Podcasts about Come Dancing

Label: Arista 9016Year: 1983Condition: MPrice: $14.00From a warehouse find, these are new, unplayed copies. A well deserved hit from the early 1980's, this was the Kinks' last visit to the U.S. top 10. The A side is a specially edited version of the 4:34 album track, while the B side is a previously unreleased, non-album cut. Note: This beautiful copy comes in a Near Mint picture sleeve. It has no notable flaws, grading Mint across the board (Labels, Vinyl, Audio).

Indpendent artist: Jacob Dsouza - Take me awayLinks: https://linktr.ee/JacobDsouzaMusicSocialsHosts: Peter Cabral: www.instagram.com/cabralphotography/?hl=enNick Cabral: www.instagram.com/nickcabral37/Producer: Darryn Arndt: www.instagram.com/darrynarndt/Theme song: Braden Mutch: www.instagram.com/braden_mutch/Instagram: www.instagram.com/justhitplaypodcast/Facebook: www.facebook.com/JusthitplaypodcastEmail: justhitplay7300@gmail.comwww.youtube.com/@justhitplaypodcast

Taking us Behind the Scenes this time: one of the most admired, versatile and experienced British television Production Assistants/Script Supervisors to have ever graced a studio control room or gallery - Anna Staniland. Anna shares her memories of an astonishing 40-year career at the BBC and in the freelance world, including live broadcasts, music specials and entertainment series. She's worked with legendary producers Paul Jackson, Ed Bye and Geoff Posner, and her broad range of experience includes everything from Come Dancing to President Reagan's state visit. With recollections of Denis Norden, Sir Terry Wogan - and what it like to train at the BBC and work within those hallowed portals of Television Centre - Anna's stories of this historic Golden Era make for a listen-must. Support the podcast by becoming a Patron: ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/BEHINDTHESCENESWITHCOLINEDMONDS⁠⁠⁠⁠⁠⁠⁠⁠⁠ Colin Edmonds socials ⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook: colin.edmonds.73⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram: colinedmondsssm⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter:@ColinEdmondsSSM⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠Website: https://www.steamsmokeandmirrors.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠ Listen to all episodes of the podcast available on; ⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠Amazon Music⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠Audible⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠ BOOKS Buy Steam, Smoke and Mirrors ⁠⁠⁠⁠⁠⁠⁠⁠Available at Caffeine Nights⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠Available at Amazon⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠Available on Audible⁠⁠⁠⁠⁠⁠⁠⁠ Buy The Lazarus Curiosity: Steam, Smoke and Mirrors 2 ⁠⁠⁠⁠⁠⁠⁠⁠Available at Caffeine Nights⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠Available at Amazon⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠Available on Audible⁠⁠⁠⁠⁠⁠⁠⁠ Buy The Nostradamus Curiosity: Steam, Smoke and Mirrors 3 ⁠⁠⁠⁠⁠⁠⁠⁠Available at Caffeine Nights⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠Available at Amazon

A Very 80s Summer, “I Knew You Were Waiting (For Me)” as “Venus” was her name. Looking at the “Man In The Mirror” with “Frankie” who said “Come Dancing” with the “West End Girls.” I got there and they asked, “Do Ya Wanna Funk.” I said “We're Not Gonna Take It,” as she's “Born To Be My Baby.” She's on the “Morning Train” and “Love Will Save The Day.” They apologised and said I'm a “Jealous Guy.” I replied, “Hold Me Now,” “I Think We're Alone Now.” We will be “Together Forever”. There's "Something About You." So there! You can find us on various platforms, Audible, Poddr, Deezer, Podcasts.com, Google Podcasts, Podverse, Amazon Music Podcasts, Pod Friend, Radio Public, Podbay, Audacy, Podcast Index, Boomplay, Podcast Addict, iHeart Radio, Podurama, Goodpods, Poddtoppen, PlayerFM, Podtail, Gaana, Listen Notes, Podchaser, Ivoox, Overhaul FM, Podbean, Mixerbox, Podcast Guru, Castbox FM, Rephonic, Podcast Republic, TuneIn, Pocket Casts, and Apple Podcasts Your kindest donations to my CashApp keep Colzz able to bring more to you.Click Here: CashApp: £djcolzz Enjoy!

Friend of the Jagbags Bruce Hollett joins us to discuss the music and career of the British power pop/punk pioneer the Kinks. Where do they rank in the all-time Rock Pantheon? What is their beat album? Their best song? Are they underrated or properly rated? Why were they destined to live in the shadow of the Beatles and the Rolling Stones? We go through our 45-minute all-time Kinks Playlist (an impossible task), and try to remember the exact word-for-word titles of the Kinks' most successful LPs.

Although Ike & Tina Turner had been performing since 1960 and were well known for the energy of their performances, it wasn't until 1965 and the release of Live!  The Ike & Tina Turner Show that they received national recognition.  This album featured the best live performances of the previous year.Tina Turner was born Martha Nell Bullock (aka Anna Mae Bullock), and was given the name Tina Turner as a stage name when she toured as a feature with Ike Turner in 1960.  They were not married at the time, and Ike Turner had the name "Tina Turner" trademarked, so that he could use another singer performing under the same name if the singer we now know as Tina Turner ever left the band.  Ike and Tina would be married after the birth of their son in 1960.  Ike Turner had been married 5 times before meeting Tina.Most of this album features Tina Turner on lead vocals with Ike performing guitar on stage, and a full band behind them including a horn section (The Kings of Rhythm) and backup singers (The Ikettes).  Ike Turner has lead vocals on a few songs, but Tina Turner was the real draw.  Ike and Tina Turner had their infamous divorce in 1978.  Tina retained songwriter royalties from songs she had written, two Jaguar cars, furs and jewelry, and - perhaps most importantly - her stage name.Wayne features this high energy live album for today's podcast. Something's Got a Hold On MeThe song that leads off side 2 of the album is a cover originally performed by Etta James in 1962.  James co-wrote the song along with Leroy Kirkland and Pearl Woods, and the original went to number 4 on the Billboard Hot R&B Sides chart.Finger Poppin'Ike Turner wrote this original song which leads off the album.  The name refers to snapping fingers.  While the rest of the album is either covers or songs written by other people, this is the only one with writing credits for Ike Turner.Tight Pants (High Heel Sneakers)This track is a cover originally written and performed by Tommy Tucker (aka Robert Higginbotham) in 1963  This blues classic was inducted into the Blues Hall of Fame as a "classic of blues recording" in 2017.  Many musicians covered this one in addition to Ike & Tina Turner, including Johnny Rivers, Elvis Presley, Chuck Berry, Jerry Lee Lewis, and even David Cassidy.To Tell the TruthRay Charles penned this high energy song, which concludes the album. ENTERTAINMENT TRACK:The Sound of Music by Julie Andrews (from the motion picture “The Sound of Music”)This musical starring Julie Andrews and Christopher Plummer was set in Salzburg, Austria, loosely based on the von Trapp Family Singers. STAFF PICKS:People Get Ready by The ImpressionsBruce takes us to church with this gospel-based hit.  The Impressions formed in 1958 in Chattanooga, Tennessee.  Front Man Curtis Mayfield wrote this song, which went to number 14 on the Billboard Hot 100.  It reflects both gospel and politics, as Mayfield was becoming politically active at the time.  A number of covers have been performed of this song, perhaps most famously by Rod Stewart and Jeff Beck.This Diamond Ring by Gary Lewis & the PlayboysRob's staff pick features the son of comedian Jerry Lewis.  Gary Lewis & the Playboys were funded by Gary's mother, and got their start in a gig at Disneyland.  This song about a broken relationship was on the charts for 12 weeks.Ain't That Peculiar by Marvin Gaye Lynch's features Gaye's second US million seller.  It was written by Smokey Robinson in London with Miracles guitarist Marv Tarplin, specifically for Marvin Gaye as a follow-up to his previous hit "I'll Be Doggone."  This song is about the torment of a painful relationship.Tired of Waiting for You by The Kinks Wayne wraps up the staff picks with this single which went to number 1 in the UK and number 6 in the US.  It is the group's highest-charting single in the US - tied with "Come Dancing" which would not reach this level on the charts until 1983.  The song chronicles the woes of a boy being strung along by a girl who has him under her spell. INSTRUMENTAL TRACK:Apache '65 by Davie Allan & the ArrowsThis close out this week's podcast with a surfing instrumental.

From the BBC News to Come Dancing, presenter Angela Rippon chats with Miriam about her extraordinary career in broadcasting

In this episode of the Who's He? Podcast..... The News Phil and Paul have a look at recent casting announcements for series 14 of Doctor Who, they ponder Disneys involvement with the show and what was Paul's reaction to the new series being 8 episodes long? This leads them down conversational cul de sacs where they talk about Come Dancing hosted by old BBC Radio 2 DJ's and Phil wants Doctor Who back on Saturday nights! Review - Carnival of Monsters This month, the lads look at Carnival of Monsters starring Jon Pertwee and Katy Manning. In a story they both love, they draw comparisons between the Target novelisation and the televised version and also try to decide which Tory politicians fit the characters of Kalik, Orum and Pletrac. We also apologise for the audio quality of this episode and the noise Phil's cat Spike was making! #doctorwho #carnivalofmonsters #BBC #jonpertwee #katymanning #whoshepodcast

Beth covers "Come Dancing" by The Kinks  (info provided by Top Researcher Nancy) & Amy covers “Dance Hall Days” by Wang Chung.  Listen to the song first before  Amy & Beth ruin it for you.Email us at amyandbetharesorry@gmail.comVisit us on Instagram at https://instagram.com/sorryiruinedthatsong?igshid=1cqqhy050qg8qListen to our Spotify Playlist here:https://open.spotify.com/playlist/4TWLMgrKwCQzh24umxIB5R?si=zUmNWqQfRwCBVzvExGLSvACheck us out on TikTok: https://vm.TikTok.com/TTPdMmQJS8/Logo artwork by: http://www.etsy.com/uk/shop/MollyPukes

James and Ola are known for their roles on Strictly Come Dancing as professional dancers. They discuss that level of fame how it changed their lives and their recent transition into becoming fitness gurus through their new programme danceshred. Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode one hundred and fifty-five of A History of Rock Music in Five Hundred Songs looks at “Waterloo Sunset” by the Kinks, and the self-inflicted damage the group did to their career between 1965 and 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a nineteen-minute bonus episode available, on "Excerpt From a Teenage Opera" by Keith West. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week, as there are too many Kinks songs. I've used several resources for this and future episodes on the Kinks, most notably Ray Davies: A Complicated Life by Johnny Rogan and You Really Got Me by Nick Hasted. X-Ray by Ray Davies is a remarkable autobiography with a framing story set in a dystopian science-fiction future, while Kink by Dave Davies is more revealing but less well-written. The Anthology 1964-1971 is a great box set that covers the Kinks' Pye years, which overlap almost exactly with their period of greatest creativity. For those who don't want a full box set, this two-CD set covers all the big hits. And this is the interview with Rasa I discuss in the episode. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, this episode has some mentions of racism and homophobia, several discussions of physical violence, one mention of domestic violence, and some discussion of mental illness. I've tried to discuss these things with a reasonable amount of sensitivity, but there's a tabloid element to some of my sources which inevitably percolates through, so be warned if you find those things upsetting. One of the promises I made right at the start of this project was that I would not be doing the thing that almost all podcasts do of making huge chunks of the episodes be about myself -- if I've had to update people about something in my life that affects the podcast, I've done it in separate admin episodes, so the episodes themselves will not be taken up with stuff about me. The podcast is not about me. I am making a very slight exception in this episode, for reasons that will become clear -- there's no way for me to tell this particular story the way I need to without bringing myself into it at least a little. So I wanted to state upfront that this is a one-off thing. The podcast is not suddenly going to change. But one question that I get asked a lot -- far more than I'd expect -- is "do the people you talk about in the podcast ever get in touch with you about what you've said?" Now that has actually happened twice, both times involving people leaving comments on relatively early episodes. The first time is probably the single thing I'm proudest of achieving with this series, and it was a comment left on the episode on "Goodnight My Love" a couple of years back: [Excerpt: Jesse Belvin, "Goodnight My Love"] That comment was from Debra Frazier and read “Jesse Belvin is my Beloved Uncle, my mother's brother. I've been waiting all my life for him to be recognized in this manner. I must say the content in this podcast is 100% correct!Joann and Jesse practically raised me. Can't express how grateful I am. Just so glad someone got it right. I still miss them dearly to this day. My world was forever changed Feb. 6th 1960. I can remember him writing most of those songs right there in my grandmother's living room. I think I'm his last living closest relative, that knows everything in this podcast is true." That comment by itself would have justified me doing this whole podcast. The other such comment actually came a couple of weeks ago, and was on the episode on "Only You": [Excerpt: The Platters, "Only You"] That was a longer comment, from Gayle Schrieber, an associate of Buck Ram, and started "Well, you got some of it right. Your smart-assed sarcasm and know-it-all attitude is irritating since I Do know it all from the business side but what the heck. You did better than most people – with the exception of Marv Goldberg." Given that Marv Goldberg is the single biggest expert on 1950s vocal groups in the world, I'll take that as at least a backhanded compliment. So those are the only two people who I've talked about in the podcast who've commented, but before the podcast I had a blog, and at various times people whose work I wrote about would comment -- John Cowsill of the Cowsills still remembers a blog post where I said nice things about him fourteen years ago, for example. And there was one comment on a blog post I made four or five years ago which confirmed something I'd suspected for a while… When we left the Kinks, at the end of 1964, they had just recorded their first album. That album was not very good, but did go to number three in the UK album charts, which is a much better result than it sounds. Freddie "Boom Boom" Cannon got to number one in 1960, but otherwise the only rock acts to make number one on the album charts from the start of the sixties through the end of 1967 were Elvis, Cliff Richard, the Shadows, the Beatles, the Rolling Stones, Bob Dylan and the Monkees. In the first few years of the sixties they were interspersed with the 101 Strings, trad jazz, the soundtrack to West Side Story, and a blackface minstrel group, The George Mitchell Singers. From mid-1963 through to the end of 1967, though, literally the only things to get to number one on the album charts were the Beatles, the Rolling Stones, Bob Dylan, the Monkees, and the soundtrack to The Sound of Music. That tiny cabal was eventually broken at the end of 1967 by Val Doonican Rocks… But Gently, and from 1968 on the top of the album charts becomes something like what we would expect today, with a whole variety of different acts, I make this point to point out two things The first is that number three on the album charts is an extremely good position for the Kinks to be in -- when they reached that point the Rolling Stones' second album had just entered at number one, and Beatles For Sale had dropped to number two after eight weeks at the top -- and the second is that for most rock artists and record labels, the album market was simply not big enough or competitive enough until 1968 for it to really matter. What did matter was the singles chart. And "You Really Got Me" had been a genuinely revolutionary hit record. According to Ray Davies it had caused particular consternation to both the Rolling Stones and the Yardbirds, both of whom had thought they would be the first to get to number one with a dirty, distorted, R&B-influenced guitar-riff song. And so three weeks after the release of the album came the group's second single. Originally, the plan had been to release a track Ray had been working on called "Tired of Waiting", but that was a slower track, and it was decided that the best thing to do would be to try to replicate the sound of their first hit. So instead, they released "All Day And All Of The Night": [Excerpt: The Kinks, "All Day And All Of The Night"] That track was recorded by the same team as had recorded "You Really Got Me", except with Perry Ford replacing Arthur Greenslade on piano. Once again, Bobby Graham was on drums rather than Mick Avory, and when Ray Davies suggested that he might want to play a different drum pattern, Graham just asked him witheringly "Who do you think you are?" "All Day and All of the Night" went to number two -- a very impressive result for a soundalike follow-up -- and was kept off the number one spot first by "Baby Love" by the Supremes and then by "Little Red Rooster" by the Rolling Stones. The group quickly followed it up with an EP, Kinksize Session, consisting of three mediocre originals plus the group's version of "Louie Louie". By February 1965 that had hit number one on the EP charts, knocking the Rolling Stones off. Things were going as well as possible for the group. Ray and his girlfriend Rasa got married towards the end of 1964 -- they had to, as Rasa was pregnant and from a very religious Catholic family. By contrast, Dave was leading the kind of life that can only really be led by a seventeen-year-old pop star -- he moved out of the family home and in with Mick Avory after his mother caught him in bed with five women, and once out of her watchful gaze he also started having affairs with men, which was still illegal in 1964. (And which indeed would still be illegal for seventeen-year-olds until 2001). In January, they released their third hit single, "Tired of Waiting for You". The track was a ballad rather than a rocker, but still essentially another variant on the theme of "You Really Got Me" -- a song based around a few repeated phrases of lyric, and with a chorus with two major chords a tone apart. "You Really Got Me"'s chorus has the change going up: [Plays "You Really Got Me" chorus chords] While "Tired Of Waiting For You"'s chorus has the change going down: [Plays "Tired of Waiting For You" chorus chords] But it's trivially easy to switch between the two if you play them in the same key: [Demonstrates] Ray has talked about how "Tired of Waiting for You" was partly inspired by how he felt tired of waiting for the fame that the Kinks deserved, and the music was written even before "You Really Got Me". But when they went into the studio to record it, the only lyrics he had were the chorus. Once they'd recorded the backing track, he worked on the lyrics at home, before coming back into the studio to record his vocals, with Rasa adding backing vocals on the softer middle eight: [Excerpt: The Kinks, "Tired of Waiting For You"] After that track was recorded, the group went on a tour of Australia, New Zealand, and Hong Kong. The flight out to Australia was thirty-four hours, and also required a number of stops. One stop to refuel in Moscow saw the group forced back onto the plane at gunpoint after Pete Quaife unwisely made a joke about the recently-deposed Russian Premier Nikita Khruschev. They also had a stop of a couple of days in Mumbai, where Ray was woken up by the sounds of fishermen chanting at the riverside, and enchanted by both the sound and the image. In Adelaide, Ray and Dave met up for the first time in years with their sister Rose and her husband Arthur. Ray was impressed by their comparative wealth, but disliked the slick modernity of their new suburban home. Dave became so emotional about seeing his big sister again that he talked about not leaving her house, not going to the show that night, and just staying in Australia so they could all be a family again. Rose sadly told him that he knew he couldn't do that, and he eventually agreed. But the tour wasn't all touching family reunions. They also got into a friendly rivalry with Manfred Mann, who were also on the tour and were competing with the Kinks to be the third-biggest group in the UK behind the Beatles and the Stones, and at one point both bands ended up on the same floor of the same hotel as the Stones, who were on their own Australian tour. The hotel manager came up in the night after a complaint about the noise, saw the damage that the combined partying of the three groups had caused, and barricaded them into that floor, locking the doors and the lift shafts, so that the damage could be contained to one floor. "Tired of Waiting" hit number one in the UK while the group were on tour, and it also became their biggest hit in the US, reaching number six, so on the way home they stopped off in the US for a quick promotional appearance on Hullabaloo. According to Ray's accounts, they were asked to do a dance like Freddie and the Dreamers, he and Mick decided to waltz together instead, and the cameras cut away horrified at the implied homosexuality. In fact, examining the footage shows the cameras staying on the group as Mick approaches Ray, arms extended, apparently offering to waltz, while Ray backs off nervous and confused, unsure what's going on. Meanwhile Dave and Pete on the other side of the stage are being gloriously camp with their arms around each other's shoulders. When they finally got back to the UK, they were shocked to hear this on the radio: [Excerpt: The Who, "I Can't Explain"] Ray was horrified that someone had apparently stolen the group's sound, especially when he found out it was the Who, who as the High Numbers had had a bit of a rivalry with the group. He said later "Dave thought it was us! It was produced by Shel Talmy, like we were. They used the same session singers as us, and Perry Ford played piano, like he did on ‘All Day And All Of The Night'. I felt a bit appalled by that. I think that was worse than stealing a song – they were actually stealing our whole style!” Pete Townshend later admitted as much, saying that he had deliberately demoed "I Can't Explain" to sound as much like the Kinks as possible so that Talmy would see its potential. But the Kinks were still, for the moment, doing far better than the Who. In March, shortly after returning from their foreign tour, they released their second album, Kinda Kinks. Like their first album, it was a very patchy effort, but it made number two on the charts, behind the Rolling Stones. But Ray Davies was starting to get unhappy. He was dissatisfied with everything about his life. He would talk later about looking at his wife lying in bed sleeping and thinking "What's she doing here?", and he was increasingly wondering if the celebrity pop star life was right for him, simultaneously resenting and craving the limelight, and doing things like phoning the music papers to deny rumours that he was leaving the Kinks -- rumours which didn't exist until he made those phone calls. As he thought the Who had stolen the Kinks' style, Ray decided to go in a different direction for the next Kinks single, and recorded "Everybody's Gonna Be Happy", which was apparently intended to sound like Motown, though to my ears it bears no resemblance: [Excerpt: The Kinks, "Everybody's Gonna Be Happy"] That only went to number nineteen -- still a hit, but a worry for a band who had had three massive hits in a row. Several of the band started to worry seriously that they were going to end up with no career at all. It didn't help that on the tour after recording that, Ray came down with pneumonia. Then Dave came down with bronchitis. Then Pete Quaife hit his head and had to be hospitalised with severe bleeding and concussion. According to Quaife, he fainted in a public toilet and hit his head on the bowl on the way down, but other band members have suggested that Quaife -- who had a reputation for telling tall stories, even in a band whose members are all known for rewriting history -- was ashamed after getting into a fight. In April they played the NME Poll-Winners' Party, on the same bill as the Beatles, the Rolling Stones, the Animals, the Moody Blues, the Searchers, Freddie And The Dreamers, Herman's Hermits, Wayne Fontana & The Mindbenders, the Rockin' Berries, the Seekers, the Ivy League, Them, the Bachelors, Georgie Fame & The Blue Flames, Cilla Black, Dusty Springfield, Twinkle, Tom Jones, Donovan, and Sounds Incorporated. Because they got there late they ended up headlining, going on after the Beatles, even though they hadn't won an award, only come second in best new group, coming far behind the Stones but just ahead of Manfred Mann and the Animals. The next single, "Set Me Free", was a conscious attempt to correct course after "Everybody's Gonna Be Happy" had been less successful: [Excerpt: The Kinks, "Set Me Free"] The song is once again repetitive, and once again based on a riff, structured similarly to "Tired of Waiting" but faster and more upbeat, and with a Beatles-style falsetto in the chorus. It worked -- it returned the group to the top ten -- but Ray wasn't happy at writing to order. He said in August of that year “I'm ashamed of that song. I can stand to hear and even sing most of the songs I've written, but not that one. It's built around pure idiot harmonies that have been used in a thousand songs.” More recently he's talked about how the lyric was an expression of him wanting to be set free from the constraint of having to write a hit song in the style he felt he was outgrowing. By the time the single was released, though, it looked like the group might not even be together any longer. There had always been tensions in the band. Ray and Dave had a relationship that made the Everly Brothers look like the model of family amity, and while Pete Quaife stayed out of the arguments for the most part, Mick Avory couldn't. The core of the group had always been the Davies brothers, and Quaife had known them for years, but Avory was a relative newcomer and hadn't grown up with them, and they also regarded him as a bit less intelligent than the rest of the group. He became the butt of jokes on a fairly constant basis. That would have been OK, except that Avory was also an essentially passive person, who didn't want to take sides in conflicts, while Dave Davies thought that as he and Avory were flatmates they should be on the same side, and resented when Avory didn't take his side in arguments with Ray. As Dave remembered it, the trigger came when he wanted to change the setlist and Mick didn't support him against Ray. In others' recollection, it came when the rest of the band tried to get Dave away from a party and he got violent with them. Both may be true. Either way, Dave got drunk and threw a suitcase at the back of a departing Mick, who was normally a fairly placid person but had had enough, and so he turned round, furious, grabbed Dave, got him in a headlock and just started punching, blackening both his eyes. According to some reports, Avory was so infuriated with Dave that he knocked him out, and Dave was so drunk and angry that when he came to he went for Avory again, and got knocked out again. The next day, the group were driven to their show in separate cars -- the Davies brothers in one, the rhythm section in the other -- they had separate dressing rooms, and made their entrance from separate directions. They got through the first song OK, and then Dave Davies insulted Avory's drumming, spat at him, and kicked his drums so they scattered all over the stage. At this point, a lot of the audience were still thinking this was part of the act, but Avory saw red again and picked up his hi-hat cymbal and smashed it down edge-first onto Dave's head. Everyone involved says that if his aim had been very slightly different he would have actually killed Dave. As it is, Dave collapsed, unconscious, bleeding everywhere. Ray screamed "My brother! He's killed my little brother!" and Mick, convinced he was a murderer, ran out of the theatre, still wearing his stage outfit of a hunting jacket and frilly shirt. He was running away for his life -- and that was literal, as Britain still technically had the death penalty at this point; while the last executions in Britain took place in 1964, capital punishment for murder wasn't abolished until late 1965 -- but at the same time a gang of screaming girls outside who didn't know what was going on were chasing him because he was a pop star. He managed to get back to London, where he found that the police had been looking for him but that Dave was alive and didn't want to press charges. However, he obviously couldn't go back to their shared home, and they had to cancel gigs because Dave had been hospitalised. It looked like the group were finished for good. Four days after that, Ray and Rasa's daughter Louisa was born, and shortly after that Ray was in the studio again, recording demos: [Excerpt: Ray Davies, "I Go to Sleep (demo)"] That song was part of a project that Larry Page, the group's co-manager, and Eddie Kassner, their publisher, had of making Ray's songwriting a bigger income source, and getting his songs recorded by other artists. Ray had been asked to write it for Peggy Lee, who soon recorded her own version: [Excerpt: Peggy Lee, "I Go to Sleep"] Several of the other tracks on that demo session featured Mitch Mitchell on drums. At the time, Mitchell was playing with another band that Page managed, and there seems to have been some thought of him possibly replacing Avory in the group. But instead, Larry Page cut the Gordian knot. He invited each band member to a meeting, just the two of them -- and didn't tell them that he'd scheduled all these meetings at the same time. When they got there, they found that they'd been tricked into having a full band meeting, at which point Page just talked to them about arrangements for their forthcoming American tour, and didn't let them get a word in until he'd finished. At the end he asked if they had any questions, and Mick Avory said he'd need some new cymbals because he'd broken his old ones on Dave's head. Before going on tour, the group recorded a song that Ray had written inspired by that droning chanting he'd heard in Mumbai. The song was variously titled "See My Friend" and "See My Friends" -- it has been released under both titles, and Ray seems to sing both words at different times -- and Ray told Maureen Cleave "The song is about homosexuality… It's like a football team and the way they're always kissing each other.” (We will be talking about Ray Davies' attitudes towards sexuality and gender in a future episode, but suffice to say that like much of Davies' worldview, he has a weird mixture of very progressive and very reactionary views, and he is also prone to observe behaviours in other people's private lives and make them part of his own public persona). The guitar part was recorded on a bad twelve-string guitar that fed back in the studio, creating a drone sound, which Shel Talmy picked up on and heavily compressed, creating a sound that bore more than a little resemblance to a sitar: [Excerpt: The Kinks, "See My Friend"] If that had been released at the time, it would have made the Kinks into trend-setters. Instead it was left in the can for nearly three months, and in the meantime the Yardbirds released the similar-sounding "Heart Full of Soul", making the Kinks look like bandwagon-jumpers when their own record came out, and reinforcing a paranoid belief that Ray had started to develop that his competitors were stealing his ideas. The track taking so long to come out was down to repercussions from the group's American tour, which changed the course of their whole career in ways they could not possibly have predicted. This was still the era when the musicians' unions of the US and UK had a restrictive one-in, one-out policy for musicians, and you couldn't get a visa to play in the US without the musicians' union's agreement -- and the AFM were not very keen on the British invasion, which they saw as taking jobs away from their members. There are countless stories from this period of bands like the Moody Blues getting to the US only to find that the arrangements have fallen through and they can't perform. Around this time, Wayne Fontana and the Mindbenders were told they weren't notable enough to get permission to play more than one gig, even though they were at number one on the charts in the US at the time. So it took a great deal of effort to get the Kinks' first US tour arranged, and they had to make a good impression. Unfortunately, while the Beatles and Stones knew how to play the game and give irreverent, cheeky answers that still left the interviewers amused and satisfied, the Kinks were just flat-out confusing and rude: [Excerpt: The Kinks Interview with Clay Cole] The whole tour went badly. They were booked into unsuitable venues, and there were a series of events like the group being booked on the same bill as the Dave Clark Five, and both groups having in their contract that they would be the headliner. Promoters started to complain about them to their management and the unions, and Ray was behaving worse and worse. By the time the tour hit LA, Ray was being truly obnoxious. According to Larry Page he refused to play one TV show because there was a Black drummer on the same show. Page said that it was not about personal prejudice -- though it's hard to see how it could not be, at least in part -- but just picking something arbitrary to complain about to show he had the power to mess things up. While shooting a spot for the show Where The Action Is, Ray got into a physical fight with one of the other cast members over nothing. What Ray didn't realise was that the person in question was a representative for AFTRA, the screen performers' union, and was already unhappy because Dave had earlier refused to join the union. Their behaviour got reported up the chain. The day after the fight was supposed to be the highlight of the tour, but Ray was missing his wife. In the mid-sixties, the Beach Boys would put on a big Summer Spectacular at the Hollywood Bowl every year, and the Kinks were due to play it, on a bill which as well as the Beach Boys also featured the Byrds, the Righteous Brothers, Dino, Desi & Billy, and Sonny and Cher. But Ray said he wasn't going on unless Rasa was there. And he didn't tell Larry Page, who was there, that. Instead, he told a journalist at the Daily Mirror in London, and the first Page heard about it was when the journalist phoned him to confirm that Ray wouldn't be playing. Now, they had already been working to try to get Rasa there for the show, because Ray had been complaining for a while. But Rasa didn't have a passport. Not only that, but she was an immigrant and her family were from Lithuania, and the US State Department weren't exactly keen on people from the Eastern Bloc flying to the US. And it was a long flight. I don't know exactly how long a flight from London to LA took then, but it takes eleven and a half hours now, and it will have been around that length. Somehow, working a miracle, Larry Page co-ordinated with his co-managers Robert Wace and Grenville Collins back in London -- difficult in itself as Wace and Collins and Page and his business partner Eddie Kassner were by now in two different factions, because Ray had been manipulating them and playing them off against each other for months. But the three of them worked together and somehow got Rasa to LA in time for Ray to go on stage. Page waited around long enough to see that Ray had got on stage at the Hollywood Bowl, then flew back to London. He had had enough of Ray's nonsense, and didn't really see any need to be there anyway, because they had a road manager, their publisher, their agent, and plenty of support staff. He felt that he was only there to be someone for Ray Davies to annoy and take his frustrations out on. And indeed, once Page flew back to the UK, Ray calmed down, though how much of that was the presence of Rasa it's hard to say. Their road manager at the time though said "If Larry wasn't there, Ray couldn't make problems because there was nobody there to make them to. He couldn't make problems for me because I just ignored them. For example, in Hawaii, the shirts got stolen. Ray said, ‘No way am I going onstage without my shirt.' So I turned around and said to him, ‘Great, don't go on!' Of course, they went on.” They did miss the gig the next night in San Francisco, with more or less the same lineup as the Hollywood Bowl show -- they'd had problems with the promoter of that show at an earlier gig in Reno, and so Ray said they weren't going to play unless they got paid in cash upfront. When the promoter refused, the group just walked on stage, waved, and walked off. But other than that, the rest of the tour went OK. What they didn't realise until later was that they had made so many enemies on that tour that it would be impossible for them to return to the US for another four years. They weren't blacklisted, as such, they just didn't get the special treatment that was necessary to make it possible for them to visit there. From that point on they would still have a few hits in the US, but nothing like the sustained massive success they had in the UK in the same period. Ray felt abandoned by Page, and started to side more and more with Wace and Collins. Page though was still trying to promote Ray's songwriting. Some of this, like the album "Kinky Music" by the Larry Page Orchestra, released during the tour, was possibly not the kind of promotion that anyone wanted, though some of it has a certain kitsch charm: [Excerpt: The Larry Page Orchestra, "All Day And All Of The Night"] Incidentally, the guitarist on that album was Jimmy Page, who had previously played rhythm guitar on a few Kinks album tracks. But other stuff that Larry Page was doing would be genuinely helpful. For example, on the tour he had become friendly with Stone and Greene, the managers who we heard about in the Buffalo Springfield episode. At this point they were managing Sonny and Cher, and when they came over to the UK, Page took the opportunity to get Cher into the studio to cut a version of Ray's "I Go to Sleep": [Excerpt: Cher, "I Go to Sleep"] Most songwriters, when told that the biggest new star of the year was cutting a cover version of one of their tracks for her next album, would be delighted. Ray Davies, on the other hand, went to the session and confronted Page, screaming about how Page was stealing his ideas. And it was Page being marginalised that caused "See My Friend" to be delayed, because while they were in the US, Page had produced the group in Gold Star Studios, recording a version of Ray's song "Ring the Bells", and Page wanted that as the next single, but the group had a contract with Shel Talmy which said he would be their producer. They couldn't release anything Talmy hadn't produced, but Page, who had control over the group's publishing with his business partner Kassner, wouldn't let them release "See My Friend". Eventually, Talmy won out, and "See My Friend" became the group's next single. It made the top ten on the Record Retailer chart, the one that's now the official UK chart cited in most sources, but only number fifteen on the NME chart which more people paid attention to at the time, and only spent a few weeks on the charts. Ray spent the summer complaining in the music papers about how the track -- "the only one I've really liked", as he said at the time -- wasn't selling as much as it deserved, and also insulting Larry Page and boasting about his own abilities, saying he was a better singer than Andy Williams and Tony Bennett. The group sacked Larry Page as their co-manager, and legal battles between Page and Kassner on one side and Collins and Wace on the other would continue for years, tying up much of the group's money. Page went on to produce a new band he was managing, making records that sounded very like the Kinks' early hits: [Excerpt: The Troggs, "Wild Thing"] The Kinks, meanwhile, decided to go in a different direction for their new EP, Kwyet Kinks, an EP of mostly softer, folk- and country-inspired songs. The most interesting thing on Kwyet Kinks was "Well-Respected Man", which saw Ray's songwriting go in a completely different direction as he started to write gentle social satires with more complex lyrics, rather than the repetitive riff-based songs he'd been doing before. That track was released as a single in the US, which didn't have much of an EP market, and made the top twenty there, despite its use of a word that in England at the time had a double meaning -- either a cigarette or a younger boy at a public school who has to be the servant of an older boy -- but in America was only used as a slur for gay people: [Excerpt: The Kinks, "Well Respected Man"] The group's next album, The Kink Kontroversy, was mostly written in a single week, and is another quickie knockoff album. It had the hit single "Til the End of the Day", another attempt at getting back to their old style of riffy rockers, and one which made the top ten. It also had a rerecorded version of "Ring the Bells", the song Larry Page had wanted to release as a single: [Excerpt: The Kinks, "Ring the Bells"] I'm sure that when Ray Davies heard "Ruby Tuesday" a little over a year later he didn't feel any better about the possibility that people were stealing his ideas. The Kink Kontroversy was a transitional album for the group in many ways. It was the first album to prominently feature Nicky Hopkins, who would be an integral part of the band's sound for the next three years, and the last one to feature a session drummer (Clem Cattini, rather than Avory, played on most of the tracks). From this point on there would essentially be a six-person group of studio Kinks who would make the records -- the four Kinks themselves, Rasa Davies on backing vocals, and Nicky Hopkins on piano. At the end of 1965 the group were flailing, mired in lawsuits, and had gone from being the third biggest group in the country at the start of the year to maybe the tenth or twentieth by the end of it. Something had to change. And it did with the group's next single, which in both its sound and its satirical subject matter was very much a return to the style of "Well Respected Man". "Dedicated Follower of Fashion" was inspired by anger. Ray was never a particularly sociable person, and he was not the kind to do the rounds of all the fashionable clubs like the other pop stars, including his brother, would. But he did feel a need to make some kind of effort and would occasionally host parties at his home for members of the fashionable set. But Davies didn't keep up with fashion the way they did, and some of them would mock him for the way he dressed. At one such party he got into a fistfight with someone who was making fun of his slightly flared trousers, kicked all the guests out, and then went to a typewriter and banged out a lyric mocking the guest and everyone like him: [Excerpt: The Kinks, "Dedicated Follower of Fashion"] The song wasn't popular with Ray's bandmates -- Dave thought it was too soft and wimpy, while Quaife got annoyed at the time Ray spent in the studio trying to make the opening guitar part sound a bit like a ukulele. But they couldn't argue with the results -- it went to number five on the charts, their biggest success since "Tired of Waiting for You" more than a year earlier, and more importantly in some ways it became part of the culture in a way their more recent singles hadn't. "Til The End of the Day" had made the top ten, but it wasn't a record that stuck in people's minds. But "Dedicated Follower of Fashion" was so popular that Ray soon got sick of people coming up to him in the street and singing "Oh yes he is!" at him. But then, Ray was getting sick of everything. In early 1966 he had a full-scale breakdown, brought on by the flu but really just down to pure exhaustion. Friends from this time say that Ray was an introverted control freak, always neurotic and trying to get control and success, but sabotaging it as soon as he attained it so that he didn't have to deal with the public. Just before a tour of Belgium, Rasa gave him an ultimatum -- either he sought medical help or she would leave him. He picked up their phone and slammed it into her face, blacking her eye -- the only time he was ever physically violent to her, she would later emphasise -- at which point it became imperative to get medical help for his mental condition. Ray stayed at home while the rest of the band went to Belgium -- they got in a substitute rhythm player, and Dave took the lead vocals -- though the tour didn't make them any new friends. Their co-manager Grenville Collins went along and with the tact and diplomacy for which the British upper classes are renowned the world over, would say things like “I understand every bloody word you're saying but I won't speak your filthy language. De Gaulle won't speak English, why should I speak French?” At home, Ray was doing worse and worse. When some pre-recorded footage of the Kinks singing "Dedicated Follower of Fashion" came on the TV, he unplugged it and stuck it in the oven. He said later "I was completely out of my mind. I went to sleep and I woke up a week later with a beard. I don't know what happened to me. I'd run into the West End with my money stuffed in my socks, I'd tried to punch my press agent, I was chased down Denmark Street by the police, hustled into a taxi by a psychiatrist and driven off somewhere. And I didn't know. I woke up and I said, ‘What's happening? When do we leave for Belgium?' And they said, ‘Ray it's all right. You had a collapse. Don't worry. You'll get better.'” He did get better, though for a long time he found himself unable to listen to any contemporary rock music other than Bob Dylan -- electric guitars made him think of the pop world that had made him ill -- and so he spent his time listening to classical and jazz records. He didn't want to be a pop star any more, and convinced himself he could quit the band if he went out on top by writing a number one single. And so he did: [Excerpt: The Kinks, "Sunny Afternoon"] Or at least, I say it's a single he wrote, but it's here that I finally get to a point I've been dancing round since the beginning of the episode. The chorus line, "In the summertime", was Rasa's suggestion, and in one of the only two interviews I've ever come across with her, for Johnny Rogan's biography of Ray, she calls the song "the only one where I wrote some words". But there's evidence, including another interview with her I'll talk about in a bit, that suggests that's not quite the case. For years, I thought it was an interesting coincidence that Ray Davies' songwriting ability follows a curve that almost precisely matches that of his relationship with Rasa. At the start, he's clearly talented -- "You Really Got Me" is a great track -- but he's an unformed writer and most of his work is pretty poor stuff. Then he marries Rasa, and his writing starts to become more interesting. Rasa starts to regularly contribute in the studio, and he becomes one of the great songwriters of his generation. For a five-year period in the mid-to-late-sixties, the period when their marriage is at its strongest, Ray writes a string of classic songs that are the equal of any catalogue in popular music. Then around 1970 Rasa stops coming to the studio, and their marriage is under strain. The records become patchier -- still plenty of classic tracks, but a lot more misses. And then in 1973, she left him, and his songwriting fell off a cliff. If you look at a typical Ray Davies concert setlist from 2017, the last time he toured, he did twenty songs, of which two were from his new album, one was the Kinks' one-off hit "Come Dancing" from 1983, and every other song was from the period when he and Rasa were married. Now, for a long time I just thought that was interesting, but likely a coincidence. After all, most rock songwriters do their most important work in their twenties, divorces have a way of messing people's mental health up, musical fashions change… there are a myriad reasons why these things could be like that. But… the circumstantial evidence just kept piling up. Ray's paranoia about people stealing his ideas meant that he became a lot more paranoid and secretive in his songwriting process, and would often not tell his bandmates the titles of the songs, the lyrics, or the vocal melody, until after they'd recorded the backing tracks -- they would record the tracks knowing the chord changes and tempo, but not what the actual song was. Increasingly he would be dictating parts to Quaife and Nicky Hopkins in the studio from the piano, telling them exactly what to play. But while Pete Quaife thought that Ray was being dictatorial in the studio and resented it, he resented something else more. As late as 1999 he was complaining about, in his words, "the silly little bint from Bradford virtually running the damn studio", telling him what to do, and feeling unable to argue back even though he regarded her as "a jumped-up groupie". Dave, on the other hand, valued Rasa's musical intuition and felt that Ray was the same. And she was apparently actually more up-to-date with the music in the charts than any of the band -- while they were out on the road, she would stay at home and listen to the radio and make note of what was charting and why. All this started to seem like a lot of circumstantial evidence that Rasa was possibly far more involved in the creation of the music than she gets credit for -- and given that she was never credited for her vocal parts on any Kinks records, was it too unbelievable that she might have contributed to the songwriting without credit? But then I found the other interview with Rasa I'm aware of, a short sidebar piece I'll link in the liner notes, and I'm going to quote that here: "Rasa, however, would sometimes take a very active role during the writing of the songs, many of which were written in the family home, even on occasion adding to the lyrics. She suggested the words “In the summertime” to ‘Sunny Afternoon', it is claimed. She now says, “I would make suggestions for a backing melody, sing along while Ray was playing the song(s) on the piano; at times I would add a lyric line or word(s). It was rewarding for me and was a major part of our life.” That was enough for me to become convinced that Rasa was a proper collaborator with Ray. I laid all this out in a blog post, being very careful how I phrased what I thought -- that while Ray Davies was probably the principal author of the songs credited to him (and to be clear, that is definitely what I think -- there's a stylistic continuity throughout his work that makes it very clear that the same man did the bulk of the work on all of it), the songs were the work of a writing partnership. As I said in that post "But even if Rasa only contributed ten percent, that seems likely to me to have been the ten percent that pulled those songs up to greatness. Even if all she did was pull Ray back from his more excessive instincts, perhaps cause him to show a little more compassion in his more satirical works (and the thing that's most notable about his post-Rasa songwriting is how much less compassionate it is), suggest a melodic line should go up instead of down at the end of a verse, that kind of thing… the cumulative effect of those sorts of suggestions can be enormous." I was just laying out my opinion, not stating anything as a certainty, though I was morally sure that Rasa deserved at least that much credit. And then Rasa commented on the post, saying "Dear Andrew. Your article was so informative and certainly not mischaracterised. Thank you for the 'history' of my input working with Ray. As I said previously, that time was magical and joyous." I think that's as close a statement as we're likely to get that the Kinks' biggest hits were actually the result of the songwriting team of Davies and Davies, and not of Ray alone, since nobody seems interested at all in a woman who sang on -- and likely co-wrote -- some of the biggest hit records of the sixties. Rasa gets mentioned in two sentences in the band's Wikipedia page, and as far as I can tell has only been interviewed twice -- an extensive interview by Johnny Rogan for his biography of Ray, in which he sadly doesn't seem to have pressed her on her songwriting contributions, and the sidebar above. I will probably continue to refer to Ray writing songs in this and the next episode on the Kinks, because I don't know for sure who wrote what, and he is the one who is legally credited as the sole writer. But… just bear that in mind. And bear it in mind whenever I or anyone else talk about the wives and girlfriends of other rock stars, because I'm sure she's not the only one. "Sunny Afternoon" knocked "Paperback Writer" off the number one spot, but by the time it did, Pete Quaife was out of the band. He'd fallen out with the Davies brothers so badly that he'd insisted on travelling separately from them, and he'd been in a car crash that had hospitalised him for six weeks. They'd quickly hired a temporary replacement, John Dalton, who had previously played with The Mark Four, the group that had evolved into The Creation. They needed him to mime for a TV appearance pretty much straight away, so they asked him "can you play a descending D minor scale?" and when he said yes he was hired -- because the opening of "Sunny Afternoon" used a trick Ray was very fond of, of holding a chord in the guitars while the bass descends in a scale, only changing chord when the notes would clash too badly, and then changing to the closest possible chord: [Excerpt: The Kinks, "Sunny Afternoon"] Around this time, the group also successfully renegotiated their contract with Pye Records, with the help of a new lawyer they had been advised to get in touch with -- Allen Klein. As well as helping renegotiate their contracts, Klein also passed on a demo of one of Ray's new songs to Herman's Hermits. “Dandy” was going to be on the Kinks' next album, but the Hermits released it as a single in the US and took it into the top ten: [Excerpt: Herman's Hermits, “Dandy”] In September, Pete Quaife formally quit the band -- he hadn't played with them in months after his accident -- and the next month the album Face To Face, recorded while Quaife was still in the group, was released. Face to Face was the group's first really solid album, and much of the album was in the same vein as "Sunny Afternoon" -- satirical songs that turned on the songwriter as much as on the people they were ostensibly about. It didn't do as well as the previous albums, but did still make the top twenty on the album chart. The group continued work, recording a new single, "Dead End Street", a song which is musically very similar to "Sunny Afternoon", but is lyrically astonishingly bleak, dealing with poverty and depression rather than more normal topics for a pop song. The group produced a promotional film for it, but the film was banned by the BBC as being in bad taste, as it showed the group as undertakers. But the single happened to be released two days after the broadcast of "Cathy Come Home", the seminal drama about homelessness, which suddenly brought homelessness onto the political agenda. While "Dead End Street" wasn't technically about homelessness, it was close enough that when the TV programme Panorama did a piece on the subject, they used "Dead End Street" to soundtrack it. The song made the top five, an astonishing achievement for something so dark: [Excerpt: The Kinks, "Dead End Street"] But the track also showed the next possible breach in the Kinks' hitmaking team -- when it was originally recorded, Shel Talmy had produced it, and had a French horn playing, but after he left the session, the band brought in a trombone player to replace the French horn, and rerecorded it without him. They would continue working with him for a little while, recording some of the tracks for their next album, but by the time the next single came out, Talmy would be out of the picture for good. But Pete Quaife, on the other hand, was nowhere near as out of the group as he had seemed. While he'd quit the band in September, Ray persuaded him to rejoin the band four days before "Dead End Street" came out, and John Dalton was back to working in his day job as a builder, though we'll be hearing more from him. The group put out a single in Europe, "Mr. Pleasant", a return to the style of "Well Respected Man" and "Dedicated Follower of Fashion": [Excerpt: The Kinks, “Mr. Pleasant”] That was a big hit in the Netherlands, but it wasn't released in the UK. They were working on something rather different. Ray had had the idea of writing a song called "Liverpool Sunset", about Liverpool, and about the decline of the Merseybeat bands who had been at the top of the profession when the Kinks had been starting out. But then the Beatles had released "Strawberry Fields Forever" and "Penny Lane", and Ray hadn't wanted to release anything about Liverpool's geography and look like he had stolen from them, given his attitudes to plagiarism. He said later "I sensed that the Beatles weren't going to be around long. When they moved to London, and ended up in Knightsbridge or wherever, I was still in Muswell Hill. I was loyal to my origins. Maybe I felt when they left it was all over for Merseybeat.” So instead, he -- or he and Rasa -- came up with a song about London, and about loneliness, and about a couple, Terry and Julie -- Terry was named after his nephew Terry who lived in Australia, while Julie's name came from Julie Christie, as she was then starring in a film with a Terry, Terrence Stamp: [Excerpt: The Kinks, "Waterloo Sunset"] It's interesting to look at the musical inspirations for the song. Many people at the time pointed out the song's similarity to "Winchester Cathedral" by the New Vaudeville Band, which had come out six months earlier with a similar melody and was also named after a place: [Excerpt: The New Vaudeville Band, "Winchester Cathedral"] And indeed Spike Milligan had parodied that song and replaced the lyrics with something more London-centric: [Excerpt: Spike Milligan, "Tower Bridge"] But it seems likely that Ray had taken inspiration from an older piece of music. We've talked before about Ferd Grofe in several episodes -- he was the one who orchestrated the original version of "Rhapsody in Blue", who wrote the piece of music that inspired Don Everly to write "Cathy's Clown", and who wrote the first music for the Novachord, the prototype synthesiser from the 1930s. As we saw earlier, Ray was listening to a lot of classical and jazz music rather than rock at this point, and one has to wonder if, at some point during his illness the previous year, he had come across Metropolis: A Blue Fantasy, which Grofe had written for Paul Whiteman's band in 1928, very much in the style of "Rhapsody in Blue", and this section, eight and a half minutes in, in particular: [Excerpt: Paul Whiteman, "Metropolis: A Blue Fantasy" ] "Waterloo Sunset" took three weeks to record. They started out, as usual, with a backing track recorded without the rest of the group knowing anything about the song they were recording -- though the group members did contribute some ideas to the arrangement, which was unusual by this point. Pete Quaife contributed to the bass part, while Dave Davies suggested the slapback echo on the guitar: [Excerpt: The Kinks, "Waterloo Sunset, Instrumental Take 2"] Only weeks later did they add the vocals. Ray had an ear infection, so rather than use headphones he sang to a playback through a speaker, which meant he had to sing more gently, giving the vocal a different tone from his normal singing style: [Excerpt: The Kinks, "Waterloo Sunset"] And in one of the few contributions Rasa made that has been generally acknowledged, she came up with the "Sha la la" vocals in the middle eight: [Excerpt: The Kinks, "Waterloo Sunset"] And the idea of having the track fade out on cascading, round-like vocals: [Excerpt: The Kinks, "Waterloo Sunset"] Once again the Kinks were at a turning point. A few weeks after "Waterloo Sunset" came out, the Monterey Pop Festival finally broke the Who in America -- a festival the Kinks were invited to play, but had to turn down because of their visa problems. It felt like the group were being passed by -- Ray has talked about how "Waterloo Sunset" would have been another good point for him to quit the group as he kept threatening to, or at least to stay home and just make the records, like Brian Wilson, while letting the band tour with Dave on lead vocals. He decided against it, though, as he would for decades to come. That attitude, of simultaneously wanting to be part of something and be a distanced, dispassionate observer of it, is what made "Waterloo Sunset" so special. As Ray has said, in words that seem almost to invoke the story of Moses: "it's a culmination of all my desires and hopes – it's a song about people going to a better world, but somehow I stayed where I was and became the observer in the song rather than the person who is proactive . . . I did not cross the river. They did and had a good life apparently." Ray stayed with the group, and we'll be picking up on what he and they did next in about a year's time. "Waterloo Sunset" went to number two on the charts, and has since become the most beloved song in the Kinks' whole catalogue. It's been called "the most beautiful song in the English language", and "the most beautiful song of the rock 'n' roll era", though Ray Davies, ever self-critical when he's not being self-aggrandising, thinks it could be improved upon. But most of the rest of us disagree. As the song itself says, "Waterloo Sunset's fine".

Label: Arista 9016Year: 1983Condition: M-Last Price: $12.00. Not currently available for sale.A well deserved hit from the early 1980's, this was the Kinks' last visit to the U.S. top 10. The A side is an edited version of the 4:34 album track, while the B side is a previously unreleased, non-album cut. Also released on Arista 1054. Note: This beautiful copy comes in a Near Mint picture sleeve. It has Mint labels and pristine audio.

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https://give.cornerstone.cc/wholesoulmasterydonateIn Part 2 of this 2-Part Video Series, I share timely insights about February 2022's Energies and the opportunity we have to transmute the choices, struggles, pain, karma, and challenges of the Original Adam and Eve ~ so we can rise and be Emancipated Adam and Eve Avatars returning to God's 5D Garden of Eden today.  Marinades themes include when the shadows come dancing, what will you choose?  Collusion with the Shadows?  Or Liberation in the Light?  The Age of Shadows is coming to a close.  We are here to reset the Dis-Adamed Adams and the Dis-Eved Eves.  We are The Great Awakeners of The Great Awakening!  Join me for a fabulous conversation about these powerful energies and the emerging opportunities to transcend these times!   Part 1 of this 2-Part Video Series is an Energy Update for February 2022+ from The Arcturian Collective. It offers a bigger picture lens to empower humanity to more clearly and successfully navigate the profound shifts in human consciousness that are happening in our daily lives. In this transmission, key themes include Releasing False Stories, Adams & Eves Rising, Revelations, & Integrations. The Guides spotlight how when shadows come dancing, the Living Light & Divine Awareness usher in The Great Awakening ever deeper for us all! This is a powerful transmission for February 2022 ~ inviting us to really consider the false stories and contracts we have accepted, embraced, and empowered through the biblical serpent's manipulations . . . and to release them.  As we rise in this way, we make room for our Divine Avatars and the Brave Epic Heroes inside us to emerge and shine in the Great 5D+ Garden of Eden.  It Is Time!  Thank you for joining me and please share with others who might resonate and benefit from these insights.  You can tune into the original transmission and video here:  https://youtu.be/hV3tXf8t9eoPlease like, subscribe, and share!Interested in a Soul Reading?  Or Vibration Coaching?  More Inspirational Messages and Products?  Please visit:https://frequencywriter.com​​​​Or email: info@frequencywriter.comTo listen to more amazing podcasts and insightful broadcasts, or to make a donation, visit:  http://www.wholesoulschoolandfoundation.orgTo donate: https://give.cornerstone.cc/wholesoulschoolandfoundationTo shop our apparel: https://www.bonfire.com/store/whole-soul-school-and-foundation/Thank you!Follow me via Whole Soul Mastery:Rumble.com: https://rumble.com/c/c-353585​​​​UgeTube: https://ugetube.com/@wholesoulmastery...Telegram: https://t.me/wholesoulmasteryTune into Frequency Writer Transmissions & Marinades, Whole Soul Mastery Podcasts with Amazing Guests, and Whole Soul School and Foundation's variety of inspiring podcasts via:Spotify, Apple iTunes, Buzzsprout, Stitcher, iHeartRadio, Google Play Music + other favorite podcast platforms Search:  Whole Soul Mastery or Whole Soul School and FoundationIf would like to support me and my work directly, please send donations to: https://give.cornerstone.cc/wholesoulmasterydonateYou can also mail donations to:Marie Mohler/Whole Soul Mastery1289 Fordham Blvd., Suite 259Chapel Hill, NC 27514Every donation is appreciated! Thank you

https://give.cornerstone.cc/wholesoulmasterydonatePart 1 of this 2-Part Video Series is an Energy Update for February 2022+ from The Arcturian Collective. It offers a bigger picture lens to empower humanity to more clearly and successfully navigate the profound shifts in human consciousness that are happening in our daily lives. In this transmission, key themes include Releasing False Stories, Adams & Eves Rising, Revelations, & Integrations. The Guides spotlight how when shadows come dancing, the Living Light & Divine Awareness usher in The Great Awakening ever deeper for us all! This is a powerful transmission for February 2022 ~ inviting us to really consider the false stories and contracts we have accepted, embraced, and empowered through the biblical serpent's manipulations . . . and to release them.  As we rise in this way, we make room for our Divine Avatars and the Brave Epic Heroes inside us to emerge and shine in the Great 5D+ Garden of Eden.  It Is Time!  Thank you for joining me and please share with others who might resonate and benefit from these insights.In Part 2 of this 2-Part Video Series, I share deeper and timely insights about the Energies of February 2022 and the opportunity we all have to transmute the choices, struggles, pain, karma, and challenges of the Original Adam and Eve, so we can rise and be the Epic and Risen Adam and Eve Avatars returning to God's 5D Garden of Eden now in these times!  The Living Light summons everything to the surface now in our daily consciousness and awareness.  But we can learn to dance as the shadows rise and as our divine awareness empowers new strength inside us!  You will be able to tune into those messages when they release on Saturday, January 29th.  Please like, subscribe, and share!Interested in a Soul Reading?  Or Vibration Coaching?  More Inspirational Messages and Products?  Please visit:https://frequencywriter.com​​​​Or email: info@frequencywriter.comTo listen to more amazing podcasts and insightful broadcasts, or to make a donation, visit:  http://www.wholesoulschoolandfoundation.orgTo donate: https://give.cornerstone.cc/wholesoulschoolandfoundationTo shop our apparel: https://www.bonfire.com/store/whole-soul-school-and-foundation/Thank you!Follow me via Whole Soul Mastery:Gab.com: https://gab.com/wholesoulmastery​​​​Rumble.com: https://rumble.com/c/c-353585​​​​Minds.com: https://www.minds.com/wholesoulmaster...UgeTube: https://ugetube.com/@wholesoulmastery...Tune into Frequency Writer Transmissions & Marinades, Whole Soul Mastery Podcasts with Amazing Guests, and Whole Soul School and Foundation's variety of inspiring podcasts via:Spotify, Apple iTunes, Buzzsprout, Stitcher, iHeartRadio, Google Play Music + other favorite podcast platforms Search:  Whole Soul Mastery or Whole Soul School and FoundationIf would like to support me and my work directly, please send donations to: https://give.cornerstone.cc/wholesoulmasterydonateYou can also mail donations to:Marie Mohler/Whole Soul Mastery1289 Fordham Blvd., Suite 259Chapel Hill, NC 27514Every donation is appreciated! Thank you

My guest on this episode, Victor Chen, is a Real Martial Artist and a Modern Day Philosopher. He is a star in his own right, as an actor and a stunt coordinator in feature films. We discuss getting to the very core of talent, moving away the layers of support stars in the film, dance and tech world. Using ones intrigue and investigation to create our own opportunities. Victor being inspired by Ninja Turtles and me by dancers on Come Dancing in the 1980's! Whilst all of this seems not to relate to tech, at its core we are all inspired by others to just have a go at whatever it is we want to achieve in life. Topics:PhilosophyFilm and TVHaving longevity in ones careerTech within Martial ArtsPositive FunctionalityNot always being focused on the end result and a quick fixSocial Media and Martial ArtsBuild a strong foundation in any fieldProcess behind the initial presentationGet a coach if you want to progress!Dream for Martial Arts, Philosophy and Tech to become an integral part of EducationNo quick fixKeep going Sign Up for more Philosophy Tips and Martial Arts from Victor: http://eepurl.com/hQ-OVf Victor: https://www.instagram.com/vwc316/https://www.tiktok.com/@vwc316https://victorwc.com/ Lou: https://www.instagram.com/loutemlett/https://www.linkedin.com/in/louisetemlett/ TECH TALKS with Lou - email signup: http://eepurl.com/hPy02L MUSIC CREDIT:ARTIST: Maleki Ram | ALBUM: The Ghost at the End of the World | TRACK: The Rushhttps://music.apple.com/gb/album/the-rush/1098113666?i=1098113677 See acast.com/privacy for privacy and opt-out information.

Strictly Come Dancing would just be Come Dancing if it weren't for Baz Luhrmann's 1992 glitter-fest Strictly Ballroom, the film that made ballroom dancing cool and made us all want to learn the bogo-pogo. Take your partners and waltz with us this month into the crazy antipodean world of the Pan-Pacific championships, and see where it all began for Australia's most successful director.

Lee's back from warming up the audience at Strictly and he gives us all the backstage gossip and tells us what it was like being so close to that glitter ball.... and Adam Peaty! And Lauren is back after gallivanting in a hot tub all weekend living the fab life... and we discuss Halloween and Lauren's costume plans!Support the show (https://ko-fi.com/fablife)

As Boris confirms that restrictions are to be eased on July 19, the duo consider the implications of not only facing an increase in cases, but the mental health impact. Boris celebrates the NHS by gifting them the civilian equivalent of the military's Victoria Cross, the George's Cross. Everybody in the NHS receives one of these? Do the peripheral staff also receive them? The cooks, cleaners, receptionists, drivers... what about them too? Suppliers even?

Come Dancing- 11:55Waste- 23:15Regret- 44:35Josh from The FAMILY Cast shows up around 24:05All fans of the Toronto Maple Leafs can direct their anger at Dan, josh is staying out of this one. Some Almonte, Ontario trivia. Josh manages to shit talk The Kinks, Echo & The Bunnymen and Dead Prez. It's called "punching up".The  FAMILY CastPatreonPlaylist

Sam and Chrissie have a singalong; Harley Breen skypes in from his car; Shaun Micallef makes a smoothie live on air; Lord Mayor Sally Capp is taking Deano to the Flinders Street Ballroom; Chrissie's son has a steak that melts in his mouth; Sam gives Chrissie a lovely gift; and we ask you what your family says that no one else does.  A Nova Podcast Podcast Produced & Edited By Andy Zito Executive Producer: Jack Charles Producers: Victoria Wall & Brodie Pummeroy Additional Audio Production: Tim Mountford See omnystudio.com/listener for privacy information.

We hear another Mike Millard master recording of the Kinks at the LA Forum on April 25, 1983. This is the peak of The Kink's career, supporting Come Dancing. It's a great show and a great recording. High spirits. High energy. Hijinks.

Percy Edgar was there right at the start of the BBC. One of the first voices, he booked the acts, managed the station, then became Director of the Midland Region. He was the most influential regional director from 1922 to 1948, far outlasting Reith and, well, every other early radio pioneer I can think of. His grandson, the playwright David Edgar, has dusted down Percy's memoir and reads it for us on this our final special. Hear all about the foggy first night, the first children's programmes (including Susan the Blue Cat with Yellow Spots), the dancer who wouldn't stop moving, Edgar's encounters with Reith, his double act with A.E. Thompson, and the involvement of Percy's son (David's father) Barrie, who helped inspire the first regular children's programme, then went on to produce Come Dancing, Songs of Praise and Muffin the Mule amongst others. Most of this episode has David read his grandfather's words, but now and then we have cameo clips from Percy Edgar and A.E. Thompson too. We are indebted to David and the Edgar family for sharing the memoir with us. You can read along in its typewritten/hand-scrawled marvellousness on our Facebook page: https://www.facebook.com/BBCentury/posts/197527178633126 While you're there, join our group facebook.com/groups/bbcentury. We're also on twitter.com/bbcentury - and our host Paul can be followed at facebook.com/paul.kerensa and twitter.com/paulkerensa We hasten to add we have no connection to the BBC - we're talking about them not with them. Even then, we're talking about the BBCompany, not the BBCorporation... yet. We'll get to how what happens in about 50 episodes' time. Thank you for supporting the podcast, either via tips at paypal.me/paulkerensa or via monthly shrapnel in exchange for extra audio/video/writings on patreon.com/paulkerensa (some are broadcasting-specific, like my video interview with Diddy David Hamilton, some are wider writings and advance articles I write elsewhere). It all helps keep us in web-hosting and books - there's no profiteering here. Your ratings/reviews really help spread word of the podcast too - we're a one-man operation. Not that dissimilar from when Percy Edgar ran the show... Enjoy the episode! The full works are at bbcentury.podbean.com

In which Eamonn and Ben discuss David Fincher’s controversial addition to one of their favourite franchises, Alien 3. Eamonn reads a heartfelt poem, Ben recalls the time he got lost in a foreign country and things get competitive, when they guess each other’s top 5 prison movies.  "They think we're - we're crud!"

On today's Going in Circles LIVE we talk to trainer Luis Carvajal of Imperial Hint fame about life at his barn without his stable star. We also speak with trainer Carlos Martin about his Breeders Cup filly sprint contender Come Dancing and how his NY based stable is shaping up. Also additional commentary on the latest medication transgression by the Baffert barn in light of the news of today's newest violation. --- Send in a voice message: https://anchor.fm/charles-simon6/message

Buy a coffee for Mags and Bernard! http://www.ko-fi.com/longcatmedia (www.ko-fi.com/longcatmedia) Find out more: http://www.longcatmedia.com/ (www.longcatmedia.com) Greetings, fans of the esoteric! On Thursdays, Magenta reads from her second book, Madame Magenta and the Arcati Killer. Madame Magenta and the Arcati Killer is a detective novel told from the point of view of its eponymous heroine, a woman of flexible morality, an array of tasteful turbans, and an unfortunate case of genuine mystical powers. As it happens, Magenta's damnable abilities play little part in her day-to-day business as a psychic and medium for the North London area. Genuine esoteric insight would be more than her clients could handle, so generally-speaking she sticks to platitudes and incense to earn a living. Much to her irritation, this doesn't stop ghosts, angels and every loudmouth in the animal kingdom from interfering in her personal business. As if this wasn't troublesome enough, someone's going around bumping off London-based PSYCOWs (Psychics, Occultists, Wytches), and a dog named Bobo has just told her who's doing it. Magenta has little option but to pass the information onto her contact in the police force, Detective Inspector Eldris, before embarking on a little sleuthing of her own. In the process, she must reassure her husband Bernard that she's not having an affair with Eldris, babysit a ghost called Gaynor, and avoid the clutches of an old enemy who has recently been released from a terrorist detention centre. Will she live to tell the tale?! Yes. Yes, of course she will. Wouldn't be much of a comedy if she snuffed it. Support this podcast

Happy September 1st everybody, there's only a few months left of 2020. Don't worry this dreaded year is almost over! Guess who's back? Jason (Locked On Ducks) and Jared (Locked On Hurricanes) are back! Tell a friend. In this final crossover trilogy episode, we discuss hockey and some other interesting topics. Do you need something to watch on Disney+ ? Give it a listen!Follow Jared on Twitter: @jaredellis_96Follow Jason on Twitter: @StimpyJDSupport Us By Supporting Our Sponsors! Rock Auto: Amazing selection. Reliably low prices. All the parts your car will ever need. Visit RockAuto.com and tell them Locked On sent you.Door Dash: Right now, our listeners can get $5 off and zero delivery fees on their first order of $15 or more, when you download the DoorDash app and enter code LOCKEDONNHL. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Happy September 1st everybody, there's only a few months left of 2020. Don't worry this dreaded year is almost over! Guess who's back? Jason (Locked On Ducks) and Jared (Locked On Hurricanes) are back! Tell a friend. In this final crossover trilogy episode, we discuss hockey and some other interesting topics. Do you need something to watch on Disney+ ? Give it a listen! Follow Jared on Twitter: @jaredellis_96 Follow Jason on Twitter: @StimpyJD Support Us By Supporting Our Sponsors!  Rock Auto: Amazing selection. Reliably low prices. All the parts your car will ever need. Visit RockAuto.com and tell them Locked On sent you. Door Dash: Right now, our listeners can get $5 off and zero delivery fees on their first order of $15 or more, when you download the DoorDash app and enter code LOCKEDONNHL. Learn more about your ad choices. Visit megaphone.fm/adchoices

Russell Grant is one of the UK’s best-loved celebrities. He is a leading astrologer, specialist historian, author, theatrical all-rounder and BAFTA-nominated media personality.Russell is a prolific TV presenter, and star of shows like Celebrity of Come Dancing and Celebrity MasterchefIn this fun-packed episode of Thought and Leaders, Russell chats with Jonathan Gabay about his life and career, the future of pantomime post-COVID, his eerily accurate prediction in 2019 of COVID-19 and much more.Tune in, sit back and relax for a well-deserved treat.If you are looking for award-winning content, or have a fascinating story to share with the world, please DM or email reinvent@me.com(27 minutes listening time)

The Kinks are a band that seems to have some huge, HUGE adherents, and others who are more casual fans, and not much in between. And that seemed to reflect in their chart positions here in the United States. They'd get the positive reviews, they'd get the airplay, the singles would do well, but they'd never really tear up the charts. And then a little while later, maybe a year or two, new material would come out and the cycle would begin again. And every time a single dropped in both the US and the UK, it would do better in the UK. Except for this one. "Come Dancing" got a boost in the US from MTV airplay, and then in the UK from all the attention it was getting in the US, which prompted Arista Records to re-release the single. And for all that, it's The Kinks' highest-charting single, tied with another song from many years earlier. Which one? Go listen to the show. Click here for a transcript of this episode.

Craig has his glitter balls out and is out on tour. James Watt finds out about the show and his fab u lus careerSubscribe and tweet @jameswattuk @showtalkbiz

Third-generation trainer Carlos Martin prepares Come Dancing for the Filly & Mare Sprint. Plus, jockey Abel Cedillo bursts onto the sport's brightest stage.

Is theatre for everyone? And what can we do to bring down the barriers? Thos sits down with actor, singer, director and theatre creator, Stephen Lloyd to discuss the ethics of fully accessible theatre and to dissect his amazing career; from working with Ray Davies from the Kinks on Come Dancing, starring in the Ian Dury musical, Reasons to be Cheerful, and helping to launch the 2012 London Paralympics, it’s an episode literally worth popping the champagne for!

Tony Rock, manager of Ozanam house dropped into studio to talk about the work they do helping the community. He also spoke about how they are fundraising at the moment to try and raise money to keep the centre open for the Summer time. Producer Helena is helping the fundraising by taking part in Ozanam Come Dancing in March 2019. You can donate here - https://www.svp.ie/news-media/news/ozanam-come-dancing-is-back-in-2019.aspx See omnystudio.com/listener for privacy information.

Tony Rock, manager of Ozanam house dropped into studio to talk about the work they do helping the community. He also spoke about how they are fundraising at the moment to try and raise money to keep the centre open for the Summer time. Producer Helena is helping the fundraising by taking part in Ozanam Come Dancing in March 2019. You can donate here - https://www.svp.ie/news-media/news/ozanam-come-dancing-is-back-in-2019.aspx See omnystudio.com/listener for privacy information.

Our heroes join the Penelope Fay Formation Dancing Team and discover the dangerous world of ballroom dancing as they face off against the Delia Capone Ballroom Dancing Syndicate.

Part 2 of my conversation with guest Brian Salvatore as we look back at the music of 1983. Show notes: - Recorded via Skype - Check out Brian's new podcast Input/Output - Jay: Talking Heads, Robert Plant, Billy Idol, X, Motorhead, The Fixx, The Kinks - Lemmy and Brian Robertson didn't get along - "Come Dancing" is a great pop song - Brian's #5 - First exposure to Bowie music - Greg Dulli's great take on "Modern Love" - Binging on Bowie - Jay's #5 - The Police go out on top...and fighting - The Sting and Peter Gabriel tour could be interesting...or bad - Brian's #4 - The interesting story of Daniel Johnston - Jay's #4 - The American breakthrough for U2 - Jay: U2 was my favorite band through some of the '80s - Recent Paris concert was pretty good - To be continued   Completely Conspicuous is available through the iTunes podcast directory. Subscribe and write a review! The opening and closing theme of Completely Conspicuous is "Theme to Big F'in Pants" by Jay Breitling. Find out more about Senor Breitling at his fine music blog Clicky Clicky. Voiceover work is courtesy of James Gralian.

Sweeties and honeys, outsider grumbling, his name was Herb. Opening music: “Come Dancing” by Jeff Beck

So much stuff! We chat to Goodies fan artist Jenny Doyle, provide a commentary for Come Dancing (or 'Wicked Waltzing') and throw in a quiz. Enjoy!

Come dancing with the Swish Edition team for "The Music Men," our newest episode featuring up-and-coming out singer/songwriters Jonathan Bascope and Aiden Leslie. Both guys are heating up the charts and we have their newest singles. To keep the music theme going, we have Sherry Vine's newest song parody...she does Lady Gaga's "Born This Way," like you've never heard it before!Dale, Scott, Jason and Jonathan--who is also a member of DC's legendary DC Cowboys dancing group--talk about the Oscar shit show; the real "Born This Way" video premiere; the new cast of ABC's "Dancing with the Stars;" the Charlie Sheen and Christina Aguilera breakdowns; and they chat with Food & Friend's Craig Shniderman about next week's Dining Out For Life events worldwide.They also announce the 2nd of 3 Brent Everett Fleshjack giveaway winners and catch up with "Metro Weekly" for the news.And as a bonus, don't forget to check out our the 11 minute video we made from our trip to the Hippo in Baltimore last weekend. We co-hosted DJ Jason Royce's "Come Dancing" event that featured the hot young go-go dancers from Nitecamp! Not to be missed. It's at SwishEdition.com and on our YouTube page.Episode 123 is called, "The Music Men," and it's a must listen. Word.

For the second time in February, Steven J. Walker is back in-studio for our conversation with Eric Bogs, the publisher of the soon-to-be revived XY Magazine. The popular celebration of beautiful gay youth will be back better than ever, later in 2011 (the chat starts at the 47:20 mark). We also talk for the first time to Metro Weekly magazine co-publisher and editor-in-chief Randy Shulman for his take on this Sunday's Oscars as well as his magazine's second annual "25 Gay Films Everyone Should See" (listen at the 30:40 mark). You might be surprised what made (and what didn't make) their list.Other Episode 122 topics: Steve is getting his wisdom teeth out; Dale, Scott & Steve dance and watch girls do dirty things to each other; Justin Bieber gets a haircut and comes out as a little Republican; a Mexican brewery is marketing a new beer to the gays; Glee's Darren Criss comes out as straight (and shows off his hot hairy chest!); Facebook gets a little gayer; a 10 year-old covers Gaga and gets herself a record deal and a spot on Ellen; and, the boys play a new in-studio game: "Fuck, Marry, Kill."All that and the boys announce the winner of the first of three Brent Everett Fleshjacks that they're giving away. And don't forget the news, from MW's Sean Bugg (he's at the 60:06 mark).Oh, and we remind you that we're co-hosting "Come Dancing" at Batimore, Maryland's Hippo nightclub Saturday, February 26, where our own Jason Royce will be spinning the hottest dance hits and the pretty boys from Nitecamp will be performing. Come get one of our brand new trick cards!Episode 122 is called, "The Return of XY," and it's gay hilarity x10. We dare you to enjoy it with your favorite Fleshjack toy.

Henry Ford is best remembered as the father of the Model T and the assembly line, but his efforts to get the American people dancing is nearly forgotten.  Also learn about that small bump that appears around mosquito bites and a woman that bequeathed 24 quadrillion dollars to the poor.  Retrosponsored by the 1950 Ford. Learn more about your ad choices. Visit megaphone.fm/adchoices

Henry Ford is best remembered as the father of the Model T and the assembly line, but his efforts to get the American people dancing is nearly forgotten.  Also learn about that small bump that appears around mosquito bites and a woman that bequeathed 24 quadrillion dollars to the poor.  Retrosponsored by the 1950 Ford. Learn more about your ad choices. Visit megaphone.fm/adchoices

Peter West is one of our most versatile broadcasters; his television career has ranged from Come Dancing to specialist sports, particularly cricket. In conversation with Michael Parkinson, he looks back on his career in broadcasting and journalism and, in choosing his records to take to the mythical island, reveals a Catholic taste in music. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: Spartacus by Aram Khachaturian Book: Oxford Book of Quotations Luxury: Set of gardening tools

Peter West is one of our most versatile broadcasters; his television career has ranged from Come Dancing to specialist sports, particularly cricket. In conversation with Michael Parkinson, he looks back on his career in broadcasting and journalism and, in choosing his records to take to the mythical island, reveals a Catholic taste in music.[Taken from the original programme material for this archive edition of Desert Island Discs]Favourite track: Spartacus by Aram Khachaturian Book: Oxford Book of Quotations Luxury: Set of gardening tools