Listen"David Lindup- KPM

On this episode of Something To Wrestle with Bruce Prichard, we go across the pond and discuss the British Invasion! Bruce and Conrad peel back the layers of the British Bulldogs career and impact on professional wrestling and then do the same thing with the legendary career of William Regal! Sit back with a cup of tea and crumpets for this epic megasode! KEEPS - If you're ready to take action and prevent hair loss, go to KEEPS.com/WRESTLE to receive your first month of treatment for FREE! FEALS - It's time to say no to sluggish days and restless nights with Feals Focus Melts! Become a member today and save 50% off your first order of Focus Melts and get free shipping by going to Feals.com/WRESTLE and use code WRESTLE at checkout. As a member, you'll save money on every order and you can easily pause, swap or cancel at any time.  BACKBONE - Go to PlayBackbone.com/ WRESTLE now to order your Backbone, for a limited time, and get FREE access to over 350 console games and perks. SAVE WITH CONRAD - If you have credit card debt or in a 30 year loan? Well, we can help you get out of that pinch and save money at the same time! Head over to SaveWithConrad.com for a quick quote.  WOOOOO WINGS - Wooooo! Wings, a virtual restaurant concept from The Man himself, the Nature Boy Ric Flair. Enjoy the legendary flavors and world championship wings by ordering with your Uber Eats or Postmates app.  Wooo Wings is now open in Nashville, San Antonio, Jacksonville, Florida as well as Huntsville and Tuscaloosa in Alabama, with many more locations coming soon.  Try the only chicken wings worthy of carrying the name of the 16x World Heavyweight Champion. INDEED - And Indeed's doing something no other job site has done. Now with Indeed, businesses only pay for quality applications matching the sponsored job description. Visit Indeed.com/WRESTLE to start hiring now. ROCK AUTO - Rock Auto is a family business, serving auto parts customers online for 20 years. Go to RockAuto.com to shop for auto and body parts from hundreds of manufacturers. Type WRESTLE in their “How did you hear about us?” box so they know we sent you.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

"This band has no past" was the first line of the farcical biography printed on the inner sleeve of Cheap Trick's first album, but the band, of course, did have a past—a past that straddles two very different decades: from the tumult of the sixties to the anticlimax of the seventies, from the British Invasion to the record industry renaissance, with the band's debut album arriving in 1977, the year vinyl sales peaked.“This Band Has No Past: How Cheap Trick Became Cheap Trick”, featuring a foreword by Pearl Jam bassist Jeff Ament, tells the story of a bar band from the Midwest—the best and weirdest bar band in the Midwest— and how they doggedly pursued a most unlikely career in rock'n'roll. It traces every gnarly limb of the family tree of bands that culminated in Cheap Trick, then details how this unlikely foursome paid their dues—with interest—night after night, slogging it out everywhere from high schools to bars to bowling alleys to fans' back yards, before signing to Epic Records and releasing two brilliant albums six months apart.Drawing on more than eighty original interviews, “This Band Has No Past: How Cheap Trick Became Cheap Trick” is packed full of new insights and information that fans of the band will devour. How was the Cheap Trick logo created? How did the checkerboard pattern come to be associated with the band? When did Rick Nielsen start wearing a ballcap 24/7? Who caught their mom and dad rolling on the couch? What kind of beer did David Bowie drink? And when might characters like Chuck Berry, Frank Zappa, Don Johnson, Otis Redding, Eddie Munster, Kim Fowley, John Belushi, Jim Belushi, Elvis Presley, Leslie West, Groucho Marx, Robert F. Kennedy, Patti Smith, Andy Warhol, Lou Reed, The Coneheads, Tom Petty, Harvey Weinstein, Michael Mann, Linda Blair, Eddie Van Halen, Elvis Costello, Matt Dillon, and Pam Grier turn up? Read “This Band Has No Past” and find out and you may even get an answer to a few of those questions today with our guest Brian J. Kramp.I also ask Brian a question that has nothing to do with Cheap Trick or rock and roll, but the paranormal. Here is what his bio says: "Brian J., short for Brian James, hails from Waukesha, where he was raised in two houses, one across the street from a bowling alley, the other haunted. The bowling alley was the Sunset Bowl, where Cheap Trick were ‘discovered' by Jack Douglas. Douglas also happened to be the name of the ghost: a seven-year-old boy, one of the previous owner's nine children, who fell off the roof of a neighborhood building."In the mid-nineties, Brian attended the University of Wisconsin in Madison, where it seemed like every other person he met had a great Cheap Trick story and was eager to tell it. The band were legendary in that town, icons already, and for Brian, an ardent rock fan and budding record collector, Cheap Trick pressed all the right buttons. Thirty years and thousands of records later, here we are: Brian is now the proud author of this, his first book, about his favorite band.Brian has lived in Queens, New York, and Austin, Texas, but now resides near Madison with his wife and daughter. He has been a featured host on the long running podcasts Cheap Talk (a podcast devoted to Cheap Trick) with Ken Mills; and Rock and/or Roll, a part of the Pantheon Podcast Network.Purchase a copy of “This Band Has No Past: How Cheap Trick Became Cheap Trick” through Amazon: www.amazon.com/This-Band-Has-No-Past/dp/1911036874/ref=sr_1_2?keywords=brian+kramp&qid=1662419299&sr=8-2Visit Brian J. Kramp's "This Band Has No Past" blog: https://thisbandhasnopast.blogspot.com/Listen to Brian's podcast Rock And/Or Roll: https://podcasts.apple.com/us/podcast/rock-and-or-roll/id654789361Listen to a playlist of the music discussed in this episode: https://open.spotify.com/playlist/1hLWZemL56WNyvoLilQSez?si=98d0ed9077cd4f14The Booked On Rock Website: www.bookedonrock.comFollow The Booked On Rock with Eric Senich:FACEBOOK: www.facebook.com/bookedonrockpodcastTWITTER: https://twitter.com/bookedonrockINSTAGRAM: www.instagram.com/bookedonrockpodcast/?hl=enSupport Your Local Bookstore! Find your nearest independent bookstore here: www.indiebound.org/indie-store-finderContact The Booked On Rock Podcast:thebookedonrockpodcast@gmail.comThe Booked On Rock Music: “Whoosh” & “Nasty” by Crowander (www.crowander.com)

Jake Fogelnest is an Emmy Award nominated writer, producer, and broadcaster. In 1994, when Jake was 14 years old, he started his own pop culture TV show called "Squirt TV on MTV". Jake has since worked on shows such as Comedy Central's “Corporate”, Marvel's "Runaways", and "Wet Hot American Summer". Jake's a huge Beatles fan and loves all kinds of music. In this episode, Jake and Jack discuss the Sgt. Pepper movie, how The Beatles influenced modern comedy with "A Hard Day's Night", and how The Beastie Boys sampled The Beatles on their legendary album, "Paul's Boutique".  Follow Jake on Twitter: @jakefogelnest If you enjoy this episode, please remember to subscribe to this podcast so you can receive a notification on your phone every week when a new episode is released! Follow us on Twitter Follow us on Instagram Follow us on YouTube ------------------------------ The Beatles were an English rock band, formed in Liverpool in 1960, that comprised John Lennon, Paul McCartney, George Harrison and Ringo Starr. They are regarded as the most influential band of all time[1] and were integral to the development of 1960s counterculture and popular music's recognition as an art form. Rooted in skiffle, beat and 1950s rock 'n' roll, their sound incorporated elements of classical music and traditional pop in innovative ways; the band later explored music styles ranging from ballads and Indian music to psychedelia and hard rock. As pioneers in recording, songwriting and artistic presentation, the Beatles revolutionised many aspects of the music industry and were often publicised as leaders of the era's youth and sociocultural movements. Led by primary songwriters Lennon and McCartney, the Beatles evolved from Lennon's previous group, the Quarrymen, and built their reputation playing clubs in Liverpool and Hamburg over three years from 1960, initially with Stuart Sutcliffe playing bass. The core trio of Lennon, McCartney and Harrison, together since 1958, went through a succession of drummers, including Pete Best, before asking Starr to join them in 1962. Manager Brian Epstein moulded them into a professional act, and producer George Martin guided and developed their recordings, greatly expanding their domestic success after signing to EMI Records and achieving their first hit, "Love Me Do", in late 1962. As their popularity grew into the intense fan frenzy dubbed "Beatlemania", the band acquired the nickname "the Fab Four", with Epstein, Martin and other members of the band's entourage sometimes given the informal title of "fifth Beatle". By early 1964, the Beatles were international stars and had achieved unprecedented levels of critical and commercial success. They became a leading force in Britain's cultural resurgence, ushering in the British Invasion of the United States pop market, and soon made their film debut with A Hard Day's Night (1964). A growing desire to refine their studio efforts, coupled with the untenable nature of their concert tours, led to the band's retirement from live performances in 1966. At this time, they produced records of greater sophistication, including the albums Rubber Soul (1965), Revolver (1966) and Sgt. Pepper's Lonely Hearts Club Band (1967), and enjoyed further commercial success with The Beatles (also known as "the White Album", 1968) and Abbey Road (1969). Heralding the album era, their success elevated the album to the dominant form of record consumption over singles; they also inspired a greater public interest in psychedelic drugs and Eastern spirituality, and furthered advancements in electronic music, album art and music videos. In 1968, they founded Apple Corps, a multi-armed multimedia corporation that continues to oversee projects related to the band's legacy. After the group's break-up in 1970, all principal members enjoyed success as solo artists and some partial reunions have occurred. Lennon was murdered in 1980 and Harrison died of lung cancer in 2001. McCartney and Starr remain musically active. The Beatles are the best-selling music act of all time, with estimated sales of 600 million units worldwide. They hold the record for most number-one albums on the UK Albums Chart (15), most number-one hits on the Billboard Hot 100 chart (20), and most singles sold in the UK (21.9 million). The band received many accolades, including seven Grammy Awards, four Brit Awards, an Academy Award (for Best Original Song Score for the 1970 documentary film Let It Be) and fifteen Ivor Novello Awards. They were inducted into the Rock and Roll Hall of Fame in 1988, and each principal member was inducted individually between 1994 and 2015. In 2004 and 2011, the group topped Rolling Stone's lists of the greatest artists in history. Time magazine named them among the 20th century's 100 most important people.  

ontargetpodcast.caA slice of Mod pie. A cross section of the sounds that make up the Mod audio ethos. let this hour soak in and the experience is bound to shake you to the marrow. An eye-opening trip created for you so you might understand ​“us”.-----------------------------------------------The Playlist Is:"If You Want To Hold On"J.T. Parker - Academy"I've Got A Woman"Ray Charles- Atlantic"You Got Love"The Sa-Shays & The Royal Impalas- London"If Anybody Asks You"Dixie Hummingbirds- Peacock"Paint It Black"Chris Farlowe- Immediate"Nobody Loves The Hulk"The Traits- Queens City"Got To"? & The Mysterians- Million Seller"Oh That's Nice (Parts I & II)"Pete Rodriguez- Alegre"Boss Lovin'"Larry Williams- El Bam"That's What Happens"Howard Tate- JAD"I've Gotta Find Her"The Cavaliers- RCA-Victor"Illusion"Bob Brady & The Con Chords- Chariot"Share Me"The Eccenttrics - Applause"Tossing And Turning"The Ivy League- Cameo"Lonely Summer Girl"David Box- Joed"Don't Let The Joneses Get You Down"The Temptations- Gordy"I Mess Up Anything I Get My Hands On"Joe Tex- Epic"I'm Not Ashamed To Beg Or Plead"Jimmy Hughes- Volt"All We Need Is Understanding"General Johnson- Invictus

John Illsley is the bass guitarist of the band Dire Straits. He has received multiple BRIT and Grammy Awards, and a Heritage Award. As one of the founding band members, with guitarist brothers Mark and David Knopfler, and drummer Pick Withers, Illsley played a role in the development of Dire Straits' sound. By the time the group disbanded in 1995 changes in personnel meant that Illsley and lead singer Mark Knopfler were the only two original band members remaining. Illsley was inducted into the Rock and Roll Hall of Fame as a member of Dire Straits in 2018. In this episode, John speaks with Jack about his thoughts on The Beatles, their influence on him and Dire Straits, Paul McCartney's bass playing, whether or not there will be a biopic about Dire Straits, and his favorite Dire Straits record. Check out John's recent solo album, VIII: https://open.spotify.com/album/4VVX7O3Jc8yJ0wJih8jTXf?si=qlKyeTrARSaN2RoXTbB0Hw You can also buy John's book, "My Life in Dire Straits", here: https://www.amazon.com/My-Life-Dire-Straits-Biggest-ebook/dp/B08WBXZCQ1 If you like this episode, be sure to follow this podcast! Follow us also on Twitter and Instagram. Or click here for more information: Linktr.ee/BeatlesEarth ------------------------------- The Beatles were an English rock band, formed in Liverpool in 1960, that comprised John Lennon, Paul McCartney, George Harrison and Ringo Starr. They are regarded as the most influential band of all time and were integral to the development of 1960s counterculture and popular music's recognition as an art form. Rooted in skiffle, beat and 1950s rock 'n' roll, their sound incorporated elements of classical music and traditional pop in innovative ways; the band later explored music styles ranging from ballads and Indian music to psychedelia and hard rock. As pioneers in recording, songwriting and artistic presentation, the Beatles revolutionised many aspects of the music industry and were often publicised as leaders of the era's youth and sociocultural movements. Led by primary songwriters Lennon and McCartney, the Beatles evolved from Lennon's previous group, the Quarrymen, and built their reputation playing clubs in Liverpool and Hamburg over three years from 1960, initially with Stuart Sutcliffe playing bass. The core trio of Lennon, McCartney and Harrison, together since 1958, went through a succession of drummers, including Pete Best, before asking Starr to join them in 1962. Manager Brian Epstein moulded them into a professional act, and producer George Martin guided and developed their recordings, greatly expanding their domestic success after signing to EMI Records and achieving their first hit, "Love Me Do", in late 1962. As their popularity grew into the intense fan frenzy dubbed "Beatlemania", the band acquired the nickname "the Fab Four", with Epstein, Martin and other members of the band's entourage sometimes given the informal title of "fifth Beatle". By early 1964, the Beatles were international stars and had achieved unprecedented levels of critical and commercial success. They became a leading force in Britain's cultural resurgence, ushering in the British Invasion of the United States pop market, and soon made their film debut with A Hard Day's Night (1964). A growing desire to refine their studio efforts, coupled with the untenable nature of their concert tours, led to the band's retirement from live performances in 1966. At this time, they produced records of greater sophistication, including the albums Rubber Soul (1965), Revolver (1966) and Sgt. Pepper's Lonely Hearts Club Band (1967), and enjoyed further commercial success with The Beatles (also known as "the White Album", 1968) and Abbey Road (1969). Heralding the album era, their success elevated the album to the dominant form of record consumption over singles; they also inspired a greater public interest in psychedelic drugs and Eastern spirituality, and furthered advancements in electronic music, album art and music videos. In 1968, they founded Apple Corps, a multi-armed multimedia corporation that continues to oversee projects related to the band's legacy. After the group's break-up in 1970, all principal members enjoyed success as solo artists and some partial reunions have occurred. Lennon was murdered in 1980 and Harrison died of lung cancer in 2001. McCartney and Starr remain musically active. The Beatles are the best-selling music act of all time, with estimated sales of 600 million units worldwide.[4][5] They hold the record for most number-one albums on the UK Albums Chart (15), most number-one hits on the US Billboard Hot 100 chart (20), and most singles sold in the UK (21.9 million). The band received many accolades, including seven Grammy Awards, four Brit Awards, an Academy Award (for Best Original Song Score for the 1970 documentary film Let It Be) and fifteen Ivor Novello Awards. They were inducted into the Rock and Roll Hall of Fame in 1988, and each principal member was inducted individually between 1994 and 2015. In 2004 and 2011, the group topped Rolling Stone's lists of the greatest artists in history. Time magazine named them among the 20th century's 100 most important people. Dire Straits were a British rock band formed in London in 1977 by Mark Knopfler (lead vocals and lead guitar), David Knopfler (rhythm guitar and backing vocals), John Illsley (bass guitar and backing vocals) and Pick Withers (drums and percussion). They were active from 1977 to 1988 and again from 1990 to 1995. Their first single, "Sultans of Swing", from their 1978 self-titled debut album, reached the top ten in the UK and US charts. It was followed by hit singles including "Romeo and Juliet" (1981), "Private Investigations" (1982), "Twisting by the Pool" (1983), "Money for Nothing" (1985), and "Walk of Life" (1985). Their most commercially successful album, Brothers in Arms (1985), has sold more than 30 million copies; it was the first album to sell a million copies on compact disc[4][5] and is the eighth-bestselling album in UK history. According to the Guinness Book of British Hit Albums, Dire Straits have spent over 1,100 weeks on the UK albums chart, the fifth most of all time. Dire Straits' sound draws from various influences, including country, folk, the blues rock of J. J. Cale, and jazz.[7] Their stripped-down sound contrasted with punk rock and demonstrated a roots rock influence that emerged from pub rock. There were several changes in personnel, with Mark Knopfler and Illsley being the only members who lasted from the beginning of the band's existence to the end. After their first breakup in 1988, Knopfler told Rolling Stone: "A lot of press reports were saying we were the biggest band in the world. There's not an accent then on the music, there's an accent on popularity. I needed a rest." They disbanded for good in 1995, after which Knopfler launched a solo career full-time. He has since declined numerous reunion offers. Dire Straits were called "the biggest British rock band of the 80s" by Classic Rock magazine; their 1985–1986 world tour, which included a performance at Live Aid in July 1985, set a record in Australasia. Their final world tour from 1991 to 1992 sold 7.1 million tickets. Dire Straits won four Grammy Awards, three Brit Awards (Best British Group twice), two MTV Video Music Awards, and various other awards. They were inducted into the Rock and Roll Hall of Fame in 2018. Dire Straits have sold over 120 million units worldwide, including 51.4 million certified units, making them one of the best-selling music artists. Brothers Mark and David Knopfler, from Newcastle in northeast England, and friends John Illsley and Pick Withers, from Leicester in the east midlands, formed Dire Straits in London in 1977. Withers was already a 10-year music business veteran, having been a session drummer for Dave Edmunds, Gerry Rafferty, Magna Carta and others through the 1970s; he was part of the group Spring, which recorded an album for RCA in 1971. At the time of the band's formation, Mark was working as an English teacher, Illsley was studying at Goldsmiths' College, and David was a social worker. Mark and Withers had both been part of the pub rock group Brewers Droop at different points in and around 1973. The band was initially known as the Café Racers. The name Dire Straits was coined by a musician flatmate of Withers, allegedly thought up while they were rehearsing in the kitchen of a friend, Simon Cowe, of Lindisfarne. In 1977, the group recorded a five-song demo tape which included their future hit single, "Sultans of Swing", as well as "Water of Love" and "Down to the Waterline".[18][19] After a performance at the Rock Garden in 1977, they took a demo tape to MCA in Soho but were turned down. They then went to DJ Charlie Gillett, presenter of Honky Tonk on BBC Radio London.[20] The band simply wanted advice, but Gillett liked the music so much that he played "Sultans of Swing" on his show. Two months later, Dire Straits signed a recording contract with the Vertigo division of Phonogram Inc. In October 1977, the band recorded demo tapes of "Southbound Again", "In the Gallery" and "Six Blade Knife" for BBC Radio London; in November, demo tapes were made of "Setting Me Up", "Eastbound Train" and "Real Girl". The original Dire Straits line-up in Hamburg, Germany (1978); L to R: John Illsley, Mark Knopfler, Pick Withers and David Knopfler The group's first album, Dire Straits, was recorded at Basing Street studios in Notting Hill, London in February 1978, at a cost of £12,500. Produced by Muff Winwood, it was first released in the United Kingdom on Vertigo Records, then a division of Phonogram Inc. It came to the attention of A&R representative Karin Berg, working at Warner Bros. Records in New York City. She felt that it was the kind of music audiences were hungry for, but only one person in her department agreed at first. Many of the songs on the album reflected Mark Knopfler's experiences in Newcastle, Leeds and London. "Down to the Waterline" recalled images of life in Newcastle; "In the Gallery" is a tribute to Leeds sculptor/artist Harry Phillips (father of Steve Phillips); "Wild West End" and "Lions" were drawn from Knopfler's early days in the capital. That year, Dire Straits began a tour as opening band for Talking Heads, after the re-released "Sultans of Swing" finally started to climb the UK charts. This led to a United States recording contract with Warner Bros. Records; before the end of 1978, Dire Straits had released their self-titled debut worldwide. They received more attention in the US, but also arrived at the top of the charts in Canada, Australia and New Zealand. Dire Straits eventually went top 10 in every European country. The following year, Dire Straits embarked on their first North American tour. They played 51 sold-out concerts over a 38-day period. "Sultans of Swing" scaled the charts to No. 4 in the United States and No. 8 in the United Kingdom.[24][26] The song was one of Dire Straits' biggest hits and became a fixture in the band's live performances. Bob Dylan, who had seen the band play in Los Angeles, was so impressed that he invited Mark Knopfler and drummer Pick Withers to play on his next album, Slow Train Coming. Recording sessions for the group's second album, Communiqué, took place in December 1978 at Compass Point Studios in Nassau, Bahamas. Released in June 1979, Communiqué was produced by Jerry Wexler and Barry Beckett and went to No. 1 on the German album charts, with the debut album Dire Straits simultaneously at No. 3. In the United Kingdom, the album peaked at No. 5 in the album charts. Featuring the single "Lady Writer", the second album continued in a similar vein to the first and displayed the expanding scope of Knopfler's lyricism on the opening track, "Once Upon a Time in the West".[28] In the coming year, however, this approach began to change, along with the group's line-up.

This episode is a Special Rebroadcast of my first podcast episode from March 2021 featuring “Cousin Brucie” Morrow, America's most famous rock and roll radio personality of all time. He has dominated the airways since the 1960s on AM radio, then FM radio, then Sirius/XM, and now back to AM radio again. He was at the front lines of Beatlemania and the British Invasion, and he introduced The Beatles at Shea Stadium in 1965 in the world's most famous concert. He's won numerous awards and been in several movies including Dirty Dancing.My featured song in this episode is “I Wanna Be Your Girl”. Spotify link here.—-----------------------------------Brucie and I discuss: Tom JonesThe Beatles and the British Invasion eraShea StadiumHis early goal to become a doctorAM to FM to Sirius/XM back to AMThe Four Seasons Cousin Brucie theme songBrucie's advice to dreamers If you enjoyed the show, please Subscribe, Rate, and Review. Just click Here. “All Of The Time” is Robert's new single by his band Project Grand Slam. It's a playful, whimsical love song. It's light and airy and exudes the happiness and joy of being in love. The reviewers agree. Melody Maker gives it 5 Stars and calls it “Pure bliss…An intimate sound with abundant melodic riches!”. Pop Icon also gives it 5 Stars and calls it “Ecstasy…One of the best all-around bands working today!”. And Mob York City says simply “Excellence…A band in full command of their powers!” Watch the video here. You can stream “All Of The Time” on Spotify, Apple, Amazon or any of the other streaming platforms. And you can download it here. “The Shakespeare Concert” is the latest album by Robert's band, Project Grand Slam. It's been praised by famous musicians including Mark Farner of Grand Funk Railroad, Jim Peterik of the Ides Of March, Joey Dee of Peppermint Twist fame, legendary guitarist Elliott Randall, and celebrated British composer Sarah Class. The music reviewers have called it “Perfection!”, “5 Stars!”, “Thrilling!”, and “A Masterpiece!”. The album can be streamed on Spotify, Apple and all the other streaming services. You can watch the Highlight Reel HERE. And you can purchase a digital download or autographed CD of the album HERE.  “The Fall Of Winter” is Robert's single in collaboration with legendary rocker Jim Peterik of the Ides Of March and formerly with Survivor. Also featuring renowned guitarist Elliott Randall (Steely Dan/Doobie Brothers) and keyboard ace Tony Carey (Joe Cocker/Eric Burden). “A triumph!” (The Indie Source). “Flexes Real Rock Muscle!” (Celebrity Zone). Stream it on Spotify or Apple. Watch the lyric video here. Download it here. Robert's “Follow Your Dream Handbook” is an Amazon #1 Bestseller. It's a combination memoir of his unique musical journey and a step by step how-to follow and succeed at your dream. Available on Amazon and wherever books are sold. Get your Complimentary DREAM ROADMAP with Robert's 5 steps to pursue and succeed at YOUR dream. Just click here: https://www.followyourdreampodcast.com/DreamRoadmap Connect with the Follow Your Dream Podcast:WebsiteFacebookLinkedInEmail RobertYouTube Listen to the Follow Your Dream Podcast on these podcast platforms:CastBoxSpotifyApple Follow Robert's band, Project Grand Slam, and his music:WebsiteInstagramPGS StoreYouTubeFacebookSpotify MusicApple MusicEmail 

ontargetpodcast.caFrom the twist to funky feet this week takes you on a musical adventure that'll have you movin' and groovin' 'til the sun comes up.-----------------------------------------------The Playlist Is:"Louie Louie"Rockin Robin Roberts- Etiquette"It's Twistin' Time"Hank Ballard & The Midnighters- King"(I Wanna) Dance With Teacher"The Olympics- Reo"Ring-A-Leevio"Dale Brooks- Dolphin"Only Love (Can Save Me Now)"Solomon Burke- Atlantic"Now I've Got A Woman"Freddy King- Federal"Spoonful"The Allman Joys - Dial"Harlem Shuffle"The Fabulous Flippers- Cameo"Ain't Too Proud To Beg"The Groovers- A&M"Shake And Shingaling"Gene Waiters- Fairmount"My Love Is Getting Stronger"Cliff Nobles & Co.- J-V"Love What You're Doin' To Me"Janet & the Jays- Hi"Before It's Too Late"Jackie Day- Modern"Strawberry Shortcake"Jay & The Techniques- Smash"Which One Should I Choose"The Unifics - Kapp"I Can Only Give You Everything"MC5- Modern Harmonic"Movin' And Groovin'"Jackie & The Cedrics- One Plus Two"Can't Get Through To You"Sumpin' Else- Liberty"Woman"New Colony Six- Sentar"Funky Feet"Johnny Robinson - Epic"I Didn't Know"The Three Degrees- Philadelphia International"Twist City"Johnny Griffin & Matthew Gee & Their Soul Groovers- Atlantic

Loren Gold has been the keyboardist and backup vocalist for The Who since 2012 (Roger Daltrey since 2009) and the band Chicago since 2021. Other artists he has toured with include Kenny Loggins, Don Felder, Natalie Maines, Mandy Moore, Rita Wilson, and American Idol winner Taylor Hicks. Loren co-wrote the first song on Taylor's platinum selling album, entitled “The Runaround.” Gold has been musical director for pop stars Selena Gomez, Demi Lovato, and Hilary Duff (in addition to being her touring keyboardist) and he continues to build and develop bands for other artists. Gold has published two instructional books through his collaboration with Alfred Music, and his original compositions have been on HBO and Showtime. Gold helped create the musical medley for The Who's Super Bowl halftime show in 2010. On this episode, Loren and Jack discuss how "Rubber Soul" is the reason why Loren began playing the keyboard, the competition between The Who and The Beatles, and the importance of The Beatles in today's music.  Follow Loren on Twitter here: @lorengold If you enjoy this episode, please remember to subscribe to this podcast so you can receive a notification on your phone every week when a new episode is released! Follow us on Twitter Follow us on Instagram Follow us on YouTube ------------------------------ The Beatles were an English rock band, formed in Liverpool in 1960, that comprised John Lennon, Paul McCartney, George Harrison and Ringo Starr. They are regarded as the most influential band of all time[1] and were integral to the development of 1960s counterculture and popular music's recognition as an art form. Rooted in skiffle, beat and 1950s rock 'n' roll, their sound incorporated elements of classical music and traditional pop in innovative ways; the band later explored music styles ranging from ballads and Indian music to psychedelia and hard rock. As pioneers in recording, songwriting and artistic presentation, the Beatles revolutionised many aspects of the music industry and were often publicised as leaders of the era's youth and sociocultural movements. Led by primary songwriters Lennon and McCartney, the Beatles evolved from Lennon's previous group, the Quarrymen, and built their reputation playing clubs in Liverpool and Hamburg over three years from 1960, initially with Stuart Sutcliffe playing bass. The core trio of Lennon, McCartney and Harrison, together since 1958, went through a succession of drummers, including Pete Best, before asking Starr to join them in 1962. Manager Brian Epstein moulded them into a professional act, and producer George Martin guided and developed their recordings, greatly expanding their domestic success after signing to EMI Records and achieving their first hit, "Love Me Do", in late 1962. As their popularity grew into the intense fan frenzy dubbed "Beatlemania", the band acquired the nickname "the Fab Four", with Epstein, Martin and other members of the band's entourage sometimes given the informal title of "fifth Beatle". By early 1964, the Beatles were international stars and had achieved unprecedented levels of critical and commercial success. They became a leading force in Britain's cultural resurgence, ushering in the British Invasion of the United States pop market, and soon made their film debut with A Har