Podcasts about Cozy Powell

Let Us Know What You Think of the Show!Date: May 28, 2025Name of podcast: Backstage Pass RadioS8: E6: Graham Bonnet & Beth-Ami Heavenstone - The Legend and the Forever FriendSHOW SUMMARY:Rock legend Graham Bonnet and bassist/manager Beth-Ami Heavenstone invite listeners into their world for an intimate conversation about music, recovery, and what's next for the Graham Bonnet Band. Fresh from battling COVID-19, the pair reflects on the unique challenges vocalists face—a sentiment Bonnet captures perfectly when he states, "The voice is the hardest instrument to play... the guitar is easy compared to this."  The conversation weaves through exciting announcements about their upcoming live DVD recorded at the historic Whiskey a Go Go, a venue deeply meaningful to both artists as their first performance space together. Fans will be thrilled to learn about the band's fourth studio album in progress, featuring a special collaboration with Iron Maiden's Bruce Dickinson. Bonnet shares his creative process, including a touching tribute song to the underappreciated guitar virtuoso Rory Gallagher, revealing the thoughtful songwriter behind the powerful voice.  Some of the most compelling moments emerge when Bonnet opens up about his remarkable past—from his early connection to the Bee Gees (his cousin Trevor Gordon was originally part of the group in Australia) to his heartfelt remembrance of drummer Cozy Powell, whose 1998 passing still visibly moves him. The emotional gravity in Bonnet's voice as he recalls seeing two rainbows touch the hillside after learning of Powell's death demonstrates that behind the legendary rock persona is a deeply feeling human being who treasures these connections.  Between European tour preparations, managing multiple projects, and their life together raising chickens in LA, Bonnet and Heavenstone offer a refreshingly authentic glimpse into their world. Their playful banter and surprising personal revelations—Graham's unexpected love for figure skating and Antiques Roadshow, Beth-Ami's bird watching hobby—create a warm, inviting atmosphere that makes listeners feel like they're sitting in their living room. Whether you've followed Graham's career for decades or are discovering his extraordinary voice for the first time, this conversation captures the spirit of a rock legend who remains humble, creative, and utterly passionate about music.Sponsor Link:WWW.ECOTRIC.COMWWW.SIGNAD.COMWWW.RUNWAYAUDIO.COMBackstage Pass Radio Social Media Handles:Facebook - @backstagepassradiopodcast @randyhulseymusicInstagram - @Backstagepassradio @randyhulseymusicTwitter - @backstagepassPC @rhulseymusicWebsite - backstagepassradio.com and randyhulsey.comArtist(s) Web PageCall to actionWe ask our listeners to like, share, and subscribe to the show and the artist's social media pages. This enables us to continue pushing great content to the consumer.  Thank you for being a part of Backstage Pass Radio Your Host,Randy Hulsey 

ABOUT ​DON AIREY: Don has been a player on the rock scene for over 50 years, notching up almost 200 album credits & associations with major bands including Cozy Powell's Hammer, Colosseum II, Andrew Lloyd Webber, Ritchie Blackmore's Rainbow, Ozzy Osbourne, Whitesnake, Jethro Tull, ELO & has been in Deep Purple since 2001​. His latest solo album is out now called, "Pushed To The Edge". ABOUT THE PODCAST:  Candid discussions with and about those behind the scenes in the music business including industry veterans representing the segments of: Musician, Design & Live ABOUT THE HOSTS: All three Music Buzzz Podcast hosts (Dane Clark, Hugh Syme and Andy Wilson) have spent their careers working with the biggest names in entertainment and have been, and still are, a fly on the wall. Learn more about your ad choices. Visit megaphone.fm/adchoices

Deep Purple, Rainbow, Black Sabbath, Michael Schenker Group… Purplen sukupuun äärellä paneudutaan maailman parhaisiin hard rock – ja hevilevyihin kautta aikojen. Reidar Palmgren ja Sami Ruokangas käyvät läpi suosikkejaan kiemuraisesta Deep Purple -sukukartasta. Purppuranmustasta sukupuusta käsitellään ensimmäisessä jaksossa levyt: Deep Purple: Burn (1974), Rainbow: Rising (1976), Rainbow: Down to Earth (1979), Black Sabbath: Heaven and Hell (huhtikuu 1980), Whitesnake: Ready An´ Willing (toukokuu 1980) ja Michael Schenker Group: Assault Attack (1982). Jakson soittolista: https://open.spotify.com/playlist/4fEFzzreD1qFAVxtJT4No8?si=c85f4c80a77748ad Menossa ovat mukana Uriah Heep, UFO, Von Herzen Brothers, Michael Schenker, Ritchie Blackmore, Ian Gillan, Roger Glover, Episode Six, Trapeze, Glenn Hughes, David Coverdale, Led Zeppelin, Pauli Kauppila, George Gershwin, Ricky Nelson, Jon Lord, Yngwie Malmsteen, Rainbow, Ronnie James Dio, Whitesnake, Ian Paice, Micky Moody, Bernie Marsden, Tommy Bolin, Elf, Cozy Powell, Jimmy Bain, Vivian Campbell, Dio, Def Leppard, Wild Horses, Thin Lizzy, Brian Robertson, Neil Carter, Clive Edwards, Tony Carey, Axel Rudi Pell, Over The Rainbow, Jeff Beck, Gary Moore, Don Airey, Kirka, Bee Gees, Gibb Brothers, Graham Bonnet, Alcatrazz, Steve Vai, David Lee Roth, Monsters Of Rock, Touch, Saxon, Riot, Nazareth, The Butterfly Ball and the Grasshopper's Feast, Rory Gallagher, Judas Priest, Mark Mangold, Motörhead, Def Leppard, Iron Maiden, Angel Witch, Witchfynde, Tygers Of Pan Tang, John Sykes, Metallica, Venom, Tony Iommi, Sapattivuosi, Marco Hietala, Ozzy Osbourne, Vinny Appice, Carmine Appice, Geezer Butler, Bill Ward, Nirvana, Aki Blomberg, MTV, Free, Andy Fraser, California Jam, Neil Murray, Allman Brothers Band, Lynyrd Skynyrd, Robert Plant, Paul Rodgers, Joe Lynn Turner, Baby Face, Phil Lynott, Bad Company, Mick Ralphs, Led Zeppelin, The Who, Martin Birch, Peter Green, Fleetwood Mac, Judas Priest, Blue Öyster Cult, Alex Harvey Band, Chris Glen, Ted McKenna, KISS, Aerosmith, Randy Rhoads, Robin McAuley, Gary Barden, Derek St. Holmes, Andy Nye ja Jack Douglas. RATB somessa: https://www.facebook.com/RockAroundTheBlogFinland/ https://www.instagram.com/samiruokangas

Drummer Bob Pantella of Atomic Bitchwax & Monster Magnet talks about AB's recent 25 year anniversary tour, some of their longer tours, how he built up his own studio in New Jersey, his favorite Franken-Kit in the studio for recording, we revisit some of our favorite rock drummers from the 70's/80's; Ian Paice, Cozy Powell, Carmine & Vinnie Appice as well as Dio's guitarist Vivian Campbell's questionable firing, Sharon Osbourne's evermore questionable decision on Bob Daisley & Lee Kerslake's tracks on the first two Ozzy records,the cast of nefarious characters Bob picked up while driving yellow cab in NY in the 80's plus much more!

Lynyrd Skynyrd was a success with their debut album, and continued to build a fan base when they opened for The Who on their Quadrophenia tour.  Many of the songs on their debut album were staples of their concerts in Jacksonville, Florida, where they had built their style over the years since the 60's.  Therefore it was not a sure thing that they would be able to sustain their success over time.  Those concerns were put to rest when they released their second album.Second Helping, a southern colloquialism for getting more of the same thing at the dinner table, cemented Lynyrd Skynyrd as the flag bearer for the Southern Rock genre.  At a time when a number of British artists - most notably the Rolling Stones - were digging into the rock and blues music of the American South, Lynyrd Skynyrd was the real thing.  They rode the power of their triple guitar set and the wit of Ronnie Van Zandt's lyrics to a commercial success, with the album going to number 12 on the Billboard 200 chart and certified as gold by September 1974.  While contemporary critics were more lukewarm, those reviews have been revised way upward over time.  Second Helping also contains the biggest hit of the group as well, the Southern anthem "Sweet Home Alabama."Lynyrd Skynyrd would go on to produce many more hit songs and records in the southern rock genre before tragedy took front man Ronnie Van Zant, Steve Gaines, and backup singer Cassie Gaines in October 1977.  But Second Helping is the album that solidified their standing as an internationally successful band.Wayne takes us through this album for this week's podcast, and Brian Dickhute joins us in Bruce's absence. The Needle and the SpoonThis song would not be the only anti-drug track in the Skynyrd discography.  The lyrics describe a man coming out of rehab, and makes use of a wah wah pedal effect that was not common to most of Skynyrd's music, but fit with the heroin subject of the song.  Swamp MusicAlthough not released as a single, this song got plenty of air play on FM radio, as did most of the tracks on this album.  This fast -paced track describes life in the Florida swamps.  The members of Lynyrd Skynyrd were well acquainted with outdoor life, fishing for catfish, hunting, and other "redneck" activities.Sweet Home AlabamaEveryone knows this anthem of Southern rock.  This song was written in response to Neil Young's "Southern Man," in which the band felt like the entire Southern United States was blamed for slavery.  Between the hook of the leading riff and the catchy lyrics, this song has become a staple of classic rock. This is Skynyrd's only top 10 hit, as it went to number 8 on the US charts.  Interestingly, none of the band members are from Alabama.Don't Ask Me No QuestionsGary Rossington and Ronnie Van Zandt wrote this song during a fishing trip.  Many think this is about a relationship, but it was a message to the record managers who were apathetic towards the band during the early days, but who turned demanding after they were a success.   ENTERTAINMENT TRACK: Main theme from the television series, "Gomer Pyle, U.S.M.C."In this sitcom spin-off from "The Andy Griffith Show," Jim Nabors plays the lovable but naive Gomer Pyle, now enlisted into the Marine Corp.  Frank Sutton, who played Sergent Carter in this series, passed away in June 1974. STAFF PICKS:Help Me by Joni MitchellRob starts the staff picks with a single from Mitchell's sixth studio album, "Court and Spark."  This track is Mitchell's biggest single, and her only song to crack the top 10 in the US, going to  number 7 on the Billboard Hot 100.  The lyrics describe a singer who knows she is falling for the wrong man, but is either powerless to stop it or doesn't want to call things off.Dancing Machine by the Jackson 5Brian brings us a song that hit number 2 on the Billboard Hot 100 after a multi-year dry spell.  The Jackson 5 appeared on "Soul Train" performing this song, and Michael Jackson introduced the world to "the robot" dance routine.  The Jackson 5 had a Saturday morning cartoon which kept the group in the public conscious.Waterloo by ABBALynch features the song that made ABBA a household name when the Swedish group won the 1974 Eurovision Song contest singing this tune.  The lyrics compare falling in love to Napoleon's defeat at Waterloo.  The name "ABBA" comes from the first letter of each of the singers' names.Tell Me Something Good by RufusWayne presents a funky song from a group featuring Chaka Kahn as lead vocalist.  Rufus is a one-hit wonder, with this song peaking at number 3 on the Billboard Hot 100.  Stevie Wonder wrote this song about a woman looking for a deeper relationship, not just a one night stand.  It was the first hit song that utilized the vocoder.  INSTRUMENTAL TRACK:Dance with the Devil by Cozy PowellWe close out with a drum instrumental based on Jimi Hendrix' "Third Stone from the Sun."  Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

Rien ne va plus chez Black Sabbath fin 1994 : « Cross Purposes » n'a pas marché, Bill Ward est revenu puis reparti, et Geezer Butler finit à son tour par claquer la porte. Tony Iommi, mis sous pression financière par le camp Osbourne, doit livrer un dernier album original pour se libérer de son contrat avec IRS Records. Une solution de la dernière chance est donc trouvée en rappelant Cozy Powell et Neil Murray, et en confiant contre toute attente la production à Ernie C (Body Count). Dernier album enregistré avec Tony Martin, « Forbidden » (1995) est cependant un disque malade, décrié depuis sa sortie pour de multiples raisons, dont notamment sa production ratée. Longtemps introuvable, cet album a finalement été remixé en 2024 et bénéficie aujourd'hui d'un regard plutôt bienveillant de la part de la critique. Alors « Forbidden », véritable ratage ? Plus mauvais album de Black Sabbath ? Disque à réhabiliter ? On fait le point sur tout ça en compagnie de Julien Deléglise (Best, Gonzai) et Julien Meurot (Hard Force) ! FACEBOOK CHILDREN OF THE SABBATH : https://www.facebook.com/childrenofthesabbath INSTAGRAM CHILDREN OF THE SABBATH : https://www.instagram.com/childrenofthe.sabbath/?hl=fr Liens utiles pour suivre les intervenants : JULIEN DELEGLISE (Invité) : La planète du stoner rock : https://www.laplanetedustoner.net/ Gonzaï : https://gonzai.com/ Page FNAC pour ses livres : https://www.fnac.com/SearchResult/ResultList.aspx?SCat=0&Search=julien+deleglise&sft=1&sa=0 Retrouvez-le également en kiosque dans le magazine BEST. JULIEN MEUROT (invité) : Hard Force : https://hardforce.com/blogger/julien-meurot MATHIEU THE DOOM DAD chaine Youtube dédiée au métal en général : https://www.youtube.com/channel/UCskm8_PoTCTMl4VxIvuWEcQ Troll In The Sky : https://www.youtube.com/channel/UCzUEJwIOTME2Y9wbQ6QhYZA Rock Hard : https://rockhardshop.fr/index.php?id_lang=1 Intagram The Doom Dad : https://www.instagram.com/iro22/ DISCORD : https://discord.gg/YWKAH3aQ INK TO THE VOID : https://inktothevoid.bigcartel.com/ Dr GABRIEL Instagram Gabriel : https://www.instagram.com/gabrielredon/ Wreck Plus : https://wreckplus.bandcamp.com/ Blog DBP 70 : https://dbp70.hypotheses.org/

Rock Around The Blog kokoontui Helsingin Kruunuhakaan puhumaan UFO:sta ja Michael Schenkeristä. Sami Ruokankaan kanssa maailmanhistorian upeimpiin kuuluvista levyistä ja keikoista juttelee rakastettu kirjailija ja näyttelijä Reidar Palmgren. Jutun lähtökohtana ovat uudet UFO-miesten albumit: Michael Schenker: My Years with UFO sekä laulaja Phil Moggin uuden bändin Moggs Motel. Tunteen paloa ja elämän kovia käännekohtia! Kuuntele ja äimisty; viihdy ja sivisty. Jakson soittolista: https://open.spotify.com/playlist/7nP4oab6p5XPyGfOOkST5A?si=54301f6ef2814a98 Reidarin kirjoitus UFO:sta RATB:ssä: https://rockaroundthe.blog/reidar-palmgrenin-ufo-kokemus/ Menossa ovat mukana Reidarin ja Samin jutuissa Motörhead, Scorpions, Rudolf Schenker, Pakkahuone, Klubi, Vinnie Moore, Pete Way, Classic Rock, Kerrang, Sounds, Aerosmith, KISS, Michael Schenker Group, Cozy Powell, Robin McAuley, McAuley Schenker Group, Bernie Marsden, Whitesnake, Fin Muir, The Office, Rod Stewart, Waysted, Jimmy Page, Eric Clapton, Ritchie Blackmore, Paul Chapman, Gary Moore, Thin Lizzy, Jeff Beck, Virgin Oil, Doogie White, Francis Buchholz, Herman Rarebell, Eddie Van Halen, Saxon, Biff Byford, Axel Rose, Slash, Guns N' Roses, Joe Lynn Turner, Erik Grönwall, Skid Row, Ronnie Romero, Europe, Joey Tempest, John Norum, Kai Hansen, Gamma Ray, Helloween, Deep Purple, Roger Glover, Carmine Appice, Dee Snider, Adrian Vandenberg, Mötley Crüe, Spinal Tap, Iron Maiden, Rush, Geddy Lee, Alex Lifeson, Gary Barden, Statetrooper, Graham Bonnet, Rainbow, Michael Schenker Fest, Alex Harvey Band, Ted McKenna, Deep Purple, Michael Voss, Paul Raymond, Andy Parker, Neil Carter, Tony Newton, KK´s Priest, Steve Harris, Joe Lazarus, Voodoo Six, Tommy Gentry, Raven Age, Jeff Kollman, Ozzy Osbourne, Sharon Osbourne, Raymond Chandler, Ronnie James Dio, David Coverdale, Ian Gillan, Robert Plant, Marko Syrjälä, Jason Bonham, Jonh Bonham, Nightwish, Amorphis, Hurriganes, Scott Gorham sekä Timo Rautiainen & Trio Niskalaukaus.

Label: Chrysalis 2029Year: 1974Condition: M-Price: $24.00Absolutely incredible hard rock instrumentals led by drummer Powell. Powell did drumming duties for groups as varied as Jeff Beck, Rainbow, Whitesnake, Emerson Lake & Powell, and Black Sabbath. After listening to the snippet of the excellent B side, just imagine how great the A side is! By the way, this single was a non-album cut: There was no Cozy Powell LP released in the mid-1970s. Note: This beautiful copy has very nearly Mint labels, and the vinyl looks almost untouched. The audio is pristine Mint on both sides!

This week, we dance with the Cozy Powell, Alex Chilton smiles at us, and Memory Motel steps into the 21st century.For more info and tracklisting, visit: https://thefaceradio.com/memory-motel/Tune into new broadcasts of Memory Motel with Matt Rubba, Tuesday from 10 - 11 PM EST / 3 - 4 AM GMT (Wednesday).//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

https://youtu.be/nyav8Sk9Crc Exclusive Interview with Legendary Bob Daisley For over 50 years, bassist Bob Daisley has laid the foundation for some of the greatest rock and roll ever recorded. From blues and metal to ballads and progressive rock, Bob has worked with the biggest names in the music industry. Early Career At 21, Australian-born Daisley moved to London, joining Stan Webb's band Chicken Shack in 1972. In 1973, he joined Mungo Jerry, recording the hit single "Alright, Alright, Alright." Rise to Fame In 1975, Daisley co-founded Widowmaker, releasing two albums. In 1977, Ritchie Blackmore invited him to join Rainbow, featuring Ronnie James Dio and Cozy Powell, promoting the album Long Live Rock 'n' Roll. Blizzard of Ozz In 1979, Daisley met Ozzy Osbourne and formed Blizzard of Ozz with guitarist Randy Rhoads. Their debut album reached #7 in the UK charts and went platinum in the US, followed by Diary of a Madman in 1981, which also went platinum. Continued Success After parting ways with Osbourne, Daisley joined Uriah Heep and later rejoined Osbourne to record Bark at the Moon (1983). Gary Moore Collaboration Daisley contributed to Gary Moore's Victims of the Future and Still Got the Blues (1990), Moore's biggest selling album. Later Career Daisley worked with artists like Jeff Watson, Yngwie Malmsteen, and Ozzy Osbourne on No Rest for the Wicked (1988). In 1991, he co-wrote and performed on Osbourne's No More Tears. He formed Mother's Army with Jeff Watson and released several albums. Recent Years Daisley continued collaborating into the 2000s, forming Living Loud and revisiting classic Blizzard of Ozz songs. His autobiography, For Facts Sake, was published in 2013. Legacy Though retired from touring, Bob Daisley's passion for music continues to inspire musicians worldwide, ensuring his legacy in rock and roll history. #bobdaisley #randyRhoads #ozzyosbourne #johnnybeaneTV

Drummer David Keith talks about his work with guitar legend Ritchie Blackmore in both Blackmore's Night and in Blackmore's Rainbow, the mysterious death of original Rainbow drummer Gary Driscol, the greatness of Cozy Powell and the process of learning specific fills, Ian Paice as another badass whose parts he had to learn, internet backlash for playing a smaller kit (and the Ayotte drum manufacture expansion that redeemed him), ,the ironic story of how he got to play with 90's act Nelson, his work with Leilani Kilgore between touring and recording , his first band Mighty Purple, and much more!!!

En MetalProgPop Cast nos juntamos 4 amigos para hablar y discutir sobre música. Guido Vilariño (el Rey Tut) es el fanático del Metal, Angel Appiani es el fanático del Rock Progresivo, Gonzalo Ares (El Colo, El Colorado, ex-Bombi) es el fanático del Pop, y Santi Grillo es el fanático del podcast.  Nosotros la pasamos muy bien, y esperamos que Uds también. En el día de hoy analizamos.... Rising (también conocido como Rainbow Rising) es el segundo álbum de la banda británica Rainbow, publicado en 1976. Ritchie Blackmore, conservó únicamente a Ronnie James Dio de la formación anterior, incluyendo a Tony Carey, Jimmy Bain y Cozy Powell para completar la nueva formación. Grabado en Múnich en menos de un mes, el álbum fue supervisado por el ingeniero de Deep Purple y productor de rock Martin Birch. 

What happens when members of Black Sabbath, Ozzy Osbourne, White Snake, Deep Purple, and Budgie get together in order record a concept album for an upcoming horror thriller movie? Probably not what you expect, but join Nik, Duncan, and Gino as they delve deep into what happens when Glenn Hughes, Neil Murray, Cozy Powell, Mel and Tom Galley, John Thomas, and Don Airey in the studio. Gino is Gino LaPosta from Montreal, QC. He's the mastermind of World on Alert and also a member of CroMagnum and Void Within. World on Alert has released their first single and you can see that here: https://www.youtube.com/watch?v=6JAhRc5O8XE Preorder their EP on Bandcamp https://worldonalert.bandcamp.com/album/world-on-alert

On this episode of The Eddie Trunk Podcast - Geezer Butler joins Eddie in studio to talk about the release of the paperback version of his memoir, Into The Void, and all things Black Sabbath; including the inspiration for his writings, the band's crazy antics involving Bill Ward, playing with Cozy Powell, reconnecting with Ozzy Osbourne, his thoughts on one final original 4 show and much more! Catch Eddie Trunk every M-F from 3:00-5:00pm ET on Trunk Nation on SiriusXM Faction Talk Channel 103.And don't forget to follow Eddie on Twitter and Instagram!Follow the link to get your free 3-month trial of SiriusXM: http://siriusxm.com/eddietrunk Find all episodes of Trunk Nation: https://siriusxm.com/trunknation

On the 53rd Episode of the Album Review Crew of Shout It Out Loudcast, Tom, Zeus & special guest, rock journalist, author and fellow Pantheon podcaster, Martin Popoff review the 1981 rock album by Rainbow, "Difficult To Cure." Rainbow and was on its third incarnation by 1981. Rainbow was still led by one of the greatest guitarist of all time, Ritchie Blackmore. SIOL favorite Don Airey was still there on keyboards as was former bassist and chief lyricist, bassist Roger Glover. However, gone was drummer extraordinaire Cozy Powell and new singer Graham Bonnet, who only appeared on one album, the previously reviewed "Down To Earth", see Episode 25 of the Album Review Crew. Replacing Powell was American drummer, Bobby Rondinelli and replacing Bonnet, was another American, Joe Lynn Turner. JLT as he's known, gave Rainbow and even more commercial sound with his one of a kind melodic voice. Rainbow had come a long way from the Ronnie James Dio led Rainbow days. Ritchie wanted a more commercial band that could break through in America. Difficult To Cure's melodic sound was evident on the opening track, "I Surrender," another Russ Ballard song. The album featured a mixture of melodic, classical, hard rock and pop songs. There were two instrumental a signature of Ritchie Blackmore. The songs "Can't Happen Here" & "I Surrender" also received video plays, during the early days of MTV. The album was produced by Roger Glover and was the highest charting album in the UK for Rainbow and went Gold in the UK. As usual the boys breakdown and dissect the tracks and rank the songs. They then rank the album and the album cover against the previous 51 albums reviewed on the Album Review Crew. This was Zeus' pick. So tune in to hear to hear a battle on instrumentals, Martin's hilarious dry sense of humor and a wardrobe discussion about whether something rivals early Bon Jovi tight jeans. To Purchase Rainbow's “Difficult To Cure” On Amazon Click Below:   Rainbow's Difficult To Cure   For all things Shout It Out Loudcast check out our amazing website by clicking below:   www.ShoutItOutLoudcast.com   Interested in more Shout It Out Loudcast content? Care to help us out? Come join us on Patreon by clicking below:   SIOL Patreon   Get all your Shout It Out Loudcast Merchandise by clicking below:   Shout It Out Loudcast Merchandise at AMAZON   Shop At Our Amazon Store by clicking below: Shout It Out Loudcast Amazon Store   Please Email us comments or suggestions by clicking below: ShoutItOutLoudcast@Gmail.com   Please subscribe to us and give us a 5 Star (Child) review on the following places below: iTunes Podchaser Stitcher iHeart Radio Spotify   Please follow us and like our social media pages clicking below: Twitter Facebook Page Facebook Group Page Shout It Out Loudcasters Instagram YouTube   Proud Member of the Pantheon Podcast click below to see the website: Pantheon Podcast Network Learn more about your ad choices. Visit megaphone.fm/adchoices

On the 53rd Episode of the Album Review Crew of Shout It Out Loudcast, Tom, Zeus & special guest, rock journalist, author and fellow Pantheon podcaster, Martin Popoff review the 1981 rock album by Rainbow, "Difficult To Cure." Rainbow and was on its third incarnation by 1981. Rainbow was still led by one of the greatest guitarist of all time, Ritchie Blackmore. SIOL favorite Don Airey was still there on keyboards as was former bassist and chief lyricist, bassist Roger Glover. However, gone was drummer extraordinaire Cozy Powell and new singer Graham Bonnet, who only appeared on one album, the previously reviewed "Down To Earth", see Episode 25 of the Album Review Crew. Replacing Powell was American drummer, Bobby Rondinelli and replacing Bonnet, was another American, Joe Lynn Turner. JLT as he's known, gave Rainbow and even more commercial sound with his one of a kind melodic voice. Rainbow had come a long way from the Ronnie James Dio led Rainbow days. Ritchie wanted a more commercial band that could break through in America. Difficult To Cure's melodic sound was evident on the opening track, "I Surrender," another Russ Ballard song. The album featured a mixture of melodic, classical, hard rock and pop songs. There were two instrumental a signature of Ritchie Blackmore. The songs "Can't Happen Here" & "I Surrender" also received video plays, during the early days of MTV. The album was produced by Roger Glover and was the highest charting album in the UK for Rainbow and went Gold in the UK. As usual the boys breakdown and dissect the tracks and rank the songs. They then rank the album and the album cover against the previous 51 albums reviewed on the Album Review Crew. This was Zeus' pick. So tune in to hear to hear a battle on instrumentals, Martin's hilarious dry sense of humor and a wardrobe discussion about whether something rivals early Bon Jovi tight jeans. To Purchase Rainbow's “Difficult To Cure” On Amazon Click Below:   Rainbow's Difficult To Cure   For all things Shout It Out Loudcast check out our amazing website by clicking below:   www.ShoutItOutLoudcast.com   Interested in more Shout It Out Loudcast content? Care to help us out? Come join us on Patreon by clicking below:   SIOL Patreon   Get all your Shout It Out Loudcast Merchandise by clicking below:   Shout It Out Loudcast Merchandise at AMAZON   Shop At Our Amazon Store by clicking below: Shout It Out Loudcast Amazon Store   Please Email us comments or suggestions by clicking below: ShoutItOutLoudcast@Gmail.com   Please subscribe to us and give us a 5 Star (Child) review on the following places below: iTunes Podchaser Stitcher iHeart Radio Spotify   Please follow us and like our social media pages clicking below: Twitter Facebook Page Facebook Group Page Shout It Out Loudcasters Instagram YouTube   Proud Member of the Pantheon Podcast click below to see the website: Pantheon Podcast Network Learn more about your ad choices. Visit megaphone.fm/adchoices

**Kev White's White House Show Replay On traxfm.org. This Week Kev Gave Us Boogie, Dance & Pop Classics, (& Tunes You Have Not Heard In Years) From Force MD's, Odyssey, John Farnham, Laura Branigan, Dexys Midnight Runners, The Whispers, Cozy Powell, Freddie James, Stave Harley & Cockney Rebel, Dollar, Starland Vocal Band, Dan Hartman & More Catch Kev White's The White House Show Every Thursday From 7PM UK Time The Station: traxfm.org #traxfm #boogie #danceclassics #classics #retro #remixes Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/profile.php?id=100092342916738 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: http://radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**

Ian and Sven are proud to share their conversation with a member of rock royalty, Graham Bonnet (Rainbow, Michael Schenker, Alcatrazz and many more). Graham has recorded many Russ Ballard songs over the years and they are all featured here. Hear many great stories from his Rainbow days including the late, great Cozy Powell and Ritchie Blackmore himself.  “Cozy would say “Here comes the F…. Bank Manager” Graham Bonnet describing how Cozy Powell greeted him at breakfast on tour with Rainbow  “Don Airey came up to me and said, do you know we are the only two in this band who have got hair” A hair raising story from Graham Bonnet…..

This week, if you're wondering why you'd been feeling so stressed and anxious about the festive period that we've just hauled our way through, we might have some of the answers for you.Martin has a cold and tries to bring us all down to his level of misery with a particularly unseasonal tale about inappropriate gifting.We express gratitude for being alive with our families, and I catastrophically underestimate the age of Cozy Powell.Happy New Year. Here's hoping that it's peaceful, productive (if you want it to be) and full of love.We're on Instagram at https://www.instagram.com/sideways_podcast/We're on TikTok @landiwellbeingYou can email us at info@grahamlandiwellbeing.co.ukThanks again for listening, we really appreciate it.

Label: Chrysalis 2029Year: 1974Condition: MPrice: $20.00From a warehouse find, this is a new, unplayed stock copy. Absolutely incredible hard rock instrumentals led by drummer Powell. Powell did drumming duties for groups as varied as Jeff Beck, Rainbow, Whitesnake, Emerson Lake & Powell, and Black Sabbath. After listening to the snippet of the excellent B side, just imagine how great the A side is! By the way, this was a non-album singlet: There was no Cozy Powell LP released in the mid-1970s. Note: This beautiful 45 record has light storage wear but absolutely pristine Mint audio.

Cozy Powell on jättänyt jälkensä hard rockin, metallin ja rockin saralle lähtemättömästi. Yli kuudellakymmenellä albumilla 70-luvun alusta lähtien soittanut Powell loi tyylin, joka on ollut merkittävä vaikutus tuhansille rumpaleille ja tulee sitä olemaan jatkossakin. Tässä Kasarin Lapset -podcastin jaksossa Powellin soittoa ja perintoa on puimassa Mirka "Leka" Rantanen. Kasarin Lapset -podcastin isäntänä on Vesa Winberg. * * * Kasarin Lapset -podcast rokataan kasaan yhteistyössä Suomen parhaan paahtimon Lehmus Roasteryn ja Teemu Aalto Music Productionsin kanssa. * * * Koodilla "rocknrollneverdies" 15 pinnaa alennusta kaikista kahvi-, tee- ja kaakaotilauksista. * * * Teemu Aalto Music Productions tuottaa listaykkösiä ja laatumetallia. Teemun käsien kautta ovat kulkeneet mm. Insomnium, Omnium Gatherum ja Marianas Rest. * * * Kasarin Lapset Rocks With Skipper's Amps - No compromises, no nonsense, just gear to rock * * * Kasarin Lapset -tunnari: Niko "okiN" Kudjoi Kasarin Lapset -voice: Panu Markkanen Kasarin Lapset -photo: Kristian Valkama * * * Tuotanto: SoundWorks Finland * * * www.soundworksfinland.fi

One of the big acts on the 80's glam metal scene was Cinderella.  Singer-songwriter and multi-instrumentalist Tom Keifer and bassist Eric Brittingham formed the band in suburban Philadelphia.  Gene Simmons of Kiss tried to get the band a deal with PolyGram, but was unsuccessful at getting the label to take interest.  Jon Bon Jovi was more successful with getting them a contract with Mercury/Polygram Records.  Keifer and Brittingham added guitarist Jeff LaBar and drummer Jim Drnec to the band.  Their debut album entitled Night Songs was released in 1986, and it achieved triple platinum status.  Shortly after the recording of that album, Jim Drnec left the group.  This, their follow-up album Long Cold Winter, would continue the band's progression in the glam metal genre, but would see a subtle shift towards more blues rock.  It would also see the introduction of Fred Coury as drummer for the group, though this would come after the album was recorded utilizing percussionist Cozy Powell for almost all tracks on the album.  This second studio album would be a commercial success as well, reaching number 10 on the US charts and achieving double platinum status before the end of the year.  The album included the rock ballad “Don't Know What You Got (Till It's Gone),”which would reach number 12 on the Billboard charts, the highest charting single for the band.  Video was a significant factor in the success of the band, and they released a video compilation in 1990 called “Tales from the Gypsy Road” featuring their promo videos and live medleys.Cinderella would be predominantly an opening band through the late 80's and early 90's, touring with Poison, Bon Jovi, and David Lee Roth.  Unfortunately the band would decline by the mid 90's due to various setbacks and drama with personnel as well as shifting popularity in the music industry.  Their last performance was in 2014.Break out the hair spray as Wayne leads us through this album. Bad Seamstress Blues/Fallin' Apart at the SeamsThe leading track to the album starts with an acoustic blues number paired with a heavier blues song, complete with slide guitar and harmonica.  The lyrics are of a life that has come full circle.  No regrets, but a mixture of success and sorrow.  “Look in the mirror at what I found, It's just the past and it's over now.”Gypsy RoadThese lyrics discuss perseverance to achieve success, but also the loneliness and doubt that come with realizing that dream.  The song is a composite of a life on the road, complete with hotel rooms and overnight rides on the tour bus.  This song hit number 51 on the Billboard Hot 100.Take Me BackThe final song on the album features blues instrumentation including the slide guitar and more cow bell!  The lyrics reflect on a younger life from a distance.  The singer reminisces about how he was raised and wanting to be reminded of what he left behind. ENTERTAINMENT TRACK:Axel F (Main Theme from the motion picture “Beverly Hills Cop”)This movie from the mid-80's made its debut on network TV this month. STAFF PICKS:Electric Blue by IcehouseLynch gives us a cool start to the staff picks with Australian band Icehouse's biggest US hit.  The lyrics tell the tale of a man pursuing the love of a woman who seems above his station.  “Icehouse” is an Aussie slang term for an insane asylum.  This song was written by lead singer/songwriter/multi-instrumentalist Iva Davies, and Jon Oates of Hall & Oates fame.Heaven Tonight by Yngwie Malmsteen's Rising ForceBruce features neoclassical metal guitar virtuoso Yngwie Malmsteen paired with the vocals of former Rainbow and Deep Purple front man Joe Lynn Turner.  This is off Malmsteen's fourth studio album, “Odyssey.” This album went to number 40 on the Billboard 200 charts, the highest charting Malmsteen album to date.Wait by White Lion Rob brings us a power ballad that peaked at number 8 on the US charts in May 1988.  It was originally released in June 1987, but did not enter the charts until February 1988, based on the strength of their video on MTV.  The video featured Christie Muhaw who died at the age of 24 in a car accident less than a year after the video was released.Damn Good by David Lee RothWayne's staff pick continues the blues focus  with a power ballad from Roth and 12-string work by virtuoso Steve Vai.  The lyrics were inspired by an encounter Roth had with an old high school friend who had some high school pictures.  It is a wistful song remembering friends and good times from the past.   NOVELTY TRACK:Killer Klowns by The DickiesWe close out this week's podcast with a track of punk rock's The Dickies.  This is off their EP and the movie "Killer Klowns from Outer Space. "

From the archives...Mike chats with Tony Iommi and Cozy Powell before The Black Sabbath show at Toad's Place on June 29, 1995

Vi fortsätter serien med klassiska album, och har denna gång grävt fram ett riktigt guldkorn. Rainbows tyngsta sättning med Ronnie James Dio på sång och Cozy Powell på trummor bredvid kappellmästaren Ritchie Blackmore är verkligen klassisk. 1978 kom deras tredje giv. Tillika blev det den sista med denna uppsättning musiker. Ritchie ville driva bandet i en mer kommersiell riktning, något varken Dio eller Powell var intresserade av. Detta testamente står dock kvar som ett monument över musikalisk genialitet.

We're continuing our discussion on albums from 1976. Our special guest, Brad from the A Film By podcast, Tim and me talk likes, dislikes and favorites from Rising from Rainbow.PromoBeer'd Al PodcastSurely You Can't Be Serious podcastSpotify playlist https://open.spotify.com/playlist/4xF02TfqTdotXelwlFLSyQ?si=8rABnzJXTCq-CSXRbxq--wTwitter @dockingbay77podFacebook @dockingbay77podcastdockingbay77podcast@gmail.compatreon.com/dockingbay77podcasthttps://discord.gg/T8Nt3YB7

Nigel GlocklerReturning to the Talk Louder Podcast for a third time, drummer Nigel Glockler discusses his latest all-star project, The Flood, featuring bassist Billy Sheehan, guitarist Jim Kirkpatrick, keyboardist Didge Digital and vocalist Chris Ousey. He also updates us on Saxon, recalls Cozy Powell's unwieldy drumkit and reveals an early obsession with KISS. Created and Produced by Jared Tuten

Welcome to Live From Progzilla Towers Edition 477. In this edition we heard music by Billy The Beach Boys, Chaos And The Cosmos, Eloy, Matt Dorsey, Leprous, Armchair Gods, Deep Space Destructors, John Foxx, Talk Talk, Corvus Stone, Mike Oldfield, Ne Obliviscaris, Greg Howard Band, Marillion, Jan Rivera, Cozy Powell, Nepaal, Toyah & Robert, Pixie Ninja & Zoungla.

John and Darin discuss Black Sabbath's "Headless Cross", their second album to feature Tony Martin on vocals and first with drummer Cozy Powell. Visit "Lair of the Alchemist" on youtube for more Black Sabbath content. To make a donation to the podcast please visit: https://ko-fi.com/intothevoidablacksabbathpodcast

On this Chris Spedding Interview: Chris on opening for The Rolling Stones at Hyde Park (Mick Taylor's first concert), recording with Jack Bruce, Elton John, Paul McCartney, Nick Mason, The Sex Pistols, Tom Waits… the musical and cultural transition between the 50s & 60's in England, moving to NYC from England, more. LOADS of cool stories here: Cool Guitar, Music & ELG T-Shirts!: http://www.GuitarMerch.com   A lifelong session player, Chris also had a Top 20 solo hit and finished 2nd to John McLaughlin for best jazz guitarist in the UK. Chris has played or recorded with Jack Bruce, Roger Daltrey, Dave Davies, Bryan Ferry, Elton John, Paul McCartney, Nick Mason, Cozy Powell, Dee Dee Ramone, Rodriguez, Tom Waits… produced the Sex Pistols first demos, and contributed to dozens of top movie soundtracks   Subscribe & Website: https://www.everyonelovesguitar.com/subscribe  Support this show: http://www.everyonelovesguitar.com/support

Hello MetalHeads- This week we are showing some serious Valentines Love for two of our favorite singers. Robin McAuley & Graham Bonnet. Robin has been at the helm for FIVE decades now, & is best known as the co-collaborator of the McAuley Schenker Group & fronting Black Swan, but today we're here to talk to Robin about his forthcoming new solo release “Alive” We also discuss his songwriting process, working with Michael Schenker, and his Black Swan supergroup.  McAuley is widely recognized as one of the great singers of a golden period in hard rock music. We also are excited to bring you, ONCE AGAIN, a fly on the wall conversation  with renowned rock Vocalist Graham Bonnet, BUT alongside him this time is his long-time Bassist & life partner, Beth-Ami Heavenstone. They share how their unique relationship works, How it  Really is touring in 2022 as well as the plans for 2023. Graham & Beth are fresh off the road and here to talk about the bands recent tours in the UK & Spain. The conversation leads to reflections of playing with Michael Schenker, John Lord , Cozy Powell as well as others. We chatted about the Graham Bonnet Band, his work with such bands as Rainbow, MSG, Alcatrazz, Impelliteri, etc., and his extensive history as a musician in general. We Announce the winner of the METALLICA  "NAME THE MYSTERY RIFF" Contest. A great unique conversation filled with in-depth antidotes and disclosures found only here at Metal Mayhem ROC. We welcome comments,good or bad on this discussion. Hit us up on Facebook, twitter or send a direct message at our website. Visit the new website and join the Metal mayhem ROC community. Sign up for our weekly newsletter keeping you updated on all new  podcast episodes as well as reminders for our live Radio show on Monday nights. Thank you for the support and remember to always KEEP IT HEAVY!! Robins Social Media: https://www.facebook.com/RobinMcAuleyRock https://www.instagram.com/robin_mc_auley http://www.robinmcauley.com/ Metal Mayhem ROC Social Media: https://metalmayhemroc.com/ https://www.facebook.com/groups/metalmayhemroc https://twitter.com/MetalmayhemR Graham Bonnet Social Media: https://www.instagram.com/grahambonnetofficial/?hl=en https://twitter.com/gbonnetmusic?lang=en https://open.spotify.com/artist/7szWHy58OGYOBzpdURzuZE https://www.facebook.com/grahambonnetmusic https://www.frontiers.shop/graham-bonnet-band/

“So I told him about my pain and the life I've been through, he just smiled and the laughter came Then I told him that I love you…and the devil cried.”   The early 80's saw a changing of the guard in BLACK SABBATH, with vocalist RONNIE JAMES DIO becoming the new “captain at the helm” as the front man for the legendary Birmingham quartet and bringing along with him a heroic dose of wizards, dragons, clean tigers, shiny diamonds, and more mystical lyrical metaphors than you can shake a sorcerer's scepter at.   Get ready to expand your thumbtack and yarn collection regarding absurdly intentioned speed trap conspiracies found near Bunkerpoon Industrial Boulevard, maybe crack open an ice cold Moo-Hoo (or two) & enjoy the delicious flavor of victory that could only be brewed in a city that's home to the National Champions, prepare to get surly, “speed up the brown”, and JOIN US as we wax nostalgic and look back on the 2nd wave of Black Sabbath that is known throughout the realm as DIO ERA SABBATH.   Visit www.metalnerdery.com/podcast for more on this episode Leave us a Voicemail to be played on a future episode: 980-666-8182 Metal Nerdery Tees and Hoodies – metalnerdery.com/merch and kindly leave us a review and/or rating on the iTunes/Apple Podcasts - Spotify or your favorite Podcast app Listen on iTunes, Spotify, Podbean, Google Podcasts or wherever you get your Podcasts. Follow us on the Socials: Facebook - Instagram - Twitter Email: metalnerdery@gmail.com   Can't be LOUD Enough Playlist on Spotify Metal Nerdery Munchies on YouTube @metalnerderypodcast Show Notes: (00:01): Absurdly low speed limits, #revenuegenerationtraps and #halfboners / ***WELCOME BACK TO THE METAL NERDERY PODCAST!!!*** / #asyettobeuncorked / #heartsandballs #clinkythirty #thisepisodesclinkyoftheepisode #FireOnTheMountain from #DillardGeorgia / “Everybody died this week…” / “Weirdly sudden…” / #thumbtacksandyarn / “Seems mighty common these days…” / “Let's just pick a name…”    (05:41): “I feel like y'all are kinda manipulating the rules…” / #TheVoiceMailJingle ***IF YOU'D LIKE TO GIVE US A CALL AND LEAVE US A VOICEMAIL YOU CAN DO SO AT 980-666-8182!!!*** / A comment from our #YouTube channel (#MetalNerderyMunchies) regarding our #MunicipalWasteEpisode / “I figured it out…” / An impression of every woman in #sevensyllables / “That's a bold statement…” / A question regarding nutrition / #collegefootballASMR regarding the #NationalChampionGeorgiaBulldogs / #ohmydamn #lacesout / “Everything happens for a reason…” / #worshipmusicmakeover / The word is TRANCE, not TRANS / “You're gonna laugh at the name…” / “That's a great name for a band…”   (17:00): #markthetime #thisepisodesbeeroftheepisode #TerrapinBeerCompany from #AthensGeorgia (home of the #NumberOneNationalChampionshipWinningGeorgiaBulldogs) #WhiteChocolateMooHoo (#MooHoo) #sixpointonepercentABV / “It's like a carbonated beer chocolate milk…” / “The #aftertaste is awesome…” #markthetime.   (19:38):  #MetalNerderyAcapellaASMR #Era #TheDocket DIO ERA BLACK SABBATH / A moment of reflection regarding movies from the 80's / #onmicburpASMR / “Maybe I'm stupid…” / Ever notice how any band that #RonnieJamesDio joins automatically sounds like #Dio? / ***What was the first #DioEraSabbath YOU heard? *** / #youwouldknow / “They play #Slayer on #96Rock all the time…” / How bands fanbases sometimes change when certain members are replaced    (29:18): NEON KNIGHTS #killeropener (From “Heaven and Hell” -1980) / The branding differences between Ozzy's #peacesign and Dio's #metalhorns / “The #deepcuts have #nocokelines…” / CHILDREN OF THE SEA and the change in the #SabbathSound with #RJD / “Is that true?” / “Big football fan…never done that.”   (36:53): “This one has #morecokelines on everything…” / #speedupthebrown TURN UP THE NIGHT #killeropener (From “Mob Rules - 1981”) / Interesting production revelations … / VOODOO (definitely a strange riff) / #allthecokelines THE SIGN OF THE SOUTHERN CROSS #stonermetalASMR #hoodahah / “If you listen to fools…” THE MOB RULES / #deepcutASMR SLIPPING AWAY (check out Tony and Geezer exchanging solos…)   (49:21): Fast forward to the early 90's… / “It's got a #NWOOSTM vibe to it…” (re: the #albumart for Dehumanizer - 1992) / #nudesteel / Cozy Powell initially, and then Vinny Appice on drums / “Why are you driving a horse?” / Remember #WaynesWorld? / #killeropener COMPUTER GOD / “This riff is gonna blow your mind…” MASTER OF INSANITY (see also The Wanton Song by #LedZeppelin and/or Lady Of The Lake by #Rainbow re:  the riff) #shouldershuffle / TIME MACHINE (#WaynesWorldSoundtrackASMR) / Looking back to the movie #HeavyMetal (“Animated titties are still titties y'all…”) #bigtittedwizardbitch / A brief discussion regarding the soundtrack to Heavy Metal… / Ever heard of Ronnie James Devo? / #yeahyeah   (1:05:55): Now fast forward to the 2000's / #backsabbath / (Black Sabbath:  The Dio Years – 2007) / EAR IN THE WALL and THE DEVIL CRIED (“That sounds like Sabbath…”) / “Do you think Iommi ever impresses himself?” / metalnerdery.com/merch / “Oooh, that just did not sound right…” / ***THANK YOU FOR LISTENING AND JOINING US FOR THIS EPISODE OF METAL NERDERY PODCAST!!!*** #untilthenext #bunkerpoongiftshoppe #purchsomemerch #outroreel  

Date: January 11, 2023Name of podcast: Backstage Pass RadioEpisode title and number:  S4: E1: Tony Carey (Rainbow, Planet P Project, Pat Travers, Joe Cocker) A Musical Magician From Hawkeye Rd.Artist Bio -Tony Carey & Planet P Project Tony Carey first appeared on the international stage in 1975, playing keyboards for Ricthie Blackmore's Rainbow. Carey played on the classic albums ‘Rising' and ‘On Stage', in the Rainbow lineup including Ronnie James Dio, Cozy Powell, Jimmy Bain and Ritchie Blackmore, touring the world for 2 years. A California native, Carey relocated to Germany in 1978 to pursue a solo career. Learning-by-doing, he recorded several instrumental albums, playing the lion's share of the instruments: keyboards, bass, guitars, and drums. He tried his hand at singing in 1980, recording his vocal debut album, ‘In the Absence of the Cat', followed by ‘I Won't be Home Tonight', which was signed by fledgling (and scandal-ridden) label Rocshire Records in Anaheim, California. ‘I Won't Be Home Tonight' was a radio sensation in America in 1982, with the single reaching #8 on the Rock Radio Billboard chart. The prolific young songwriter was in the studio daily between 1978 - 83, recording in different styles.His science fiction - themed ‘Planet P Project' caught the attention of Geffen Records, and the eponymous album containing the single ‘Why Me' was an MTV smash, followed by the album 'Some Tough City', which yielded 2 Top 40 singles in 1984: ‘A Fine, Fine Day' and 'The First Day of Summer'.This was followed by the now-classic ‘Pink World' double pink vinyl release by Planet P Project.A more detailed discography/biography appears here: http://en.wikipedia.org/wiki/Tony_Carey​Hampered by serious illness in 2009, Carey made a full recovery and has spent the last years recording and touring in Europe and Scandinavia. Carey has recorded and released over 40 records, and produced records by John Mayall, Chris Norman, David Knopfler, Joe Cocker, and Peter Maffay (Germany's top-selling rock artist). He has done several film scores and published well over 1,000 songs.​Carey's 2013 release 'Steeltown' (Planet P Project') reflects his love of and appreciation for Norway, thematically exploring the history and struggles of this fascinating country.​2019 marks Carey's 50th Anniversary as a Beat Poet/Still Hippie/Not- Dead- Yet Person, and will be commemorated by the release of 'Lucky Us', his first non- Planet P  Project Record in, well, a very long time - and the re-release of 12 Catalog albums, which include five 'PPP' records, two albums of other folks' songs (Stanislaus County Kid I & II), a Christmas record (!), and a movie-soundtrack-without-a-movie, in addition to 3 solo albums.Sponsor Link:WWW.ECOTRIC.COMBackstage Pass Radio Social Media Handles:Facebook - @backstagepassradiopodcast @randyhulseymusicInstagram - @Backstagepassradio @randyhulseymusicTwitter - @backstagepassPC @rhulseymusicWebsite - backstagepassradio.com and randyhulsey.comArtist Media Handles:Instagram  - https://www.instagram.com/tony_carey_official/Facebook - https://www.facebook.com/teecee68Call to actionWe ask our listeners to like, share, and subscribe to the show and the artist's social media pages. This enables us to continue pushing great content to the consumer. Thank you for being a part of Backstage Pass RadioYour Host,Randy Hulsey 

Episode 160 of A History of Rock Music in Five Hundred Songs looks at “Flowers in the Rain" by the Move, their transition into ELO, and the career of Roy Wood. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "The Chipmunk Song" by Canned Heat. 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/ Note I say "And on its first broadcast, as George Martin's theme tune for the new station faded, Tony Blackburn reached for a record." -- I should point out that after Martin's theme fades, Blackburn talks over a brief snatch of a piece by Johnny Dankworth. Resources As so many of the episodes recently have had no Mixcloud due to the number of songs by one artist, I've decided to start splitting the mixes of the recordings excerpted in the podcasts into two parts. Here's part one . I had problems uploading part two, but will attempt to get that up shortly. There are not many books about Roy Wood, and I referred to both of the two that seem to exist -- this biography by John van der Kiste, and this album guide by James R Turner.  I also referred to this biography of Jeff Lynne by van der Kiste, The Electric Light Orchestra Story by Bev Bevan, and Mr Big by Don Arden with Mick Wall.  Most of the more comprehensive compilations of the Move's material are out of print, but this single-CD-plus-DVD anthology is the best compilation that's in print. This is the one collection of Wood's solo and Wizzard hits that seems currently in print, and for those who want to investigate further, this cheap box set has the last Move album, the first ELO album, the first Wizzard album, Wood's solo Boulders, and a later Wood solo album, for the price of a single CD. Transcript Before I start, a brief note. This episode deals with organised crime, and so contains some mild descriptions of violence, and also has some mention of mental illness and drug use, though not much of any of those things. And it's probably also important to warn people that towards the end there's some Christmas music, including excerpts of a song that is inescapable at this time of year in the UK, so those who work in retail environments and the like may want to listen to this later, at a point when they're not totally sick of hearing Christmas records. Most of the time, the identity of the party in government doesn't make that much of a difference to people's everyday lives.  At least in Britain, there tends to be a consensus ideology within the limits of which governments of both main parties tend to work. They will make a difference at the margins, and be more or less competent, and more or less conservative or left-wing, more or less liberal or authoritarian, but life will, broadly speaking, continue along much as before for most people. Some will be a little better or worse off, but in general steering the ship of state is a matter of a lot of tiny incremental changes, not of sudden u-turns. But there have been a handful of governments that have made big, noticeable, changes to the structure of society, reforms that for better or worse affect the lives of every person in the country. Since the end of the Second World War there have been two UK governments that made economic changes of this nature. The Labour government under Clement Atlee which came into power in 1945, and which dramatically expanded the welfare state, introduced the National Health Service, and nationalised huge swathes of major industries, created the post-war social democratic consensus which would be kept to with only minor changes by successive governments of both major parties for decades. The next government to make changes to the economy of such a radical nature was the Conservative government which came to power under Margaret Thatcher in 1979, which started the process of unravelling that social democratic consensus and replacing it with a far more hypercapitalist economic paradigm, which would last for the next several decades. It's entirely possible that the current Conservative government, in leaving the EU, has made a similarly huge change, but we won't know that until we have enough distance from the event to know what long-term changes it's caused. Those are economic changes. Arguably at least as impactful was the Labour government led by Harold Wilson that came to power in 1964, which did not do much to alter the economic consensus, but revolutionised the social order at least as much. Largely because of the influence of Roy Jenkins, the Home Secretary for much of that time, between 1964 and the end of the sixties, Britain abolished the death penalty for murder, decriminalised some sex acts between men in private, abolished corporal punishment in prisons, legalised abortion in certain circumstances, and got rid of censorship in the theatre. They also vastly increased spending on education, and made many other changes. By the end of their term, Britain had gone from being a country with laws reflecting a largely conservative, authoritarian, worldview to one whose laws were some of the most liberal in Europe, and society had started changing to match. There were exceptions, though, and that government did make some changes that were illiberal. They brought in increased restrictions on immigration, starting a worrying trend that continues to this day of governments getting ever crueler to immigrants, and they added LSD to the list of illegal drugs. And they brought in the Marine Broadcasting Offences Act, banning the pirate stations. We've mentioned pirate radio stations very briefly, but never properly explained them. In Britain, at this point, there was a legal monopoly on broadcasting. Only the BBC could run a radio station in the UK, and thanks to agreements with the Musicians' Union, the BBC could only play a very small amount of recorded music, with everything else having to be live performances or spoken word. And because it had a legal obligation to provide something for everyone, that meant the tiny amount of recorded music that was played on the radio had to cover all genres, meaning that even while Britain was going through the most important changes in its musical history, pop records were limited to an hour or two a week on British radio. Obviously, that wasn't going to last while there was money to be made, and the record companies in particular wanted to have somewhere to showcase their latest releases. At the start of the sixties, Radio Luxembourg had become popular, broadcasting from continental Europe but largely playing shows that had been pre-recorded in London. But of course, that was far enough away that it made listening to the transmissions difficult. But a solution presented itself: [Excerpt: The Fortunes, "Caroline"] Radio Caroline still continues to this day, largely as an Internet-based radio station, but in the mid-sixties it was something rather different. It was one of a handful of radio stations -- the pirate stations -- that broadcast from ships in international waters. The ships would stay three miles off the coast of Britain, close enough for their broadcasts to be clearly heard in much of the country, but outside Britain's territorial waters. They soon became hugely popular, with Radio Caroline and Radio London the two most popular, and introduced DJs like Tony Blackburn, Dave Lee Travis, Kenny Everett, and John Peel to the airwaves of Britain. The stations ran on bribery and advertising, and if you wanted a record to get into the charts one of the things you had to do was bribe one of the big pirate stations to playlist it, and with this corruption came violence, which came to a head when as we heard in the episode on “Here Comes the Night”, in 1966 Major Oliver Smedley, a failed right-wing politician and one of the directors of Radio Caroline, got a gang of people to board an abandoned sea fort from which a rival station was broadcasting and retrieve some equipment he claimed belonged to him. The next day, Reginald Calvert, the owner of the rival station, went to Smedley's home to confront him, and Smedley shot him dead, claiming self-defence. The jury in Smedley's subsequent trial took only a minute to find him not guilty and award him two hundred and fifty guineas to cover his costs. This was the last straw for the government, which was already concerned that the pirates' transmitters were interfering with emergency services transmissions, and that proper royalties weren't being paid for the music broadcast (though since much of the music was only on there because of payola, this seems a little bit of a moot point).  They introduced legislation which banned anyone in the UK from supplying the pirate ships with records or other supplies, or advertising on the stations. They couldn't do anything about the ships themselves, because they were outside British jurisdiction, but they could make sure that nobody could associate with them while remaining in the UK. The BBC was to regain its monopoly (though in later years some commercial radio stations were allowed to operate). But as well as the stick, they needed the carrot. The pirate stations *had* been filling a real need, and the biggest of them were getting millions of listeners every day. So the arrangements with the Musicians' Union and the record labels were changed, and certain BBC stations were now allowed to play a lot more recorded music per day. I haven't been able to find accurate figures anywhere -- a lot of these things were confidential agreements -- but it seems to have been that the so-called "needle time" rules were substantially relaxed, allowing the BBC to separate what had previously been the Light Programme -- a single radio station that played all kinds of popular music, much of it live performances -- into two radio stations that were each allowed to play as much as twelve hours of recorded music per day, which along with live performances and between-track commentary from DJs was enough to allow a full broadcast schedule. One of these stations, Radio 2, was aimed at older listeners, and to start with mostly had programmes of what we would now refer to as Muzak, mixed in with the pop music of an older generation -- crooners and performers like Englebert Humperdinck. But another, Radio 1, was aimed at a younger audience and explicitly modelled on the pirate stations, and featured many of the DJs who had made their names on those stations. And on its first broadcast, as George Martin's theme tune for the new station faded, Tony Blackburn reached for a record. At different times Blackburn has said either that he was just desperately reaching for whatever record came to hand or that he made a deliberate choice because the record he chose had such a striking opening that it would be the perfect way to start a new station: [Excerpt: Tony Blackburn first radio show into "Flowers in the Rain" by the Move] You may remember me talking in the episode on "Here Comes the Night" about how in 1964 Dick Rowe of Decca, the manager Larry Page, and the publicist and co-owner of Radio Caroline Phil Solomon were all trying to promote something called Brumbeat as the answer to Merseybeat – Brummies, for those who don't know, are people from Birmingham. Brumbeat never took off the way Merseybeat did, but several bands did get a chance to make records, among them Gerry Levene and the Avengers: [Excerpt: Gerry Levene and the Avengers, "Dr. Feelgood"] That was the only single the Avengers made, and the B-side wasn't even them playing, but a bunch of session musicians under the direction of Bert Berns, and the group split up soon afterwards, but several of the members would go on to have rather important careers. According to some sources, one of their early drummers was John Bohnam, who you can be pretty sure will be turning up later in the story, while the drummer on that track was Graeme Edge, who would later go on to co-found the Moody Blues.  But today it's the guitarist we'll be looking at. Roy Wood had started playing music when he was very young -- he'd had drum lessons when he was five years old, the only formal musical tuition he ever had, and he'd played harmonica around working men's clubs as a kid. And as a small child he'd loved classical music, particularly Tchaikovsky and Elgar. But it wasn't until he was twelve that he decided that he wanted to be a guitarist. He went to see the Shadows play live, and was inspired by the sound of Hank Marvin's guitar, which he later described as sounding "like it had been dipped in Dettol or something": [Excerpt: The Shadows, "Apache"] He started begging his parents for a guitar, and got one for his thirteenth birthday -- and by the time he was fourteen he was already in a band, the Falcons, whose members were otherwise eighteen to twenty years old, but who needed a lead guitarist who could play like Marvin. Wood had picked up the guitar almost preternaturally quickly, as he would later pick up every instrument he turned his hand to, and he'd also got the equipment. His friend Jeff Lynne later said "I first saw Roy playing in a church hall in Birmingham and I think his group was called the Falcons. And I could tell he was dead posh because he had a Fender Stratocaster and a Vox AC30 amplifier. The business at the time. I mean, if you've got those, that's it, you're made." It was in the Falcons that Wood had first started trying to write songs, at first instrumentals in the style of the Shadows, but then after the Beatles hit the charts he realised it was possible for band members to write their own material, and started hesitantly trying to write a few actual songs. Wood had moved on from the Falcons to Gerry Levene's band, one of the biggest local bands in Birmingham, when he was sixteen, which is also when he left formal education, dropping out from art school -- he's later said that he wasn't expelled as such, but that he and the school came to a mutual agreement that he wouldn't go back there. And when Gerry Levene and the Avengers fell apart after their one chance at success hadn't worked out, he moved on again to an even bigger band. Mike Sheridan and the Night Riders had had two singles out already, both produced by Cliff Richard's producer Norrie Paramor, and while they hadn't charted they were clearly going places. They needed a new guitarist, and Wood was by far the best of the dozen or so people who auditioned, even though Sheridan was very hesitant at first -- the Night Riders were playing cabaret, and all dressed smartly at all times, and this sixteen-year-old guitarist had turned up wearing clothes made by his sister and ludicrous pointy shoes. He was the odd man out, but he was so good that none of the other players could hold a candle to him, and he was in the Night Riders by the time of their third single, "What a Sweet Thing That Was": [Excerpt: Mike Sheridan and the Night Riders, "What a Sweet Thing That Was"] Sheridan later said "Roy was and still is, in my opinion, an unbelievable talent. As stubborn as a mule and a complete extrovert. Roy changed the group by getting us into harmonies and made us realize there was better material around with more than three chords to play. This was our turning point and we became a group's group and a bigger name." -- though there are few other people who would describe Wood as extroverted, most people describing him as painfully shy off-stage. "What a  Sweet Thing That Was" didn't have any success, and nor did its follow-up, "Here I Stand", which came out in January 1965. But by that point, Wood had got enough of a reputation that he was already starting to guest on records by other bands on the Birmingham scene, like "Pretty Things" by Danny King and the Mayfair Set: [Excerpt: Danny King and the Mayfair Set, "Pretty Things"] After their fourth single was a flop, Mike Sheridan and the Night Riders changed their name to Mike Sheridan's Lot, and the B-side of their first single under the new name was a Roy Wood song, the first time one of his songs was recorded. Unfortunately the song, modelled on "It's Not Unusual" by Tom Jones, didn't come off very well, and Sheridan blamed himself for what everyone was agreed was a lousy sounding record: [Excerpt: Mike Sheridan's Lot, "Make Them Understand"] Mike Sheridan's Lot put out one final single, but the writing was on the wall for the group. Wood left, and soon after so did Sheridan himself. The remaining members regrouped under the name The Idle Race, with Wood's friend Jeff Lynne as their new singer and guitarist. But Wood wouldn't remain without a band for long. He'd recently started hanging out with another band, Carl Wayne and the Vikings, who had also released a couple of singles, on Pye: [Excerpt: Carl Wayne and the Vikings, "What's the Matter Baby"] But like almost every band from Birmingham up to this point, the Vikings' records had done very little, and their drummer had quit, and been replaced by Bev Bevan, who had been in yet another band that had gone nowhere, Denny Laine and the Diplomats, who had released one single under the name of their lead singer Nicky James, featuring the Breakaways, the girl group who would later sing on "Hey Joe", on backing vocals: [Excerpt: Nicky James, "My Colour is Blue"] Bevan had joined Carl Wayne's group, and they'd recorded one track together, a cover version of "My Girl", which was only released in the US, and which sank without a trace: [Excerpt: Carl Wayne and the Vikings, "My Girl"] It was around this time that Wood started hanging around with the Vikings, and they would all complain about how if you were playing the Birmingham circuit you were stuck just playing cover versions, and couldn't do anything more interesting.  They were also becoming more acutely aware of how successful they *could* have been, because one of the Brumbeat bands had become really big. The Moody Blues, a supergroup of players from the best bands in Birmingham who featured Bev Bevan's old bandmate Denny Laine and Wood's old colleague Graeme Edge, had just hit number one with their version of "Go Now": [Excerpt: The Moody Blues, "Go Now"] So they knew the potential for success was there, but they were all feeling trapped. But then Ace Kefford, the bass player for the Vikings, went to see Davy Jones and the Lower Third playing a gig: [Excerpt: Davy Jones and the Lower Third, "You've Got a Habit of Leaving"] Also at the gig was Trevor Burton, the guitarist for Danny King and the Mayfair Set. The two of them got chatting to Davy Jones after the gig, and eventually the future David Bowie told them that the two of them should form their own band if they were feeling constricted in their current groups. They decided to do just that, and they persuaded Carl Wayne from Kefford's band to join them, and got in Wood.  Now they just needed a drummer. Their first choice was John Bonham, the former drummer for Gerry Levene and the Avengers who was now drumming in a band with Kefford's uncle and Nicky James from the Diplomats. But Bonham and Wayne didn't get on, and so Bonham decided to remain in the group he was in, and instead they turned to Bev Bevan, the Vikings' new drummer.  (Of the other two members of the Vikings, one went on to join Mike Sheridan's Lot in place of Wood, before leaving at the same time as Sheridan and being replaced by Lynne, while the other went on to join Mike Sheridan's New Lot, the group Sheridan formed after leaving his old group. The Birmingham beat group scene seems to have only had about as many people as there were bands, with everyone ending up a member of twenty different groups). The new group called themselves the Move, because they were all moving on from other groups, and it was a big move for all of them. Many people advised them not to get together, saying they were better off where they were, or taking on offers they'd got from more successful groups -- Carl Wayne had had an offer from a group called the Spectres, who would later become famous as Status Quo, while Wood had been tempted by Tony Rivers and the Castaways, a group who at the time were signed to Immediate Records, and who did Beach Boys soundalikes and covers: [Excerpt: Tony Rivers and the Castaways, "Girl Don't Tell Me"] Wood was a huge fan of the Beach Boys and would have fit in with Rivers, but decided he'd rather try something truly new. After their first gig, most of the people who had warned against the group changed their minds. Bevan's best friend, Bobby Davis, told Bevan that while he'd disliked all the other groups Bevan had played in, he liked this one. (Davis would later become a famous comedian, and have a top five single himself in the seventies, produced by Jeff Lynne and with Bevan on the drums, under his stage name Jasper Carrott): [Excerpt: Jasper Carrott, "Funky Moped"] Most of their early sets were cover versions, usually of soul and Motown songs, but reworked in the group's unique style. All five of the band could sing, four of them well enough to be lead vocalists in their own right (Bevan would add occasional harmonies or sing novelty numbers) and so they became known for their harmonies -- Wood talked at the time about how he wanted the band to have Beach Boys harmonies but over instruments that sounded like the Who. And while they were mostly doing cover versions live, Wood was busily writing songs. Their first recording session was for local radio, and at that session they did cover versions of songs by Brenda Lee, the Isley Brothers, the Orlons, the Marvelettes, and Betty Everett, but they also performed four songs written by Wood, with each member of the front line taking a lead vocal, like this one with Kefford singing: [Excerpt: The Move, "You're the One I Need"] The group were soon signed by Tony Secunda, the manager of the Moody Blues, who set about trying to get the group as much publicity as possible. While Carl Wayne, as the only member who didn't play an instrument, ended up the lead singer on most of the group's early records, Secunda started promoting Kefford, who was younger and more conventionally attractive than Wayne, and who had originally put the group together, as the face of the group, while Wood was doing most of the heavy lifting with the music. Wood quickly came to dislike performing live, and to wish he could take the same option as Brian Wilson and stay home and write songs and make records while the other four went out and performed, so Kefford and Wayne taking the spotlight from him didn't bother him at the time, but it set the group up for constant conflicts about who was actually the leader of the group. Wood was also uncomfortable with the image that Secunda set up for the group. Secunda decided that the group needed to be promoted as "bad boys", and so he got them to dress up as 1930s gangsters, and got them to do things like smash busts of Hitler, or the Rhodesian dictator Ian Smith, on stage. He got them to smash TVs on stage too, and in one publicity stunt he got them to smash up a car, while strippers took their clothes off nearby -- claiming that this was to show that people were more interested in violence than in sex. Wood, who was a very quiet, unassuming, introvert, didn't like this sort of thing, but went along with it. Secunda got the group a regular slot at the Marquee club, which lasted several months until, in one of Secunda's ideas for publicity, Carl Wayne let off smoke bombs on stage which set fire to the stage. The manager came up to try to stop the fire, and Wayne tossed the manager's wig into the flames, and the group were banned from the club (though the ban was later lifted). In another publicity stunt, at the time of the 1966 General Election, the group were photographed with "Vote Tory" posters, and issued an invitation to Edward Heath, the leader of the Conservative Party and a keen amateur musician, to join them on stage on keyboards. Sir Edward didn't respond to the invitation. All this publicity led to record company interest. Joe Boyd tried to sign the group to Elektra Records, but much as with The Pink Floyd around the same time, Jac Holzman wasn't interested. Instead they signed with a new production company set up by Denny Cordell, the producer of the Moody Blues' hits. The contract they signed was written on the back of a nude model, as yet another of Secunda's publicity schemes. The group's first single, "Night of Fear" was written by Wood and an early sign of his interest in incorporating classical music into rock: [Excerpt: The Move, "Night of Fear"] Secunda claimed in the publicity that that song was inspired by taking bad acid and having a bad trip, but in truth Wood was more inspired by brown ale than by brown acid -- he and Bev Bevan would never do any drugs other than alcohol. Wayne did take acid once, but didn't like it, though Burton and Kefford would become regular users of most drugs that were going. In truth, the song was not about anything more than being woken up in the middle of the night by an unexpected sound and then being unable to get back to sleep because you're scared of what might be out there. The track reached number two on the charts in the UK, being kept off the top by "I'm a Believer" by the Monkees, and was soon followed up by another song which again led to assumptions of drug use. "I Can Hear the Grass Grow" wasn't about grass the substance, but was inspired by a letter to Health and Efficiency, a magazine which claimed to be about the nudist lifestyle as an excuse for printing photos of naked people at a time before pornography laws were liberalised. The letter was from a reader saying that he listened to pop music on the radio because "where I live it's so quiet I can hear the grass grow!" Wood took that line and turned it into the group's next single, which reached number five: [Excerpt: The Move, "I Can Hear the Grass Grow"] Shortly after that, the group played two big gigs at Alexandra Palace. The first was the Fourteen-Hour Technicolor Dream, which we talked about in the Pink Floyd episode. There Wood had one of the biggest thrills of his life when he walked past John Lennon, who saluted him and then turned to a friend and said "He's brilliant!" -- in the seventies Lennon would talk about how Wood was one of his two favourite British songwriters, and would call the Move "the Hollies with balls". The other gig they played at Alexandra Palace was a "Free the Pirates" benefit show, sponsored by Radio Caroline, to protest the imposition of the Marine Broadcasting (Offences) Act.  Despite that, it was, of course, the group's next single that was the first one to be played on Radio One. And that single was also the one which kickstarted Roy Wood's musical ambitions.  The catalyst for this was Tony Visconti. Visconti was a twenty-three-year-old American who had been in the music business since he was sixteen, working the typical kind of jobs that working musicians do, like being for a time a member of a latter-day incarnation of the Crew-Cuts, the white vocal group who had had hits in the fifties with covers of "Sh'Boom" and “Earth Angel”. He'd also recorded two singles as a duo with his wife Siegrid, which had gone nowhere: [Excerpt: Tony and Siegrid, "Up Here"] Visconti had been working for the Richmond Organisation as a staff songwriter when he'd met the Move's producer Denny Cordell. Cordell was in the US to promote a new single he had released with a group called Procol Harum, "A Whiter Shade of Pale", and Visconti became the first American to hear the record, which of course soon became a massive hit: [Excerpt: Procol Harum, "A Whiter Shade of Pale"] While he was in New York, Cordell also wanted to record a backing track for one of his other hit acts, Georgie Fame. He told Visconti that he'd booked several of the best session players around, like the jazz trumpet legend Clark Terry, and thought it would be a fun session. Visconti asked to look at the charts for the song, out of professional interest, and Cordell was confused -- what charts? The musicians would just make up an arrangement, wouldn't they? Visconti asked what he was talking about, and Cordell talked about how you made records -- you just got the musicians to come into the studio, hung around while they smoked a few joints and worked out what they were going to play, and then got on with it. It wouldn't take more than about twelve hours to get a single recorded that way. Visconti was horrified, and explained that that might be how they did things in London, but if Cordell tried to make a record that way in New York, with an eight-piece group of session musicians who charged union scale, and would charge double scale for arranging work on top, then he'd bankrupt himself. Cordell went pale and said that the session was in an hour, what was he going to do? Luckily, Cordell had a copy of the demo with him, and Visconti, who unlike Cordell was a trained musician, quickly sat down and wrote an arrangement for him, sketching out parts for guitar, bass, drums, piano, sax, and trumpets. The resulting arrangement wasn't perfect -- Visconti had to write the whole thing in less than an hour with no piano to hand -- but it was good enough that Cordell's production assistant on the track, Harvey Brooks of the group Electric Flag, who also played bass on the track, could tweak it in the studio, and the track was recorded quickly, saving Cordell a fortune: [Excerpt: Georgie Fame, "Because I Love You"] One of the other reasons Cordell had been in the US was that he was looking for a production assistant to work with him in the UK to help translate his ideas into language the musicians could understand. According to Visconti he said that he was going to try asking Phil Spector to be his assistant, and Artie Butler if Spector said no.  Astonishingly, assuming he did ask them, neither Phil Spector nor Artie Butler (who was the arranger for records like "Leader of the Pack" and "I'm a Believer" among many, many, others, and who around this time was the one who suggested to Louis Armstrong that he should record "What a Wonderful World") wanted to fly over to the UK to work as Denny Cordell's assistant, and so Cordell turned back to Visconti and invited him to come over to the UK. The main reason Cordell needed an assistant was that he had too much work on his hands -- he was currently in the middle of recording albums for three major hit groups -- Procol Harum, The Move, and Manfred Mann -- and he physically couldn't be in multiple studios at once. Visconti's first work for him was on a Manfred Mann session, where they were recording the Randy Newman song "So Long Dad" for their next single. Cordell produced the rhythm track then left for a Procol Harum session, leaving Visconti to guide the group through the overdubs, including all the vocal parts and the lead instruments: [Excerpt: Manfred Mann, "So Long Dad"] The next Move single, "Flowers in the Rain", was the first one to benefit from Visconti's arrangement ideas. The band had recorded the track, and Cordell had been unhappy with both the song and performance, thinking it was very weak compared to their earlier singles -- not the first time that Cordell would have a difference of opinion with the band, who he thought of as a mediocre pop group, while they thought of themselves as a heavy rock band who were being neutered in the studio by their producer.  In particular, Cordell didn't like that the band fell slightly out of time in the middle eight of the track. He decided to scrap it, and get the band to record something else. Visconti, though, thought the track could be saved. He told Cordell that what they needed to do was to beat the Beatles, by using a combination of instruments they hadn't thought of. He scored for a quartet of wind instruments -- oboe, flute, clarinet, and French horn, in imitation of Mendelssohn: [Excerpt: The Move, "Flowers in the Rain"] And then, to cover up the slight sloppiness on the middle eight, Visconti had the wind instruments on that section recorded at half speed, so when played back at normal speed they'd sound like pixies and distract from the rhythm section: [Excerpt: The Move, "Flowers in the Rain"] Visconti's instincts were right. The single went to number two, kept off the top spot by Englebert Humperdinck, who spent 1967 keeping pretty much every major British band off number one, and thanks in part to it being the first track played on Radio 1, but also because it was one of the biggest hits of 1967, it's been the single of the Move's that's had the most airplay over the years. Unfortunately, none of the band ever saw a penny in royalties from it. It was because of another of Tony Secunda's bright ideas. Harold Wilson, the Prime Minister at the time, was very close to his advisor Marcia Williams, who started out as his secretary, rose to be his main political advisor, and ended up being elevated to the peerage as Baroness Falkender. There were many, many rumours that Williams was corrupt -- rumours that were squashed by both Wilson and Williams frequently issuing libel writs against newspapers that mentioned them -- though it later turned out that at least some of these were the work of Britain's security services, who believed Wilson to be working for the KGB (and indeed Williams had first met Wilson at a dinner with Khrushchev, though Wilson was very much not a Communist) and were trying to destabilise his government as a result. Their personal closeness also led to persistent rumours that Wilson and Williams were having an affair. And Tony Secunda decided that the best way to promote "Flowers in the Rain" was to print a postcard with a cartoon of Wilson and Williams on it, and send it out. Including sticking a copy through the door of ten Downing St, the Prime Minister's official residence. This backfired *spectacularly*. Wilson sued the Move for libel, even though none of them had known of their manager's plans, and as a result of the settlement it became illegal for any publication to print the offending image (though it can easily be found on the Internet now of course), everyone involved with the record was placed under a permanent legal injunction to never discuss the details of the case, and every penny in performance or songwriting royalties the track earned would go to charities of Harold Wilson's choice. In the 1990s newspaper reports said that the group had up to that point lost out on two hundred thousand pounds in royalties as a result of Secunda's stunt, and given the track's status as a perennial favourite, it's likely they've missed out on a similar amount in the decades since. Incidentally, while every member of the band was banned from ever describing the postcard, I'm not, and since Wilson and Williams are now both dead it's unlikely they'll ever sue me. The postcard is a cartoon in the style of Aubrey Beardsley, and shows Wilson as a grotesque naked homunculus sat on a bed, with Williams naked save for a diaphonous nightgown through which can clearly be seen her breasts and genitals, wearing a Marie Antoinette style wig and eyemask and holding a fan coquettishly, while Wilson's wife peers at them through a gap in the curtains. The text reads "Disgusting Depraved Despicable, though Harold maybe is the only way to describe "Flowers in the Rain" The Move, released Aug 23" The stunt caused huge animosity between the group and Secunda, not only because of the money they lost but also because despite Secunda's attempts to associate them with the Conservative party the previous year, Ace Kefford was upset at an attack on the Labour leader -- his grandfather was a lifelong member of the Labour party and Kefford didn't like the idea of upsetting him. The record also had a knock-on effect on another band. Wood had given the song "Here We Go Round the Lemon Tree" to his friends in The Idle Race, the band that had previously been Mike Sheridan and the Night Riders, and they'd planned to use their version as their first single: [Excerpt: The Idle Race, "Here We Go Round the Lemon Tree"] But the Move had also used the song as the B-side for their own single, and "Flowers in the Rain" was so popular that the B-side also got a lot of airplay. The Idle Race didn't want to be thought of as a covers act, and so "Lemon Tree" was pulled at the last minute and replaced by "Impostors of Life's Magazine", by the group's guitarist Jeff Lynne: [Excerpt: The Idle Race, "Impostors of Life's Magazine"] Before the problems arose, the Move had been working on another single. The A-side, "Cherry Blossom Clinic", was a song about being in a psychiatric hospital, and again had an arrangement by Visconti, who this time conducted a twelve-piece string section: [Excerpt: The Move, "Cherry Blossom Clinic"] The B-side, meanwhile, was a rocker about politics: [Excerpt: The Move, "Vote For Me"] Given the amount of controversy they'd caused, the idea of a song about mental illness backed with one about politics seemed a bad idea, and so "Cherry Blossom Clinic" was kept back as an album track while "Vote For Me" was left unreleased until future compilations. The first Wood knew about "Cherry Blossom Clinic" not being released was when after a gig in London someone -- different sources have it as Carl Wayne or Tony Secunda -- told him that they had a recording session the next morning for their next single and asked what song he planned on recording. When he said he didn't have one, he was sent up to his hotel room with a bottle of Scotch and told not to come down until he had a new song. He had one by 8:30 the next morning, and was so drunk and tired that he had to be held upright by his bandmates in the studio while singing his lead vocal on the track. The song was inspired by "Somethin' Else", a track by Eddie Cochran, one of Wood's idols: [Excerpt: Eddie Cochran, "Somethin' Else"] Wood took the bass riff from that and used it as the basis for what was the Move's most straight-ahead rock track to date. As 1967 was turning into 1968, almost universally every band was going back to basics, recording stripped down rock and roll tracks, and the Move were no exception. Early takes of "Fire Brigade" featured Matthew Fisher of Procol Harum on piano, but the final version featured just guitar, bass, drums and vocals, plus a few sound effects: [Excerpt: The Move, "Fire Brigade"] While Carl Wayne had sung lead or co-lead on all the Move's previous singles, he was slowly being relegated into the background, and for this one Wood takes the lead vocal on everything except the brief bridge, which Wayne sings: [Excerpt: The Move, "Fire Brigade"] The track went to number three, and while it's not as well-remembered as a couple of other Move singles, it was one of the most influential. Glen Matlock of the Sex Pistols has often said that the riff for "God Save the Queen" is inspired by "Fire Brigade": [Excerpt: The Sex Pistols, "God Save the Queen"] The reversion to a heavier style of rock on "Fire Brigade" was largely inspired by the group's new friend Jimi Hendrix. The group had gone on a package tour with The Pink Floyd (who were at the bottom of the bill), Amen Corner, The Nice, and the Jimi Hendrix Experience, and had become good friends with Hendrix, often jamming with him backstage. Burton and Kefford had become so enamoured of Hendrix that they'd both permed their hair in imitation of his Afro, though Burton regretted it -- his hair started falling out in huge chunks as a result of the perm, and it took him a full two years to grow it out and back into a more natural style. Burton had started sharing a flat with Noel Redding of the Jimi Hendrix Experience, and Burton and Wood had also sung backing vocals with Graham Nash of the Hollies on Hendrix's "You Got Me Floatin'", from his Axis: Bold as Love album: [Excerpt: The Jimi Hendrix Experience, "You Got Me Floatin'"] In early 1968, the group's first album came out. In retrospect it's arguably their best, but at the time it felt a little dated -- it was a compilation of tracks recorded between late 1966 and late 1967, and by early 1968 that might as well have been the nineteenth century. The album included their two most recent singles, a few more songs arranged by Visconti, and three cover versions -- versions of Eddie Cochran's "Weekend", Moby Grape's "Hey Grandma", and the old standard "Zing! Went the Strings of My Heart", done copying the Coasters' arrangement with Bev Bevan taking a rare lead vocal. By this time there was a lot of dissatisfaction among the group. Most vocal -- or least vocal, because by this point he was no longer speaking to any of the other members, had been Ace Kefford. Kefford felt he was being sidelined in a band he'd formed and where he was the designated face of the group. He'd tried writing songs, but the only one he'd brought to the group, "William Chalker's Time Machine", had been rejected, and was eventually recorded by a group called The Lemon Tree, whose recording of it was co-produced by Burton and Andy Fairweather-Low of Amen Corner: [Excerpt: The Lemon Tree, "William Chalker's Time Machine"] He was also, though the rest of the group didn't realise it at the time, in the middle of a mental breakdown, which he later attributed to his overuse of acid. By the time the album, titled Move, came out, he'd quit the group. He formed a new group, The Ace Kefford Stand, with Cozy Powell on drums, and they released one single, a cover version of the Yardbirds' "For Your Love", which didn't chart: [Excerpt: The Ace Kefford Stand, "For Your Love"] Kefford recorded a solo album in 1968, but it wasn't released until an archival release in 2003, and he spent most of the next few decades dealing with mental health problems. The group continued on as a four-piece, with Burton moving over to bass. While they thought about what to do -- they were unhappy with Secunda's management, and with the sound that Cordell was getting from their recordings, which they considered far wimpier than their live sound -- they released a live EP of cover versions, recorded at the Marquee. The choice of songs for the EP showed their range of musical influences at the time, going from fifties rockabilly to the burgeoning progressive rock scene, with versions of Cochran's "Somethin' Else", Jerry Lee Lewis' "It'll Be Me", "So You Want to Be a Rock and Roll Star" by the Byrds, "Sunshine Help Me" by Spooky Tooth, and "Stephanie Knows Who" by Love: [Excerpt: The Move, "Stephanie Knows Who"] Incidentally, later that year they headlined a gig at the Royal Albert Hall with the Byrds as the support act, and Gram Parsons, who by that time was playing guitar for the Byrds, said that the Move did "So You Want to Be a Rock and Roll Star" better than the Byrds did. The EP, titled "Something Else From the Move", didn't do well commercially, but it did do something that the band thought important -- Trevor Burton in particular had been complaining that Denny Cordell's productions "took the toughness out" of the band's sound, and was worried that the group were being perceived as a pop band, not as a rock group like his friends in the Jimi Hendrix Experience or Cream. There was an increasing tension between Burton, who wanted to be a heavy rocker, and the older Wayne, who thought there was nothing at all wrong with being a pop band. The next single, "Wild Tiger Woman", was much more in the direction that Burton wanted their music to go. It was ostensibly produced by Cordell, but for the most part he left it to the band, and as a result it ended up as a much heavier track than normal. Roy Wood had only intended the song as an album track, and Bevan and Wayne were hesitant about it being a single, but Burton was insistent -- "Wild Tiger Woman" was going to be the group's first number one record: [Excerpt: The Move, "Wild Tiger Woman"] In fact, it turned out to be the group's first single not to chart at all, after four top ten singles in a row.  The group were now in crisis. They'd lost Ace Kefford, Burton and Wayne were at odds, and they were no longer guaranteed hitmakers. They decided to stop working with Cordell and Secunda, and made a commitment that if the next single was a flop, they would split up. In any case, Roy Wood was already thinking about another project. Even though the group's recent records had gone in a guitar-rock direction, he thought maybe you could do something more interesting. Ever since seeing Tony Visconti conduct orchestral instruments playing his music, he'd been thinking about it. As he later put it "I thought 'Well, wouldn't it be great to get a band together, and rather than advertising for a guitarist how about advertising for a cellist or a French horn player or something? There must be lots of young musicians around who play the... instruments that would like to play in a rock kind of band.' That was the start of it, it really was, and I think after those tracks had been recorded with Tony doing the orchestral arrangement, that's when I started to get bored with the Move, with the band, because I thought 'there's something more to it'". He'd started sketching out plans for an expanded lineup of the group, drawing pictures of what it would look like on stage if Carl Wayne was playing timpani while there were cello and French horn players on stage with them. He'd even come up with a name for the new group -- a multi-layered pun. The group would be a light orchestra, like the BBC Light Orchestra, but they would be playing electrical instruments, and also they would have a light show when they performed live, and so he thought "the Electric Light Orchestra" would be a good name for such a group. The other band members thought this was a daft idea, but Wood kept on plotting. But in the meantime, the group needed some new management. The person they chose was Don Arden. We talked about Arden quite a bit in the last episode, but he's someone who is going to turn up a lot in future episodes, and so it's best if I give a little bit more background about him. Arden was a manager of the old school, and like several of the older people in the music business at the time, like Dick James or Larry Page, he had started out as a performer, doing an Al Jolson tribute act, and he was absolutely steeped in showbusiness -- his wife had been a circus contortionist before they got married, and when he moved from Manchester to London their first home had been owned by Winifred Atwell, a boogie piano player who became the first Black person to have a UK number one -- and who is *still* the only female solo instrumentalist to have a UK number one -- with her 1954 hit "Let's Have Another Party": [Excerpt: WInifred Atwell, "Let's Have Another Party"] That was only Atwell's biggest in a long line of hits, and she'd put all her royalties into buying properties in London, one of which became the Ardens' home. Arden had been considered quite a promising singer, and had made a few records in the early 1950s. His first recordings, of material in Yiddish aimed at the Jewish market, are sadly not findable online, but he also apparently recorded as a session singer for Embassy Records. I can't find a reliable source for what records he sang on for that label, which put out budget rerecordings of hits for sale exclusively through Woolworths, but according to Wikipedia one of them was Embassy's version of "Blue Suede Shoes", put out under the group name "The Canadians", and the lead vocal on that track certainly sounds like it could be him: [Excerpt: The Canadians, "Blue Suede Shoes"] As you can tell, rock and roll didn't really suit Arden's style, and he wisely decided to get out of performance and into behind-the-scenes work, though he would still try on occasion to make records of his own -- an acetate exists from 1967 of him singing "Sunrise, Sunset": [Excerpt: Don Arden, "Sunrise, Sunset"] But he'd moved first into promotion -- he'd been the promoter who had put together tours of the UK for Gene Vincent, Little Richard, Brenda Lee and others which we mentioned in the second year of the podcast -- and then into management. He'd first come into management with the Animals -- apparently acting at that point as the money man for Mike Jeffries, who was the manager the group themselves dealt with. According to Arden -- though his story differs from the version of the story told by others involved -- the group at some point ditched Arden for Allen Klein, and when they did, Arden's assistant Peter Grant, another person we'll be hearing a lot more of, went with them.  Arden, by his own account, flew over to see Klein and threatened to throw him out of the window of his office, which was several stories up. This was a threat he regularly made to people he believed had crossed him -- he made a similar threat to one of the Nashville Teens, the first group he managed after the Animals, after the musician asked what was happening to the group's money. And as we heard last episode, he threatened Robert Stigwood that way when Stigwood tried to get the Small Faces off him. One of the reasons he'd signed the Small Faces was that Steve Marriott had gone to the Italia Conti school, where Arden had sent his own children, Sharon and David, and David had said that Marriott was talented. And David was also a big reason the Move came over to Arden. After the Small Faces had left him, Arden had bought Galaxy Entertaimnent, the booking agency that handled bookings for Amen Corner and the Move, among many other acts. Arden had taken over management of Amen Corner himself, and had put his son David in charge of liaising with Tony Secunda about the Move.  But David Arden was sure that the Move could be an albums act, not just a singles act, and was convinced the group had more potential than they were showing, and when they left Secunda, Don Arden took them on as his clients, at least for the moment. Secunda, according to Arden (who is not the most reliable of witnesses, but is unfortunately the only one we have for a lot of this stuff) tried to hire someone to assassinate Arden, but Arden quickly let Secunda know that if anything happened to Arden, Secunda himself would be dead within the hour. As "Wild Tiger Woman" hadn't been a hit, the group decided to go back to their earlier "Flowers in the Rain" style, with "Blackberry Way": [Excerpt: The Move, "Blackberry Way"] That track was produced by Jimmy Miller, who was producing the Rolling Stones and Traffic around this time, and featured the group's friend Richard Tandy on harpsichord. It's also an example of the maxim "Good artists copy, great artists steal". There are very few more blatant examples of plagiarism in pop music than the middle eight of "Blackberry Way". Compare Harry Nilsson's "Good Old Desk": [Excerpt: Nilsson, "Good Old Desk"] to the middle eight of "Blackberry Way": [Excerpt: The Move, "Blackberry Way"] "Blackberry Way" went to number one, but that was the last straw for Trevor Burton -- it was precisely the kind of thing he *didn't* want to be doing,. He was so sick of playing what he thought of as cheesy pop music that at one show he attacked Bev Bevan on stage with his bass, while Bevan retaliated with his cymbals. He stormed off stage, saying he was "tired of playing this crap". After leaving the group, he almost joined Blind Faith, a new supergroup that members of Cream and Traffic were forming, but instead formed his own supergroup, Balls. Balls had a revolving lineup which at various times included Denny Laine, formerly of the Moody Blues, Jackie Lomax, a singer-songwriter who was an associate of the Beatles, Richard Tandy who had played on "Blackberry Way", and Alan White, who would go on to drum with the band Yes. Balls only released one single, "Fight for My Country", which was later reissued as a Trevor Burton solo single: [Excerpt: Balls, "Fight For My Country"] Balls went through many lineup changes, and eventually seemed to merge with a later lineup of the Idle Race to become the Steve Gibbons Band, who were moderately successful in the seventies and eighties. Richard Tandy covered on bass for a short while, until Rick Price came in as a permanent replacement. Before Price, though, the group tried to get Hank Marvin to join, as the Shadows had then split up, and Wood was willing to move over to bass and let Marvin play lead guitar. Marvin turned down the offer though. But even though "Blackberry Way" had been the group's biggest hit to date, it marked a sharp decline in the group's fortunes.  Its success led Peter Walsh, the manager of Marmalade and the Tremeloes, to poach the group from Arden, and even though Arden took his usual heavy-handed approach -- he describes going and torturing Walsh's associate, Clifford Davis, the manager of Fleetwood Mac, in his autobiography -- he couldn't stop Walsh from taking over. Unfortunately, Walsh put the group on the chicken-in-a-basket cabaret circuit, and in the next year they only released one record, the single "Curly", which nobody was happy with. It was ostensibly produced by Mike Hurst, but Hurst didn't turn up to the final sessions and Wood did most of the production work himself, while in the next studio over Jimmy Miller, who'd produced "Blackberry Way", was producing "Honky Tonk Women" by the Rolling Stones. The group were getting pigeonholed as a singles group, at a time when album artists were the in thing. In a three-year career they'd only released one album, though they were working on their second. Wood was by this point convinced that the Move was unsalvageable as a band, and told the others that the group was now just going to be a launchpad for his Electric Light Orchestra project. The band would continue working the chicken-in-a-basket circuit and releasing hit singles, but that would be just to fund the new project -- which they could all be involved in if they wanted, of course. Carl Wayne, on the other hand, was very, very, happy playing cabaret, and didn't see the need to be doing anything else. He made a counter-suggestion to Wood -- keep The Move together indefinitely, but let Wood do the Brian Wilson thing and stay home and write songs. Wayne would even try to get Burton and Kefford back into the band. But Wood wasn't interested. Increasingly his songs weren't even going to the Move at all. He was writing songs for people like Cliff Bennett and the Casuals. He wrote "Dance Round the Maypole" for Acid Gallery: [Excerpt: Acid Gallery, "Dance Round the Maypole"] On that, Wood and Jeff Lynne sang backing vocals. Wood and Lynne had been getting closer since Lynne had bought a home tape recorder which could do multi-tracking -- Wood had wanted to buy one of his own after "Flowers in the Rain", but even though he'd written three hit singles at that point his publishing company wouldn't give him an advance to buy one, and so he'd started using Lynne's. The two have often talked about how they'd recorded the demo for "Blackberry Way" at Lynne's parents' house, recording Wood's vocal on the demo with pillows and cushions around his head so that his singing wouldn't wake Lynne's parents. Lynne had been another person that Wood had asked to join the group when Burton left, but Lynne was happy with The Idle Race, where he was the main singer and songwriter, though their records weren't having any success: [Excerpt: The Idle Race, "I Like My Toys"] While Wood was writing material for other people, the only one of those songs to become a hit was "Hello Suzie", written for Amen Corner, which became a top five single on Immediate Records: [Excerpt: Amen Corner, "Hello Suzie"] While the Move were playing venues like Batley Variety Club in Britain, when they went on their first US tour they were able to play for a very different audience. They were unknown in the US, and so were able to do shows for hippie audiences that had no preconceptions about them, and did things like stretch "Cherry Blossom Clinic" into an eight-minute-long extended progressive rock jam that incorporated bits of "Jesu, Joy of Man's Desiring", the Nutcracker Suite, and the Sorcerer's Apprentice: [Excerpt: The Move, "Cherry Blossom Clinic Revisited (live at the Fillmore West)"] All the group were agreed that those shows were the highlight of the group's career. Even Carl Wayne, the band member most comfortable with them playing the cabaret circuit, was so proud of the show at the Fillmore West which that performance is taken from that when the tapes proved unusable he kept hold of them, hoping all his life that technology would progress to the point where they could be released and show what a good live band they'd been, though as things turned out they didn't get released until after his death. But when they got back to the UK it was back to the chicken-in-a-basket circuit, and back to work on their much-delayed second album. That album, Shazam!, was the group's attempt at compromise between their different visions. With the exception of one song, it's all heavy rock music, but Wayne, Wood, and Price all co-produced, and Wayne had the most creative involvement he'd ever had. Side two of the album was all cover versions, chosen by Wayne, and Wayne also went out onto the street and did several vox pops, asking members of the public what they thought of pop music: [Excerpt: Vox Pops from "Don't Make My Baby Blue"] There were only six songs on the album, because they were mostly extended jams. Other than the three cover versions chosen by Wayne, there was a sludge-metal remake of "Hello Suzie", the new arrangement of "Cherry Blossom Clinic" they'd been performing live, retitled "Cherry Blossom Clinic Revisited", and only one new original, "Beautiful Daughter", which featured a string arrangement by Visconti, who also played bass: [Excerpt: The Move, "Beautiful Daughter"] And Carl Wayne sang lead on five of the six tracks, which given that one of the reasons Wayne was getting unhappy with the band was that Wood was increasingly becoming the lead singer, must have been some comfort. But it wasn't enough. By the time Shazam! came out, with a cover drawn by Mike Sheridan showing the four band members as superheroes, the band was down to three -- Carl Wayne had quit the group, for a solo career. He continued playing the cabaret circuit, and made records, but never had another hit, but he managed to have a very successful career as an all-round entertainer, acting on TV and in the theatre, including a six-year run as the narrator in the musical Blood Brothers, and replacing Alan Clarke as the lead singer of the Hollies. He died in 2004. As soon as Wayne left the group, the three remaining band members quit their management and went back to Arden. And to replace Wayne, Wood once again asked Jeff Lynne to join the group. But this time the proposition was different -- Lynne wouldn't just be joining the Move, but he would be joining the Electric Light Orchestra. They would continue putting out Move records and touring for the moment, and Lynne would be welcome to write songs for the Move so that Wood wouldn't have to be the only writer, but they'd be doing it while they were planning their new group.  Lynne was in, and the first single from the new lineup was a return to the heavy riff rock style of "Wild Tiger Woman", "Brontosaurus": [Excerpt: The Move, "Brontosaurus"] But Wayne leaving the group had put Wood in a difficult position. He was now the frontman, and he hated that responsibility -- he said later "if you look at me in photos of the early days, I'm always the one hanging back with my head down, more the musician than the frontman." So he started wearing makeup, painting his face with triangles and stars, so he would be able to hide his shyness. And it worked -- and "Brontosaurus" returned the group to the top ten. But the next single, "When Alice Comes Back to the Farm", didn't chart at all. The first album for the new Move lineup, Looking On, was to finish their contract with their current record label. Many regard it as the group's "Heavy metal album", and it's often considered the worst of their four albums, with Bev Bevan calling it "plodding", but that's as much to do with Bevan's feeling about the sessions as anything else -- increasingly, after the basic rhythm tracks had been recorded, Wood and Lynne would get to work without the other two members of the band, doing immense amounts of overdubbing.  And that continued after Looking On was finished. The group signed a new contract with EMI's new progressive rock label, Harvest, and the contract stated that they were signing as "the Move performing as The Electric Light Orchestra". They started work on two albums' worth of material, with the idea that anything with orchestral instruments would be put aside for the first Electric Light Orchestra album, while anything with just guitar, bass, drums, keyboard, and horns would be for the Move. The first Electric Light Orchestra track, indeed, was intended as a Move B-side. Lynne came in with a song based around a guitar riff, and with lyrics vaguely inspired by the TV show The Prisoner, about someone with a number instead of a name running, trying to escape, and then eventually dying.  But then Wood decided that what the track really needed was cello. But not cello played in the standard orchestral manner, but something closer to what the Beatles had done on "I am the Walrus". He'd bought a cheap cello himself, and started playing Jimi Hendrix riffs on it, and Lynne loved the sound of it, so onto the Move's basic rhythm track they overdubbed fifteen cello tracks by Wood, and also two French horns, also by Wood: [Excerpt: The Electric Light Orchestra, "10538 Overture"] The track was named "10538 Overture", after they saw the serial number 1053 on the console they were using to mix the track, and added the number 8 at the end, making 10538 the number of the character in the song. Wood and Lynne were so enamoured with the sound of their new track that they eventually got told by the other two members of the group that they had to sit in the back when the Move were driving to gigs, so they couldn't reach the tape player, because they'd just keep playing the track over and over again. So they got a portable tape player and took that into the back seat with them to play it there. After finishing some pre-existing touring commitments, the Move and Electric Light Orchestra became a purely studio group, and Rick Price quit the bands -- he needed steady touring work to feed his family, and went off to form another band, Mongrel. Around this time, Wood also took part in another strange project. After Immediate Records collapsed, Andrew Oldham needed some fast money, so he and Don Arden put together a fake group they could sign to EMI for ten thousand pounds.  The photo of the band Grunt Futtock was of some random students, and that was who Arden and Oldham told EMI was on the track, but the actual performers on the single included Roy Wood, Steve Marriott, Peter Frampton, and Andy Bown, the former keyboard player of the Herd: [Excerpt: Grunt Futtock, "Rock 'n' Roll Christian"] Nobody knows who wrote the song, although it's credited to Bernard Webb, which is a pseudonym Paul McCartney had previously used -- but everyone knew he'd used the pseudonym, so it could very easily be a nod to that. The last Move album, Message From The Country, didn't chart -- just like the previous two hadn't. But Wood's song "Tonight" made number eleven, the follow-up, "Chinatown", made number twenty-three, and then the final Move single, "California Man", a fifties rock and roll pastiche, made the top ten: [Excerpt: The Move, "California Man"] In the US, that single was flipped, and the B-side, Lynne's song "Do Ya", became the only Move song ever to make the Hot One Hundred, reaching number ninety-nine: [Excerpt: The Move, "Do Ya"] By the time "California Man" was released, the Electric Light Orchestra were well underway. They'd recorded their first album, whose biggest highlights were Lynne's "10538 Overture" and Wood's "Whisper in the Night": [Excerpt: The Electric Light Orchestra, "Whisper in the Night"] And they'd formed a touring lineup, including Richard Tandy on keyboards and several orchestral instrumentalists. Unfortunately, there were problems developing between Wood and Lynne. When the Electric Light Orchestra toured, interviewers only wanted to speak to Wood, thinking of him as the band leader, even though Wood insisted that he and Lynne were the joint leaders. And both men had started arguing a lot, to the extent that at some shows they would refuse to go on stage because of arguments as to which of them should go on first. Wood has since said that he thinks most of the problems between Lynne and himself were actually caused by Don Arden, who realised that if he split the two of them into separate acts he could have two hit groups, not one. If that was the plan, it worked, because by the time "10538 Overture" was released as the Electric Light Orchestra's first single, and made the top ten -- while "California Man" was also still in the charts -- it was announced that Roy Wood was now leaving the Electric Light Orchestra, as were keyboard playe

The world had changed for Robert Plant in 1982.  Led Zeppelin had broken up following the death of John Bonham in 1980.  Big riff, classic rock had been replaced by punk, the new romantics, new wave and MTV was now the one place folks went to get their new music.  Many of his peers from the 1970s had broken up, retired or were trying new things.  So Robert put together a new band and released his first solo effort, Pictures at Eleven.But Robert didn't want to trade on his past so he did not perform any Led Zeppelin songs for the first few years as a solo artist.  He wanted to forge ahead, make new music and not have to be a jukebox for those big Zep fans.  And he got a lot of help from friends like Phil Collins and Cozy Powell on the drums, new writing partner and guitar player Robbie Blunt and more folks to help him forge his new sound.It may not be my favorite Robert Plant album but it set the tone for him as a solo artist and helped create his own sound, which was different from Led Zeppelin, and set him up for great success for decades to come.Ugly American Werewolf in London WebsiteTwitterInstagramYouTubeLInkTreewww.pantheonpodcasts.com

The world had changed for Robert Plant in 1982.  Led Zeppelin had broken up following the death of John Bonham in 1980.  Big riff, classic rock had been replaced by punk, the new romantics, new wave and MTV was now the one place folks went to get their new music.  Many of his peers from the 1970s had broken up, retired or were trying new things.  So Robert put together a new band and released his first solo effort, Pictures at Eleven.But Robert didn't want to trade on his past so he did not perform any Led Zeppelin songs for the first few years as a solo artist.  He wanted to forge ahead, make new music and not have to be a jukebox for those big Zep fans.  And he got a lot of help from friends like Phil Collins and Cozy Powell on the drums, new writing partner and guitar player Robbie Blunt and more folks to help him forge his new sound.It may not be my favorite Robert Plant album but it set the tone for him as a solo artist and helped create his own sound, which was different from Led Zeppelin, and set him up for great success for decades to come.Ugly American Werewolf in London WebsiteTwitterInstagramYouTubeLInkTreewww.pantheonpodcasts.com

Music & Memories (Sept 74) Radio Northsea International (online Sat 7pm UK time) music from: Alvin Stardust, Cozy Powell, Helen Reddy, KC And The Sunshine Band, Barry White, The Osmonds, Paper Lace, Showaddywaddy, Carl Douglas, Cat Stevens and more.... 

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Colabora Con Biblioteca Del Metal: En Twitter - https://twitter.com/Anarkometal72 Y Donanos Unas Propinas En BAT. Para Seguir Con El Proyecto De la Biblioteca Mas Grande Del Metal. Muchisimas Gracias. La Tienda De Biblioteca Del Metal: Encontraras, Ropa, Accesorios,Decoracion, Ect... Todo Relacionado Al Podcats Biblioteca Del Metal Y Al Mundo Del Heavy Metal. Descubrela!!!!!! Ideal Para Llevarte O Regalar Productos Del Podcats De Ivoox. (Por Tiempo Limitado) https://teespring.com/es/stores/biblioteca-del-metal-1 Whitesnake es una banda británica de hard rock fundada en el año 1978 por David Coverdale​​ tras su separación de la banda Deep Purple.de la cual formó parte como vocalista desde finales de 1973 hasta mediados de 1976.​ En sus primeros años, su música estuvo orientada hacia el rock, el blues y el soul, destacando el álbum Saints & Sinners, pero a partir de 1984, con la salida de Slide It In, dieron un cambio notable a su música, orientándola hacia el hard rock comercial de la época. Bajo esa línea la banda vivió su época dorada, y alcanzó su cima con la salida del álbum 1987, que trajo consigo los exitosos sencillos Still of the Night, Here I Go Again y la balada Is This Love. Cerraron esta etapa con Slip Of The Tongue en 1989. Tras esto, han seguido estando activos en diferentes épocas y han editado algunos discos. En 2019 regresaron al hard rock ochentero con el álbum Flesh & Blood.que fue elogiado por sus fanes. Un aspecto que ha caracterizado a la banda durante su historia ha sido la inconsistencia de sus formaciones a lo largo de los años, involucrando a diversos músicos británicos y estadounidenses, con la excepción de David Coverdale, fundador de la banda como líder y único miembro permanente. En febrero de 1978 David Coverdale y el guitarrista Micky Moody, que había colaborado con Coverdale en sus dos discos como solista, formaron Whitesnake. El resto de la alineación inicial, incluiría al guitarrista Bernie Marsden,el bajista Neil Murray, el batería David Dowle y a Brian Johnston en los teclados (Quien posteriormente sería reemplazado por Pete Solley). En abril de ese mismo año, saldría a la luz su primer trabajo, un EP titulado "Snakebite" bajo el nombre de David Coverdale´s Whitesnake. El primer álbum propiamente dicho de Whitesnake, saldría en octubre de 1978, bajo el nombre de "Trouble". El teclista del disco sería un excompañero de David Coverdale en los años de Deep Purple, Jon Lord. Del álbum, surgirían varios temas que se transformarían con el paso de los años en clásicos como Take me with you, Trouble, Lie down y una versión de Day Tripper de The Beatles. Su mayor éxito en esta etapa inicial lo lograrían con el álbum de 1979, "Lovehunter", que contenía temas como Walking In The Shadow Of The Blues, Medicine Man y el que da nombre al disco. Aunque el álbum más memorable de esta época sería sin duda "Ready an' Willing" de 1980, en el que ya no estaría presente el baterista David Dowle; En su lugar entraría otro excompañero de Coverdale de Deep Purple: Ian Paice. Con la edición de este disco, llegarían a lo más alto de las listas, con temas como Fool for your loving y Blindman. Con la gira de "Ready an' Willing", se atreverían a sacar un doble disco en directo, grabado en el Hammersmith de Londres en noviembre de 1978 y junio de 1980. En dicho disco doble fusionarían las mejores canciones editadas hasta ese momento. En 1981 editarían otro álbum: "Come an' Get It" muy al estilo del anterior, que incluiría canciones como Don't break my heart again, Come an'get it. Al año siguiente grabarían un álbum, el cual se editaría recién a mediados de 1982, titulado "Saints & Sinners", que incluiría uno de sus más grandes éxitos: Here I go again, el cual se convertiría en un clásico del grupo. En ese momento las diferencias entre los integrantes y una enfermedad de la hija de Coverdale provocarían un impasse en la banda. Al regreso, tiempo después, ya no estaría más el guitarrista Bernie Marsden, quien sería el primero en marcharse, seguido por Ian Paice y Neil Murray. En octubre de 1982 presentarían una formación renovada: el guitarrista Mel Galley,(ex Trapeze), el bajista Colin Hodgkinson y sentado a la batería estaría el legendario Cozy Powell (ex-Jeff Beck, Rainbow, Black Sabbath y muchas más…). Durante los últimos meses de 1982 y primeros de 1983 realizarían la gira del "Saints & Sinners" y a finales de 1983 y principios de 1984 grabarían "Slide it in",(El cual contenía temas como Love Ain't No Stranger y el mismísimo Slide it in). Antes de empezar con la gira el guitarrista Micky Moody abandonaría también la banda y sería sustituido por John Sykes (ex-Thin Lizzy). En medio de la gira volvería Neil Murray y con esa formación, Whitesnake se presentaría en el primer Rock in Rio, en 1985, con gran éxito. Para finales de 1986, la banda estaba compuesta por John Sykes en la guitarra, Aynsley Dunbar en la batería y Neil Murray en el bajo. Con el agregado de Don Airey en los teclados, todos ellos grabarían "Whitesnake" (conocido en Europa como 1987),el álbum más conocido y vendido de su historia, editado obviamente ese año. Con esa edición, Whitesnake conseguiría el tan deseado megaestrellato en los Estados Unidos, pero su estilo musical, a consecuencia de la búsqueda de este nuevo mercado viraría unos grados en la dirección del hard rock más comercial de la época, como el glam metal, y en la misma medida, se alejaría de sus raíces más bluseras. Los primeros sencillos extraídos de ese disco serían la balada Is This Love que se transformaría en un tema de culto y la reedición de la canción Here I Go Again, la cual se convertiría en uno de los sencillos más exitosos de Whitesnake y todo un clásico del hard rock. Para desazón de los fanes y la prensa, Coverdale expulsaría a su guitarrista estrella John Sykes (En la época, se especuló con que el motivo era una disputa del protagonismo escénico) e ingresarían Adrian Vandenberg ,y Vivian Campbell (ex-Dio) en su reemplazo, Rudy Sarzo (ex-Quiet Riot) se haría cargo del bajo y Tommy Aldridge de la batería. En 1989, Steve Vai ,(ex-Frank Zappa y David Lee Roth) reemplazaría a Vivian Campbell y entraría a formar parte del grupo. Steve Vai ya era uno de los mejores guitarristas del mundo en aquella época, ya que acababa de sacar a la luz su Passion and Warfare, su disco más exitoso hasta la fecha. Steve se encargaría de grabar todas las guitarras de "Slip Of The Tongue" él solo, debido a que Adrian Vandenberg se lesionaría realizando unos ejercicios, provocándole estos una Tendinitis. Más tarde, Adrian volvería para la gira del disco. Coverdale volvería a reeditar para este disco, otro de sus clásicos, esta vez sería Fool For Your Loving, el cual también haría cosechar un gran éxito al disco, aunque no tanto como su anterior trabajo. Entre los conciertos de la gira de Slip Of The Tongue se incluye uno de los festivales más famosos de la historia, el exitoso Monsters of Rock de 1990. Al finalizar la gira en 1990, la banda prácticamente se desmembraría. A finales de 1993 Coverdale y el emblemático guitarrista de Led Zeppelin, Jimmy Page, editarían juntos un álbum titulado simplemente "Coverdale-Page",el cual rápidamente se transformaría en superventas, pero que tendría una fría recepción por parte de la prensa "nostálgica", que clamaba por una reunión de Led Zeppelin, la cual finalmente se concretaría al año siguiente con la edición del disco "No Quarter" de Jimmy Page y Robert Plant. Un álbum recopilatorio "Whitesnake's Greatest Hits" se publicaría en 1994; en él se encontraría una nueva versión de "Here I go again". La banda retomaría la actividad con Warren DeMartini,(Ratt) y Adrian Vanderberg en las guitarras, Rudy Sarzo en el bajo, Paul Misckovick en teclado y Denny Carmassi en batería. En 1997, publicarían "Restless Heart", el cual causaría un impacto mínimo en comparación con las expectativas y ni siquiera sería editado en los Estados Unidos. Posteriormente, se publicaría un álbum acústico titulado "Starkers In Tokyo" interpretado por Coverdale y Adrian Vandenberg únicamente, el cual contendría temas de todas las épocas de Whitesnake más Soldier of Fortune de Deep Purple. Coverdale decidiría desarmar la banda y continuar su carrera como solista. La "Farewell Tour" (gira de despedida) terminaría en Argentina, en el estadio de Ferro Carril Oeste (12 de diciembre de 1997) de manera muy emotiva pero bajo una lluvia de críticas acerca del bajo rendimiento vocal del cantante. En septiembre de 2000 salió un álbum solista de David Coverdale titulado Into the Light, que tampoco obtendría buenos comentarios. En diciembre de 2002 Whitesnake se reagruparía para la gira de conmemoración de su 25 aniversario. Posterior a esto, la banda seguiría realizando conciertos en vivo, editaría un DVD en vivo en 2005 de la gira de 2004 y un par de recopilatorios en 2006. Una de las formaciones más recientes con la que reactivaron al grupo estaría compuesta por integrantes no británicos (a excepción de su líder): David Coverdale voz, Doug Aldrich (ex-Bad Moon Rising y Dio) y Reb Beach (ex-Winger y Dokken) en guitarras, y los menos conocidos, el tecladista Timothy Drury, el bajista Uriah Duffy y el baterista Chris Frazier. En noviembre de 2006 saldría el disco "Live: In the Shadow of the Blues" con 4 temas inéditos: All I want is you, Dog, If you want me y Ready to Rock. La promoción del disco se haría mediante conciertos acústicos en distintas ciudades europeas. En abril de 2008 Whitesnake lanzaría su décimo álbum de estudio, titulado "Good to Be Bad" ,donde volvería a sus raíces más bluseras con temas como A fool in love, Good to be bad y Best Years. A diferencia de los anteriores, cosecharía muy buenas críticas y restablecería parcialmente el nombre de la banda en el rock internacional. El 11 de agosto de 2009 Whitesnake realizaría un espectáculo en el Red Rocks en Morrison, Colorado, donde David Coverdale sufriría una lesión vocal. Luego de ver a un especialista, se anunciaría al día siguiente que Coverdale estaba sufriendo de graves edemas de las cuerdas vocales y una lesión en su pliegue vascular vocal izquierdo, de forma ocasional. Por dicha razón, la banda tendría que retirarse del resto de la gira de Judas Priest.​ A principios de febrero de 2010, David Coverdale aseguraría que su voz parecería haberse recuperado totalmente de los traumas que lo dejaron de lado, tanto a él y como su banda en la gira Priest. Comentaría que últimamente habría estado grabando demos, con el objetivo de un álbum nuevo de Whitesnake, y su voz sonaría llena y fuerte en las cintas que ha registrado. En junio de 2010, la banda comunicaría el lanzamiento de su propio vino, un Zinfandel 2008, descrito por David Coverdale como "lleno hasta el borde con la esencia picante de Snakeyness sexy, resbaladizo... Lo recomiendo para complementar cualquier bañera de hidromasaje en la quieran divertirse..."​ El 18 de junio de 2010, se separarían el bajista Uriah Duffy y el batería Chris Frazier. El reemplazo de Frazier sería el exbaterista de Billy Idol, Brian Tichy.​ El 20 de agosto de 2010 Whitesnake anunció que su nuevo bajista es Michael Devin.​ El 13 de septiembre de 2010, el tecladista Timothy Drury,saldría del grupo para seguir una carrera en solitario.​​ Para marzo de 2011 la banda lanzaría un nuevo álbum después de 2 años, cuya producción presentaría las influencias que nos marcaron en 1987. El nombre del nuevo disco sería "Forevermore",y con la finalidad de promocionarlo, programarían una gira de conciertos durante todo el año con fechas anunciadas en su página web oficial. Constaría de seis presentaciones en el Reino Unido y otras más en el resto del continente europeo. "Forevermore" sería publicado en una edición especial llamada 'Snakepack' a través de la revista Classic Rock y se pondría a la venta el 25 de marzo, tres semanas antes que su lanzamiento comercial. Un sencillo digital de la canción Love Will Set You Free ,sería lanzado, junto con su vídeo musical el 21 de febrero de 2011. El 20 de marzo de 2011 Whitesnake incorporaría a Brian Ruedy ,como su nuevo tecladista para su Forevermore World Tour 2011.​ El 25 de marzo, la página Amazon.co.uk, indicaría que los pre-pedidos de clientes del nuevo álbum del grupo superaron en mucho, los de la nueva producción de Britney Spears, "Femme Fatale" por un lejano 35%, lo cual indica que la agrupación continúa teniendo alguna vigencia importante entre los consumidores británicos. Whitesnake participaría como una de las atracciones principales en el festival anual de Rocklahoma en Pryor, Oklahoma, en el fin de semana del Memorial Day en mayo de 2011. Ese mismo año formaría parte de la gira mundial de Judas Priest llamada Epitaph World Tour. En junio de 2013 el grupo realizó por España una gira junto a otros dos grupos clásicos del hard rock: Def Leppard y Europe ,El 9 de mayo de 2014 se anunció que Doug Aldrich,dejaría Whitesnake para comenzar su carrera en solitario. El 21 de agosto, se anunció que Joel Hoekstra,sería el nuevo guitarrista de la banda. El 25 de febrero se anunció que el Purple Album ,contendría rediciones de las canciones que Coverdale grabó con Deep Purple. La carátula del álbum fue lanzada el 15 de mayo de 2015 por Frontiers Records. El 17 de abril se anunció que el instrumentalista y vocalista italiano, Michele Luppi sería el nuevo tecladista de la banda, reemplazando a Brian Ruedy. El álbum se posicionó en el número 18 en las listas del Reino Unido Albums Chart y entró en el #84 del Billboard 200 album chart en Estados Unidos. En agosto de 2017, Whitesnake firmó una distribución con Rhino Entertainment en Norte América y Japón e internacionalmente con Parlophone, con covers de sus discos, incluyendo el Whitesnake (1987) ,El 4 de diciembre de 2017 mediante Rhino Entretainment, la banda anunció la llegada de un nuevo disco para el año próximo con el nombre de Flesh & Blood.Sin embargo, para sorpresa del público, el álbum se retrasó por problemas técnicos, según los integrantes de la banda, y finalmente fue editado en mayo de 2019. Con este álbum la banda regresa a sus raíces ochenteras, con un hard rock que recuerda al de sus mejores tiempos. Whitesnake no sólo estaba formada, había evolucionado. Fue elaborada durante el proceso de post-Deep Purple en la carrera en solitario de David Coverdale. Comenzó a trabajar con el clásico guitarrista de Whitesnake Micky Moody en su dos álbumes en solitario. La banda de 1978 que Coverdale había utilizado en su gira (para apoyar su álbum Northwinds) fue la que se convertiría en el primer Whitesnake en breve.Escucha este episodio completo y accede a todo el contenido exclusivo de Biblioteca Del Metal - (Recopilation). Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/308558

Deep Purple soitti Suomessa uuden kitaristinsa, Simon McBriden kanssa. Sami Ruokangas oli paikalla yli 30 Purple-keikan kokemuksellaan. Jakson soittolista: https://open.spotify.com/playlist/4LBJDXZH1T5Ewmp5Hjkt4T?si=f81be0006d8a4107 Jutuissa ovat mukana myös Accept, Uriah Heep, Olutravintola Konttori, Rock In The City Kerava, Nestor, Jari Suutarinen, Vesa Heilala, Ian Paice, Don Airey, Roger Glover, Simon McBride, Joe Bonamassa, Gary Moore, Carl Sentance, Nazareth, Laurence Cottle, Black Sabbath, Jon Finnigan, Rainbow, Russ Ballard, Colosseum II, Jon Hiseman, Whitesnake, David Coverdale, John Sykes, Ludwig Van Beethoven, Ritchie Blackmore, Cozy Powell, Yngwie Malmsteen, Tommy Bolin, Steve Morse, Joe Satriani, Michael Schenker, Jeff Beck, Status Quo, Mick Box, Wolf Hoffmann, Juha Hyvönen, Monika Hyvönen, Wishing Well ja Roudari Pekanpalo.

Spike Edney has numerous links to Queen, to the extent that he was often described as the fifth member. Born on 11 December 1951, he has worked with Ben E King, Edwin Starr, The Boomtown Rats, Dexy's Midnight Runners, Duran Duran, Bon Jovi, Eric Clapton, The Rolling Stones, Ian Hunter, Manic Street Preachers, Beautiful South, Gary Barlow, Peter Green, Joe Cocker, 10CC, and countless more.Spike's connections with Queen began in 1984, when he appeared on the European leg of 'The Works' tour, providing additional guitar and keyboards. From then onwards he appeared at almost every show until Queen stopped touring in 1986, appearing on the 'Live In Rio', 'Live In Budapest' and 'Live At Wembley' videos, as well as the 'Live At Wembley 1986' and 'Live Magic' albums. He also appeared on Queen's 1986 studio album, 'A Kind Of Magic'.Spike can be seen playing keyboards Queen's historic 1985 Live Aid performance at Wembley StadiumSpike performed with Queen at Freddie's tribute concert, held at Wembley Stadium in April 1992, and also appears on the video and DVD of the concert. Later in 1992, Spike joined Brian in The Brian May Band, to perform extensively throughout Europe, North America, South America, Asia and Australasia. The Brian May Band released a live album and video in 1994 of a concert at The Brixton Academy in 1993.In 1994, Spike formed the SAS Band (Spike's All-Star Band), with Cozy Powell, Neil Murray, Jamie Moses and Chris Thompson, although the band has evolved over time to include a wide range of musicians. The SAS Band released their debut album in 1997 and played many concerts, many for charity, with a large variety of guest vocalists, including Paul Young, Leo Sayer, Arthur Brown, Tony Hadley, Roy Wood, Fish, Kiki Dee, Bob Geldof, Marti Pellow, Roger Taylor and Brian May.In 1997, Spike appeared with Queen and Elton John in Paris, whilst in 1998, he returned to The Brian May Band for an extensive tour of Europe, Japan, and Australasia. After that, Spike worked with numerous other artists and arranged other concerts for the SAS Band, including a live album and video called 'The Show', in 2000.Spike has continued working with Queen on numerous projects, including the 'We Will Rock You' musical in London, and has performed with Queen at virtually every show since 1984.Find out more about Spike at https://www.sasband.com/index.phpSource: http://www.ultimatequeen.co.uk/index.htm?/miscellaneous/biography/spike-edney.htm

 Percussion Discussion - Episode 84 - Ian HauglandJoining me today is Ian HauglandSince 1984 Ian has been the drummer with Swedish rockers EuropeJoin Ian and myself as we chat about his amazing career from his early influence by Cozy Powell after attending a Rainbow gig with Powell on drums in 1976, then onto almost blowing up a gig venue with some home made pyrotechincs at a very early gig with one of his first bands! Ian also reminisces about an "interesting" audition with a young Swedish guitar god - Yngwie J Malmsteen!! Then of course onto getting the gig with Europe and the recording of Ian's first album with them in 1986 (the bands 3rd) The now iconic - The Final Countdown. We talk at length about the Final Countdown and where the instantly catchy keyboard hook originated from and of course THAT fill into the gutar solo!! in my mind that is one of the most iconic drum fills of the 1980's! What a thoroughly fascinating and enjoyable hour spent in the company of Ian Haugland, Thank you so much for giving up your time so generously.Many thanks also to Adam Parsons of Siren Artist Management Inc for putting us in touch! Much appreciated.Please Like Share and subscribe!

Interesting collection...

Interesting collection...

On the 25th Episode of the Album Review Crew of Shout It Out Loudcast, Tom, Zeus & Sonny review the 1979 album by Rainbow, "Down To Earth." With Ronnie James Dio out of Rainbow, Guitar God, Ritchie Blackmore brings in Graham Bonnet to handle the vocals on this, his one and only album with Rainbow. The band also brought in old friend, Roger Glover from Deep Purple to produce the album, however Roger ends up writing the lyrics and joining the band as its new bassist. ARC favorite, Don Airey joins as well as the keyboard player. The sole remaining Rainbow member on the album was legendary drummer, Cozy Powell.This forgotten Rainbow album was sandwiched between three Dio led Rainbow albums and three Joe Lynn Turner led Rainbow albums. The album seemed to stray away from the familiar Rainbow sound and lyrics into a more commercial sound, especially with its two singles, All Night Long and their biggest hit, Since You Been Gone.This was Zeus' pick and as usual the guys breakdown the tracks and rank the songs. The boys then rank the album and album cover against the previous 23 albums reviewed on the Album Review Crew Episodes.So don't cut your hair, lose the sunglasses and grab your favorite tube top and let's start Makin' Love ..... OoooooooooPlease go to Klick Tee Shop for all your Shout It Out Loudcast Merchandise by clicking below:SIOL Merchandise at Klick Tee Shop Please Email us comments or suggestions by clicking below:ShoutItOutLoudcast@Gmail.com Please subscribe to us and give us a 5 Star (Child) review on the following places below:iTunesPodchaserStitcheriHeart RadioSpotify  Please follow us and like our social media pages clicking below:TwitterFacebook PageFacebook Group Page Shout It Out LoudcastersInstagramYouTube Proud Member of the Pantheon Podcast click below to see the website:Pantheon Podcast Network

On the 25th Episode of the Album Review Crew of Shout It Out Loudcast, Tom, Zeus & Sonny review the 1979 album by Rainbow, "Down To Earth." With Ronnie James Dio out of Rainbow, Guitar God, Ritchie Blackmore brings in Graham Bonnet to handle the vocals on this, his one and only album with Rainbow. The band also brought in old friend, Roger Glover from Deep Purple to produce the album, however Roger ends up writing the lyrics and joining the band as its new bassist. ARC favorite, Don Airey joins as well as the keyboard player. The sole remaining Rainbow member on the album was legendary drummer, Cozy Powell. This forgotten Rainbow album was sandwiched between three Dio led Rainbow albums and three Joe Lynn Turner led Rainbow albums. The album seemed to stray away from the familiar Rainbow sound and lyrics into a more commercial sound, especially with its two singles, All Night Long and their biggest hit, Since You Been Gone. This was Zeus' pick and as usual the guys breakdown the tracks and rank the songs. The boys then rank the album and album cover against the previous 23 albums reviewed on the Album Review Crew Episodes.So don't cut your hair, lose the sunglasses and grab your favorite tube top and let's start Makin' Love ..... Oooooooooo Please go to Klick Tee Shop for all your Shout It Out Loudcast Merchandise by clicking below:SIOL Merchandise at Klick Tee Shop Please Email us comments or suggestions by clicking below:ShoutItOutLoudcast@Gmail.com Please subscribe to us and give us a 5 Star (Child) review on the following places below:iTunesPodchaserStitcheriHeart RadioSpotify  Please follow us and like our social media pages clicking below:TwitterFacebook PageFacebook Group Page Shout It Out LoudcastersInstagramYouTube Proud Member of the Pantheon Podcast click below to see the website:Pantheon Podcast Network

This week on Rockonteurs, Gary and Guy are joined by rock and blues guitarist Bernie Marsden. His musical DNA connects bands and artists like UFO, Deep Purple, Cozy Powell and, of course Whitesnake – where he joined David Coverdale and co-wrote some incredible hits like ‘Fool For Your Loving' and ‘Here I Go Again' – Bernie's book ‘Where's My Guitar' is out now. Hosted on Acast. See acast.com/privacy for more information.

WELCOME BACK TO CHURCH, FREAKS!! On this week's show, we cover what many believe to be Sasbbath's best record, the hidden gem in their catalog, "Headless Cross" featuring Tony Martin on vocals & Cozy Powell on drums. We talk Mortal Kombat & action movies for the rest of the time. Thank YOU for listening, FREAKS!! -Z --- Support this podcast: https://anchor.fm/death-comes-lifting/support

Welcome to the first show of 2021 at this month we feature some of the biggest ever selling rock albums and artists, we hear from Jimmy Page and Led Zep, Ian Anderson and Jethro Tull, Gillan and Lord plus Deep Purple, Who's Next, Electric Warrior, plus Steve Clark and Def Leppard Leslie West and Cozy Powell. --- Send in a voice message: https://anchor.fm/classic-rock-news/message

Join us as we dissect the forgotten Black Sabbath Album The Headless Cross. In 1988, Tony Iommi's Black Sabbath had been dropped from two record labels following The Eternal Idol, but I.R.S. Records came calling to have Iommi record a new Black Sabbath album without any intrusion. As it had been with the previous four records, Black Sabbath again underwent significant lineup changes. Gone were Eric Singer on Drums and Bob Daisley on bass guitar to be replaced by Cozy Powell, late of Rainbow, Jeff Beck, and Whitesnake, on drums and Laurence Cottle on bass as a session player only. He was replaced by Neil Murray, late of Whitesnake and the Gary Moore Band while the band were on tour. Look out for a surprise guest appearance by Queen's Brian May! This album features members of Whitesnake, Black Sabbath (obviously), Rainbow, and Jeff Beck. These players have quite the pedigree! Should you check it out or toss it in the bin? Listen to find out. DMA Podcast Facebook https://www.facebook.com/dmapodcast/ Get to know the hosts! Duncan Evans (Duncan Evans Music and Moonlow) https://duncan-evans.bandcamp.com/ http://moonlow.bandcamp.com/ Nik Cameron http://glaciallymusical.blogspot.com/ https://www.ebay.com/sch/squallvay/m.html?item=274559962757&rt=nc&_trksid=p2047675.l2562

Welcome to the summer edition of the Classic Rock Podcast, this month Highway to Hell celebrates its 40th year and Yes released their debut album 50 years ago this july we hear an archive interview from them and this moth in 1979 saw Rainbow release Down to Earth, Ritchie Blackmore Graham Bonnet and the legendary drummer Cozy Powell all remember a landmark period in the bands history. --- Send in a voice message: https://anchor.fm/classic-rock-news/message

The Beatles: Glass Onion Warren Zevon: The Indifference Of Heaven Bob Dylan: One More Cup Of Coffee Lanz & James McAlister: Auckland Robert Forster: Remain The Velvet Underground: Rock & Roll (demo) (Uncle Duke speaks) J J Cale: Go Downtown Deerhunter: Plains Valeri June: With You Jeff Tweedy: Orphan Joe Pug: Hymn # 101 Robert Plant & Cozy Powell: (riffing) Bon Iver: 8 Walker Lukens: Every Night