Podcasts about Daltrey

Tune in to Chris Akin Presents... for a heavy dose of rock talk. We start by honoring the legacy of the late, great Roy Thomas Baker. Then, we dive into the drama surrounding The Who – that video of Daltrey and Starkey is insane! We also give our unfiltered thoughts on recent AC/DC performances... has the magic faded? Prepare for some laughs as we share some truly bizarre photos of Brian Johnson and Michael Monroe. Finally, we discuss the Netflix movie CAM and the scary world of AI deepfakes, plus quick takes on Black Mirror, Paradise, and the newest Diddy Files.Get a free Rumble Account so you can comment! https://rumble.com/register/classicmetalshow/Get commercial free versions of our episodes, advance releases and exclusive content by subscribing to Rumble Premium! https://rumble.com/premiumNOTE: Everything said here, and on every episode of all of our shows, are 100% the opinions of the hosts. Nothing is stated as fact. Do your own research to see if their opinions are true or not.   #RockNews #TheWho #ACDC #AIDeepfakeMovie #Podcast

Send us a textWho is the greatest screamer of all time? Daltrey? Plant? Cocker? Let us know at: vinyltourbus@gmail.comThe Vinyl Tour Bus Makes all The Stops:Tales Of A Rock-A-RollaMusical History ToursRock Music TriviaGeneral MayhemTune In, Turn On & Rock Out

Pete Townshend intended the fifth studio album from The Who to be a science fiction rock opera called “Lifehouse,” as a follow up to the rock opera “Tommy” released in 1969.  After conflicts with their band manager and issues just managing the complexity of what Townshend envisioned the project to be, the rock opera was shelved, and the follow-up was made into a more traditional album entitled Who's Next.The group began recording the album at Rolling Stones frontman Mick Jagger's house, using the Stones' mobile recording studio, then moved to a more traditional studio in London.  Most of the album is made up of songs originally intended for the Lifehouse project.  Who's Next would see the Who make significant use of synthesizers and other keyboard sounds on this album, making the synthesizers a more integrated part of the songs than on previous albums.  Drummer Keith Moon's style was also more formalized than before, and the overall album was focused on a good sound where previous albums were perhaps tilted toward a sonic projection of the image of the band.Who's Next would contain some of the most iconic songs that the band produced, and retrospectively is considered by many to be the best album The Who ever produced.  The album would reach number 1 on the UK charts, and number 4 on the US charts.Rob brings us this iconic album for today's podcast, and friend of the show Mike Fernandes sits in for Bruce this week.MobileThis lighter song is a celebration of life on the open road.  Roger Daltrey steps aside as Pete Townshend takes over lead vocal duties.  Daltrey actually was not present at the recording of this song, leaving Keith Moon (drums), John Entwistle (bass), and Townshend (vocals, guitar, keyboards) to record it as a power trio.A BargainOften misconstrued as a love song to a woman, this track actually is about a relationship with God.  It contends that sacrificing everything for a relationship with God is not a sacrifice at all, but a bargain.  Much of Pete Townshend's work is inspired by eastern mysticism.Won't Get Fooled AgainThe last track on the album is an 8 1/2-minute epic.  It was originally intended as a closing number to the "Lifehouse" rock opera.  The lyrics offer a critique of both government and revolutionary change, summarized in the phrase "Meet the new boss, same as the old boss."  Townshend was inspired to write this song after chasing Abbie Hoffman off the stage at Woodstock.Baba O'Riley The title of the lead track to the album is a combination of two of Townshend's mentors, Indian spiritualist Meher Baba and American Composer Terry Riley.  The repeated phrase "teenage wasteland" was inspired by Townshend's observations of youths at Woodstock strung out on acid. ENTERTAINMENT TRACK:The Beat Goes On by Sonny & Cher (from the television variety show “Sonny and Cher Comedy Hour”)The singing duo Sonny and Cher started this sketch comedy and music show in 1971.  It would run for 3 years until their divorce. STAFF PICKS:Sweet City Woman by The StampedersWayne brings us a banjo-laden hit from a Canadian trio.  The lyrics were inspired by an encounter with a girl with wild eyes who came from the prairie to start life in the big city.  It hit number 8 on the US charts and number 1 in Canada.  It also won a number of Juno awards in 1972.  You may remember it from an episode of "Better Call Saul."Take Me Home, Country Roads by John DenverLynch keeps the banjo hits coming with a signature song from John Denver.  It went to number 2 on the Billboard Hot 100, and would become one of four official state songs for West Virginia.  Denver recorded this song in only two hours.Nobody by the Doobie Brothers Mike brings us a lost song from the first album by the Doobie Brothers.  Neither this song nor the album charted when it was released, but it displays a number of riffs and styles which would become staples of Doobie Brothers songs.  It was re-released in 1974 after the group had achieved success, and it reached number 58 on the Billboard Hot 100.Maggie May by Rod Stewart Rob closes out the staff picks with a hit single off Stewart's third solo album "Every Picture Tells a Story."  The lyrics describe the contradictory feelings of a boy in a relationship with an older woman.  The inspiration was a true encounter Stewart had with a woman at the 1961 Beaulieu Jazz Festival.  The song went to number 1 in Australia, the US, the UK, and Canada. INSTRUMENTAL TRACK:Orchid by Black SabbathWe close out with a surprisingly soft instrumental from an ordinarily more heavy hitting band. 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.

"Deadhead Adventures: From Minneapolis to Alpine Valley"Larry Mishkin delves into a nostalgic recount of a Grateful Dead concert he attended on June 17, 1988, in Minneapolis, part of their Midwest Summer Tour. He reminisces about attending the show with friends Mikey and JT, detailing their travel adventures and the concert's setlist, which included memorable performances of "Hell in a Bucket" and "Far From Me."Larry also shares personal anecdotes about his experiences following the Grateful Dead, including the challenges of balancing concert trips with his professional life and the thrill of attending multiple shows in a short span. He transitions into discussing the significance of the song "Hell in a Bucket," its debut, and its frequent performance as a show opener. He explains the concept of "Mondegreens," humorous misheard lyrics, using an example from a Grateful Dead song review.The show revisits a story about a Phish fan who was initially banned from all Madison Square Garden Entertainment venues for smoking a bong at the Sphere. MSG later rescinded the ban, citing an internal error. Larry expresses surprise and amusement at the quick reversal and discusses the implications for fans.Finally, Larry discusses the resale of Dead & Company tickets for their Las Vegas Sphere shows, noting that many are being sold at face value or below on cashertrade.org. He expresses mixed feelings about fans having to sell tickets at a loss but appreciates the platform's role in preventing scalping.  Grateful DeadJune 17, 2024 (36 years ago)Met CenterMinneapolis, MNGrateful Dead Live at Metropolitan Sports Center on 1988-06-17 : Free Download, Borrow, and Streaming : Internet ArchiveAudience Tape First show of the 1988 Midwest Summer TourWith my good buddies Mikey and JT – weekend in Minny, Friday night show but had to stay until Sunday to fly home because if you stayed over a Saturday night, round trip airfare was much less expensive.  Got home on Sunday and headed straight for Alpine Valley for the first of four shows S, M, W, Th.  Each night headed home, slept for 4 hours, got up for work, left work at 3 p.m., ride the El to the middle of the Kennedy Expressway at Addison, hop in a car and drive straight up.  Fight the crazy post show traffic in that horridlbe parking lot (unless you have one-armed Lary as your driver).  Hardcore.  My law firm didn't know what to make of it.  I got in four shows at home with no vacation days taken! INTRO:                                 Hell In A Bucket                                                Track #2                                                0:00 – 1:34                [From David Dowd]:  The Bob Weir / John Barlow / Brent Mydland song “Hell in a Bucket” directly references the biker scene, and I'm sure that somehow Barlow just wanted to put that element into the band's repertoire somehow. After all, there are plenty of outlaw elements sprinkled through the band's songs.           “Bucket” debuted on May 13, 1983, at the Greek Theater in Berkeley. Alice Kahn wrote a review of the show, in which she promulgated one of the best-ever Mondegreens, referring to the song as “Police on a Joy Ride.” The song frequently featured as the show opener over the course of the next two-plus decades, although it wasn't used in that role until about a year after its first performance. It was performed by the Dead for the final time on June 30, 1995, at Three Rivers Stadium in Pittsburgh, Pennsylvania.“Hell in a Bucket” appeared on In the Dark, released in July 1987 (aka Touch of Grey album).Played:  217 timesFirst:  May 13, 1983 at William Randolph Hearst Greek Theatre, Berkeley, CA, USALast:    June 30, 1995, at Three Rivers Stadium in Pittsburgh, PennsylvaniaSHOW No. 1:                    Far From Me                                                Track #6                                                3:18 – 4:45Brent MydlandGo To Heaven (April 28, 1980)Strong Brent tune.  I saw them open the second set with it a my second show ever (also with my buddy Mikey) in the Carrier Dome on September 24, 1982, the night I got on the bus forever.Played: 74 timesFirst:  March 30, 1980 at Capitol Theatre, Passaic, NJ, USALast:  July 22, 1990 at World Music Theatre, Tinley Park, IL, USA (the night before Brent's last show).  It died with him.MUSIC NEWS:MSG ENERTRAINMENT REDACTS INDEFINITE VENUE RESTRICTION FOLLOWING PHISH FAN BONG/SPHERE CONTROVERSY 2.     Dead & Company Sphere Tickets Listed for Face Value or Below on CashorTrade! Dead & Company announced 24 dates at the Las Vegas Sphere, and many fans eagerly bought tickets. Now, some can't attend and are selling their tickets at face value or less on CashorTrade.org. Built by fellow Deadheads in 2009 to protect fans from scalped tickets, 3.     Roger Daltrey Shares Thoughts on Sharing Setlists Online and More, Ahead of The Voice of The Who Tour - Touching on his feeling toward revealing the contents of a performance online, Daltrey asserted, “I'm not gonna talk about songs.” Providing reasoning, he added, “Too many people reveal songs. There's no surprises left with concerts these days, 'cause everybody wants to see the setlist. I'm f–king sick of it. The Internet's ruined the live shows for me. Who wants to know what's coming next? People forget about surprises. I can't stand it.  Here's an idea for Roger – don't play the exact same show every night!  Mix up your songs and then set lists can only give you probabilities of what might get played.  See the Grateful Dead, Phish and every other jam band ever. 4.     As promised last week, here are the deets on Trey playing with Billy Joel in MSG last week:  Madison Square Garden residencies have long been a career-defining staple of the New York City live entertainment location, with names like Billy Joel and Phish dominating multi-night show cycles, making the venue a known place to catch a memorable Big Apple performance. However, last night's performance was a truly unique event, a planned convergence for the two title-holders, Joel and Phish's Trey Anastasio. They teamed up on select songs, including “Sleeping With the Television On,” a cover of Derek and the Dominos' “Layla” and night closing “You Might Be Right,” featuring a Led Zeppelin “Rock and Roll” insert, sung by Mike DelGuidice.                                                 SHOW No. 2:                    Victim Or The Crime    (First time played)                                                Track #9                                                0:00 – 2:13 (long clip but it's the first time played so I had to run with it)                 Written by Bob Weir and Gerrit Graham                               Garcia – “It's one of Weir's stunningly odd compositions, but it's also very adventurous. It's uncompromising; it's what it is, and the challenge of coming up with stuff to play that sounds intelligent in the context has been incredible, but also appropriately gnarly. I really wanted that part of it to work.I think we did a nice job on the record with it. It works. Whatever it is, it works. I'm real happy with it because it was one of those things that was like, "What are we going to do with this?" It's like having a monster brother that you lock in the attic. It's like a relative that you -- "God, I hope nobody comes over when he's eating...." But that's one of the things that makes the Grateful Dead fun.”             “The text of it -- I don't believe I've ever actually listened to all the words to it. Ever. I have the gist of it; by now I probably could recite it if I really had to, but the text of it is more of the same in a way, it doesn't have a whole lot of light in it. It's very dense, and it's angst-ridden to boot.”             Played 96 times, “Victim” debuted on June 17, 1988, at the Metropolitan Sports Center in Bloomington, Minnesota THIS SHOW. It remained in the rotation thereafter, and was played for the final time on July 2, 1995 at Deer Creek Music Center in Noblesville, Indiana.    SHOW No. 3:                    All Along The Watchtower                                                Track #19                                                1:22 – 3:22  (another long one but could not break up the jam)                 "All Along the Watchtower" is a song by American singer-songwriter Bob Dylan from his eighth studio album, John Wesley Harding (1967). The song was written by Dylan and produced by Bob Johnston.             Covered by numerous artists, "All Along the Watchtower" is strongly identified with the interpretation Jimi Hendrix recorded with the Jimi Hendrix Experience for their third studio album, Electric Ladyland (1968). The Hendrix version, released six months after Dylan's original recording, became a Top 20 single in 1968, received a Grammy Hall of Fame award in 2001, and was ranked 48th in Rolling Stone magazine's 500 Greatest Songs of All Time in 2004 (40th in the 2021 version). Dylan first played the song live in concert on the Bob Dylan and the Band 1974 Tour, his first tour since 1966. His live performances have been influenced by Hendrix's cover, to the extent that they have been called covers of a cover. The singer has performed the song live more than any of his other ones, with over 2,250 recitals.             I always loved the Dead's cover of this tune.  As you heard in the clip, it is a rocking tune and Jerry would really jam hard on it.  Great snappy second set tune that would always get the crowd moving in the next gear.  Played:  118 timesFirst:  June 20, 1987 at William Randolph Hearst Greek Theatre, Berkeley, CA, USALast:  June 22, 1995 at Knickerbocker Arena, Albany, NY, USA  MJ NEWS 1.        Biden Admin Is ‘Mischaracterizing' Marijuana Rescheduling Impact As Big Pharma Is ‘Waiting In The Wings,' Former Massachusetts Regulator Says (Marijuana Moment) 2.       GOP Congressman Says ‘Millions Of Marijuana Users' Own Guns And Shouldn't Face Prosecution Like Hunter Biden Did 3.    Marijuana Rolling Paper Company Will Pay $4.20 To Volunteers To ‘Smoke Joints For Science'  SHOW No. 4:                    Black Peter                                                Track #20                                                1:36 – 3:11                 Garcia/Hunter tune released on Workingman's Dead in 1970.                  Robert Hunter was not afraid of death; he experienced it a thousand times over. The American musician composed the lyrics to many of The Grateful Dead's most successful songs and played an essential role in curating the band's mythos, one that saw the psychedelic rock outfit earn hordes of dedicated fans, or ‘deadheads'. One such song was ‘Black Peter' – written for the band's 1970 album Workingman's Dead.          By 1969, The Dead were practically synonymous with the liberal drug culture of the hippie era. In the June of that year, Robert Hunter and the gang were given a glass of apple juice laced with “probably a full gram of crystal LSD … worth perhaps $50,000.” The intense trip that followed would completely reinvigorate Hunter's understanding of death and influence his subsequent lyrics for ‘Black Peter'. Bassist Phil Lesh would later recall tasting the LSD in the juice after a single sip: “I wish you could be where I am right now—it's so beautiful,” he told drummer Mickey Hart, “but I couldn't possibly play music now. I don't even know what music is.” Still, there was a job to do, so the band played anyway. In the ‘80's and ‘90's, one of Jerry's rotating post-drums second set ballads along with Morning Dew, Wharf Rat and Stella Blue. This version was one of the highlights of this show.  Jerry's voice is strong if not a bit “ragged” around the edges just the way Deadheads liked it, with just enough emotion to really convey the song's meaning and its statement about the end of life. Played: 351 timesFirst: December 4, 1969 at Fillmore West, San Francisco, CA, USALast:  June 22, 1995 at Knickerbocker Arena in Albany, NY  OUTRO:                               Black Muddy River                                                Track #23                                                4:09 – 5:55  Played:  66 timesFirst:  December 15, 1986 at Oakland-Alameda County Coliseum Arena, Oakland, CA, USALast:  July 9, 1995 at Soldier Field, Chicago, Il – looked like it was going to the last song of the show (encore) and the last song of the difficult summer tour.  Turns out, it could have been the last song ever played in concert by the Dead, until Phil stepped in to leave everyone with a smile on their face and no bad taste in their mouths with a great second encore Box of Rain which then became the last song ever played by the Dead in concert. By contrast, this version is outstanding with strong playing and singing by Jerry.  And, with the show practically on the banks of the Mississippi, it was a geographically appropriate song for the venue. Mikey, JT and I rolled off into the night, a crazy weekend in Minny, and then the next four shows on the tour at Alpine.  Ah, to have the kind of energy again, even if just for a night.  Thank you psychedelics!! Enjoy the Summer Solstice and the beginning of summer. .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

Chestnut banned, Daltrey hates new concerts , A great country song

Ohne den Horizont, das Talent und die künstlerische Kraft von Pete Townshend wäre die Bandgeschichte von The Who wohl nur kurz geblieben. Die Rockmusik sähe wohl ohne ihn deutlich anders aus. Der Hauptkomponist, Texter, Ideengeber schöpfte seine Ideen oft aus persönlichem Erleben. Der Sohn einer Sängerin und eines Saxophonisten in einem Armee-Tanzorchester war natürlich schon früh von Musik umgeben. Die schwierige Ehe seiner Eltern brachte ihm einige Jahre im Haus seiner Großmutter ein, die den Jungen nach allem, was bekannt ist, mit harten Strafen erzog und wahrscheinlich auch missbrauchte. Aus dem traumatisierten und verängstigten Kind wurde ein wütender Rockmusiker, der in seinen Liedern viel von Einsamkeit, Gewalt und Verzweiflung anklingen ließ. Pete Townshend war stets ein Suchender nach Sinn, Spiritualität und Erlösung. Er las die Schriften des indischen Gurus Meher Baba, suchte die Nähe zu anderen Anhängern. Erste Solo-Alben schildern musikalisch diese Bewegung, oft gemeinsam mit dem Faces-Bassisten Ronnie Lane. In einem sogenannten „Lifehouse“, so seine Idee, wollte er einen musikalischen, energetischen Austausch zwischen Publikum und Bühne ermöglichen, Kunst sollte quasi gemeinsam entstehen. Das für „The Who“ entwickelte Konzept scheiterte, aber viele spätere Veröffentlichungen enthielten noch Fragmente und Lieder aus dieser Phase Anfang der 70er Jahre. Townshends Solo-Karriere wurde ab den 80er Jahren wichtiger, als The Who eigentlich schon vor dem Ende standen, vor allem in Deutschland wurde das Album „White City“ mit „Face the face“ ein Hit. Die Ambitionen von Pete Townshend gingen auch als Solokünstler über einzelne Lieder hinaus, oft lagen Konzepte, zusammenhängende Ideen für Filme und Musicals den Alben zugrunde. Pete Townshend ist nach vielen auch durch Drogenmissbrauch verstärkte Krisen inzwischen ein gelassener, jedoch immer noch hart und präzise arbeitender Künstler, längst ausgesöhnt mit dem Who-Sänger Roger Daltrey und hoch angesehen in der Musikwelt. Peters Playlist für Pete Townshend solo: Who Came First (1972): Pure and easy, Parvardigar Rough Mix (mit Ronnie Lane, 1977): Heart to hang on to Empty Glass (1980): Rough boys, Let my love open the door White City: A Novel (1985): Give blood, Face the face, Hiding out, Secondhand love, White City fighting The Iron Man: The Musical By Pete Townshend (1989): A friend is a friend Roger Daltrey – solo: Daltrey (1973): Giving it all away Under A Raging Moon (1985): After the fire, Under a raging moon As Long As I Have You (2018): How far, I've got your love, Into my arms

In this Season 6 episode, I review four books that I've read recently: Bob Spitz's "The Beatles," Ken Caillat's "Making Rumours," Robert Daltrey's "Thanks A Lot, Mr. Kibblewhite," and Debbie Harry's "Face It.” --- Support this podcast: https://podcasters.spotify.com/pod/show/dorneysvinyl/support

The Current Cybersecurity Landscape  Michael Warnock, our Commercial Director at Daltrey, joins us to discuss the current cybersecurity landscape. Michael shares his views on the current market, including the recent breaches of large enterprises that have occurred in recent weeks. Michael also shares his views on the current cyber-risk for government, including CNI, and finally how has the technology within the cyber world matured.   “The way businesses are operating are now highly digitalised, and without those modern robust cyber defences in place, the weak underbellies are really being found.”  To learn more about the work Daltrey is doing, head here   CREDITS        Host:  Blair Crawford, Co-founder and CEO, Daltrey      Guests: Michael Warnock, Commercial Director, Daltrey  Producer: RadioHub Podcast Productions        LIKED THIS EPISODE? PLEASE RATE AND REVIEW  See omnystudio.com/listener for privacy information.

Attracting Tech talent in the start-up world   Sarah Lilley, Director of People and Culture at Daltrey joins us in conversation on how to attract tech talent - particularly in cybersecurity start-ups. Sarah discusses effective methods to entice and incentivise potential employees, whilst highlighting that businesses now must effectively market themselves to candidates. Such as introduction of a hybrid workplace, a strong employee value proposition (EVP) and being adaptable to the demands of a younger generation.    “Obviously most recently we have had a huge struggle with finding good talent. There's no one big catalyst to this. It's really about doing all the small things and doing them really, really well.”  To learn more about Sarah Lilley's follow her on LinkedIn,  profile below:  LinkedIn profile: https://au.linkedin.com/in/sarahmlilley  CREDITS        Host:  Blair Crawford, Co-Founder & CEO, Daltrey       Guests: Sarah Lilley, Director of People & Culture, Daltrey  Producer: RadioHub Podcast Productions         LIKED THIS EPISODE? PLEASE RATE AND REVIEWW See omnystudio.com/listener for privacy information.

Walk the talk: carving paths for women in security Amie DSouza, IAM PAM Scrum Master at AGL, and Audrey Jacquemart, Daltrey's Director Product and Solution Engineering, join Blair Crawford to discuss the importance of role models and mentorship, as well as equitable representation across the workforce.   CREDITS   Host: Blair Crawford, Co-founder and Managing Director, Daltrey   Guests: Amie DSouza, IAM PAM Scrum Master at AGL, and Audrey Jacquemart, Director Product and Solution Engineering, Daltrey Producer: RadioHub Podcast Productions    WANT MORE IDENTITY NEWS?    Read our blog and subscribe to our newsletter   www.daltrey.com.au/blog/    Follow us on LinkedIn   www.linkedin.com/company/daltrey/    Follow us on Twitter   https://twitter.com/DaltreyID    LET'S CHAT    If you have press inquiries, a topic suggestion or want to be a guest on the show, email us at hello@daltrey.com  See omnystudio.com/listener for privacy information.

Leo Sayer is the musician who has had it all. Rubbing shoulders with the likes of Lennon, Richards, Daltrey and Dylan - you'll hear the Bob story a little later in the podcast. Number one hits around the world, the fame and the setbacks and even a moment with Elvis that changed his life. This is an episode that is full of incredible moments, and hey - let's now claim him as an Aussie because we can. This is The Rider with Becko and Leo Sayer

The Blues Brothers Original Soundtrack is a powerhouse collection of rhythm and blues that captures the essence of the iconic film.  It features a blend of classic blues, soul, and rock 'n' roll performed by legendary artists including Aretha Franklin, Ray Charles, James Brown, and Cab Calloway.  The Blues Brothers originated as a musical comedy act created by Dan Aykroyd and John Belushi on the sketch comedy show “Saturday Night Live” in the late 1970's.  Inspired by their shared love for blues and R&B music, Aykroyd and Belushi created fictional characters, Jake and Elwood Blues, as their alter egos.  The act gained popularity, leading to the release of their self-titled debut album in 1978 and eventually to the creation of the Blues Brothers motion picture in 1980.  In the film, parolee Jake Blues is joined by his blood brother Elwood Blues on a “mission from God” to save the Catholic orphanage in which they were raised by reuniting their band and raising the $5000.00 for the property tax bill.  Their quest brings them to a number of characters played by iconic artists including Cab Calloway and James Brown.  The resulting soundtrack stands as a testament to the enduring power of blues music and left an indelible mark on both the film and music industry.John Lynch dons his suit and dark sunglasses to bring us this feature. Minnie the MoocherCab Calloway originally presented Minnie the Moocher back in 1931, and reprises the song for this film.  Calloway was a regular performer at the Cotton Club in Harlem, and a popular vocalist of the swing era.  Calloway plays Curtis in the film, a father figure and mentor to the Blues Brothers, and performs this song as a warm-up to the concert.Jailhouse RockAs the movie ends with Jake and Elwood back in prison after successfully paying off the tax bill for the orphanage.  The band plays Elvis Presley's "Jailhouse Rock" for the inmates as the credits roll.  Jake Blues (Belushi) takes lead on this upbeat number.ThinkAretha Franklin covers her own song as Mrs. Murphy, trying to persuade her husband Matt Murphy to not join the band.  Franklin had a lot of difficulty lip synching the song and would have preferred to just sing it live.  The Blues Brothers join her on this cover.Gimme Some Lovin'The Blues Brothers cover this piece originally performed by the Spencer Davis Group and made famous by Steve Winwood.  While the song was a top 20 hit on the Billboard Hot 100, in the film it gets a decidedly cooler reception in the honky tonk bar in which it is performed.  ENTERTAINMENT TRACK:Lookin' for Love by Johnny Lee (from the motion picture “Urban Cowboy”)With the decline of disco, crossover country & western hits became popular.  John Travolta starred in this movie which capitalized on the popularity of country music. STAFF PICKS:Train in Vain (Stand By Me) by the ClashBruce brings us the third single from the Clash's third album, “London Calling.”  This was a double album, and a post-punk turn by the group.  The song was originally intended to be a giveaway flexi single, but was put on the album at the last minute when that deal fell through.  Mick Jones wrote and sings lead on this song, inspired by his tumultuous relationship with Stiltz guitarist Viv Albertine.Free Me Big by Roger DaltreyWayne features the front man for the Who in a solo effort written by Argent guitarist Russ Ballard.  The song is on Daltrey's 1980 solo album “McVicar” It also appears on the soundtrack for the movie "McVicar" in which Daltrey plays John McVicar, an inmate in prison for a number of bank robberies.  The other members of the Who play on this song as uncredited musicians.We Live for Love by Pat BenatarRob's staff pick is performed by Benatar, but it is often confused for a Blondie song.  It is a single from Benatar's debut album, “In the Heat of the Night,” and was written by Neil Giraldo, Benatar's then-guitarist and now-husband (and still guitarist).  It was the leading track from side two.Ride Like the Wind by Christopher CrossLynch's staff pick went to number 2 on the Billboard Hot 100, held out of the number 1 slot by Blondie's “Call Me.”  It is Cross's debut single from his Grammy winning 1979 self-titled album.  Cross dedicated the song to Lowell George, formerly of the band Little Feat, who had died in 1979.  Michael McDonald is easy to identify on backing vocals.   NOVELTY TRACK:Turning Japanese by the VaporsSongwriter and Vapors lead singer David Fenton says this is all the cliches about angst and youth and turning into something you didn't expect to.  This new wave song went to number 36 on the Billboard Hot 100.

In this episode, Marcus and Ben Kinerman-Daltrey engage in a candid conversation all about "Pressure." From personal growth and work-life balance to navigating the uncertainties of a global pandemic, they share their insights and reflections on their entrepreneurial journey and the impact of pressure on it.   Key Highlights   ·     Work-life balance and redefining success ·     Endurance mindset in business ·     Overcoming challenges and lessons learned ·     Dubai's business landscape ·     Lessons learned and reflections   The conversation sheds light on the challenges, triumphs, and personal growth experienced by business owners over a three-year period. From redefining work-life balance to adapting to unforeseen circumstances, their insights provide valuable lessons for aspiring entrepreneurs. The discussion also highlights the evolving business landscape in Dubai and the changing attitudes of professionals seeking new opportunities.

Long before the Twilight books and movies made vampires cool, the motion picture The Lost Boys was a hit.  This dark comedy/action drama centers around Michael and Sam Emerson and their experiences with a biker gang who are secretly vampires living in the California beach town of Santa Carla.  When Michael is drawn into the influence of the vampires, he must make a choice between becoming a vampire himself or fighting the conversion by killing the head vampire.  The name comes from the Peter Pan stories, because much like the lost boys in that tale, vampires never grow up.  The cast included Kiefer Sutherland, Jason Patric, Corey Haim, and Corey Feldman, and was a box office hit.The film also created a hit with The Lost Boys:  Original Motion Picture Soundtrack.  Featuring a number of notable rock stars and groups including INXS, Foreigner's Lou Gramm, Echo & the Bunnymen, and The Who's Roger Daltrey, it spawned multiple singles.  The soundtrack contains both original songs and covers, all either alluding to events in the movie or to what could be considered “vampire culture” - lostness, staying up at night, and similar characteristics.  The film is credited for changing the perception of vampires to a more youthful and appealing monster.  Subsequent adaptations of the vampire genre which would be inspired by the film include movies as diverse as “Buffy the Vampire Slayer” and the mockumentary film “What We Do in the Shadows.”John Lynch was up all night “staking his claim” on this podcast feature. Cry Little Sister by Gerard McMannSinger-songwriter Gerard McMahon wrote this anthem under the pseudonym Gerard McMann.  It would be considered the theme for the movie, and was specifically written for the film.  McMann was thinking of a Gotham-like image in which you have to turn to faith in order to escape the doom in the night.Lost in the Shadows by Lou GrammGramm steps out from the shadows of his group Foreigner for this solo effort.  The video for this song would feature clips from the film.  Fuzzy guitar distortion and harmonica drive this deep cut, and was also written specifically for the movie.  Don't Let the Sun Go Down On Me by Roger DaltreyThe Elton John hit is covered by Who front man Daltrey, and the allusion to vampires is pretty clear to see.  The film ends with morning breaking and the sun coming up, and Daltrey is singing this song as the credits roll.I Still Believe by Tim CappelloThe Call's song is covered by saxophonist Cappello, who also makes a cameo where he is playing the song on the boardwalk.  The lyrics are about the 40 days of fasting that Jesus undertook at the start of His ministry, and the reference to belief plays into the theme of faith versus giving into darkness that runs through this film. ENTERTAINMENT TRACK:Once Upon a Time...Storybook Love by Mark Knopfler (from the motion picture “The Princess Bride”) It would be inconceivable for us to pass up this theme from the Rob Reiner movie which was in the theaters in the fall of 1987.  STAFF PICKS:One Slip by Pink Floyd After the departure of Roger Waters, Pink Floyd released the album "A Momentary Lapse of Reason" with only David Gilmour and Nick Mason listed as members.  Bruce brings us this staff pick which was co-written by Gilmour and Phil Manzanera of Roxy Music.  It is about unintended consequences of impulsive action, in this case an unintended pregnancy. Hourglass by SqueezeRob features the debut single from Squeeze's seventh album, “Babylon and On.”  The fast-paced chorus is distinctive and catchy.  Songwriters Chris Dilford and Glenn Tilbrook typically wrote the lyrics and music respectively in separate sessions (much like Bernie Taupin and Elton John), but collaborated in the same room on this song.  The memorable video is full of surrealism and optical illusions.Luka by Suzanne Vega Wayne takes an uncharacteristically softer and slower pick with singer-songwriter Suzanne Vega's song about child abuse.  The song was actually written prior to Vega's first album but didn't make its studio debut until her second album, “Solitude Standing."” The name comes from a boy who played in front of Vega's building and stood apart from the other children.  Bad by Michael JacksonLynch brings us the title track to Michael Jackson's massively successful follow-up album to “Thriller.”  Jackson wrote this song in an attempt to change his persona to a tough guy.  The video was directed by Martin Scorsese, and Prince auditioned for the video.  He departed as soon as he read the line, "your butt is mine," and Wesley Snipes would take the role.   NOVELTY TRACK:Wipeout by the Fat Boys featuring The Beach BoysWe finish off with this unlikely pairing of beatbox rappers of the 80's and beach music founders of the 60's. 

Desde sus primeros singles el grupo The Who dejó claras muchas de sus señas de identidad. Un estilo marcado por melodías brillantes, armonías vocales, feedback, acordes poderosos o esos sorprendentes y enloquecidos ritmos de batería. Echamos a la marmita un puñado de canciones de distintas épocas en donde encontramos influencias del sonido y las formas de Daltrey, Townshend, Entwisle y Moon. Playlist; THE WHO “Anyway, anyhow, anywhere” (1965) THE CREATION “Painter man” (1966) DAVY JONES and THE LOWER THIRD “You’ve got a habit of leaving” (1965) LOVE “The daily planet” (1967) POWDER “Gladly” (1968) GOLDEN EARRING “To the hilt” (1976) MC5 “Come together” (1969) BLONDIE “(I’m always touched by your) presence dear” (1978) CHEAP TRICK “Stiff competition” (1978) THE RASPBERRIES “I don’t know want I want” (1974) THE JAM “Away from the numbers” (1977) THE LEN PRICE 3 “The London institute” (2013) DOCTOR EXPLOSION “¿Quién quiere lo que tuvo ayer?” (2010) NAZZ “Under the ice” (1969) Escuchar audio

With his celebration of one of the most influential bands of the 60s and 70s, journalist and musician Mike Evans has managed to bring together the story of the band, whose tumultuous history is as pioneering as their live performances, in his book - The Who - MUCH TOO MUCH.This DEEP DIVE interview with author Mike Evans relates the story of The Who and explores their legacy. They were pioneers, and their attitude and aggressiveness of their performance was a prequel to Punk. Pop art inspired, their mod look was revolutionary then, as were Pete Townshend's ambitious operatic ventures with Tommy and Quadrophenia. The original line-up of vocalist Roger Daltrey, guitarist Pete Townshend, bassist John Entwistle, and drummer Keith Moon became known for their legendary, equipment-smashing performances.When Moon died on the 6th of September 1978, Townshend wanted the band to continue, and Keeny Jones joined the band over the following years. In 1983 they split but appeared together occasionally - e.g. for Live Aid, and a tour of Quadrophenia in 1996. In 1999 a full reunion started with Zak Starkey, Ringo Starr's son as their drummer. Since Entwistle's death in 2002, Daltrey and Townshend remain the only original band members. This highly recommended book is available now!Follow me on Instagram - steve.blameSupport this podcast at — https://redcircle.com/pop-the-history-makers-with-steve-blame/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy Hosted on Acast. See acast.com/privacy for more information.

Whatever you're going through right now, you can contact Music Minds Matter on 0808 802 8008. Is there enough mental health related resource within the music industry to support artists mental health?  Music Industry Coaching founder and Mental Health First Aid instructor Stephen Daltrey joins us to explore the answers to that question, plus provides tangible resources for musicians.  Stephen's fascinating new book "Deep Satisfaction in Life and Artist Management" is available now at www.stephendaltrey.com Stephen's book may help on a personal level but also provides guidance on how to best coach artists you may work with. It's a great read. Hosted by Chris Simpson who is available for 121 coaching too. Hit us up a DM on The StageLeft Podcast Facebook, Instagram or Twitter feeds.

Have you ever thought about hiring a coach? Blair Crawford from Biosecurity company Daltrey provides insight into how he went from being a tech-minded domain expert to an engaging communicator and presenter, both to internal team members and external clients/potential clients. The Answer? Coaching. Blair explains how he engaged a coach early in his career when he articulated a future goal to run a company. High on self-awareness, Blair hired a coach to help him make up the shortcomings he knew were ahead of him on his business path. Blair Crawford is CEO of Daltrey, a biometric and biosecurity company changing the way people interact with technology every day. A natural salesman, Blair loves building strong relationships and shows a real compassion and human side to creating a thriving team. You can listen to the full length Performance Intelligence podcast on all of your favourite podcasting platforms and you can find Andrew May and StriveStronger on Instagram, Linkedin and Youtube. If you enjoy the podcast, we would really appreciate you leaving a short review on Apple Podcasts, Spotify or Google Play. It takes less than 60 seconds and really helps us build our audience and continue to provide high quality guests.

How do you think biometric advances will impact your future?Blair Crawford casts his eyes to the future and gives us an inside tip into where he thinks the future of biometrics are leading us, not only in terms of work but also our day to day lives. He also speculates about the impact of newer generations who grow up with these technologies and how they will shape the future and potentially close the technology knowledge gap with older generations.Blair Crawford is CEO of Daltrey, a biometric and biosecurity company changing the way people interact with technology every day.  A natural salesman, Blair loves building strong relationships and shows a real compassion and human side to creating a thriving team. You can find Blair at the Identity Today Podcast: https://www.daltrey.com/podcast/                                       or his Linkedin: https://shorturl.at/vxGNO Find out more about Andrew's Keynotes : https://www.andrewmay.com/keynotes/Follow Andrew May: https://www.instagram.com/andrewmay/Follow StriveStronger: https://www.instagram.com/strive.stronger/If you enjoy the podcast, we would really appreciate you leaving a short review on Apple Podcasts, Spotify or Google Play. It takes less than 60 seconds and really helps us build our audience and continue to provide high quality guests.

Sarah Lilley, Director of People and Culture at Daltrey joins us in a conversation on attracting tech talent - particularly in cybersecurity start-ups. Sarah discusses effective methods to entice and incentivise potential employees, whilst highlighting that businesses now must effectively market themselves to candidates. Such as introduction of a hybrid workplace, a strong employee value proposition (EVP) and being adaptable to the demands of a younger generation.    “Obviously most recently we have had a huge struggle with finding good talent. There's no one big catalyst to this. It's really about doing all the small things and doing them really, really well.”  To learn more about Sarah Lilley's follow her on LinkedIn, profile below:  LinkedIn profile: https://au.linkedin.com/in/sarahmlilley  CREDITS        Host:  Blair Crawford, Co-Founder & CEO, Daltrey       Guests: Sarah Lilley, Director of People & Culture, DaltreyProducer: RadioHub Podcast Productions         LIKED THIS EPISODE? PLEASE RATE AND REVIEWSee omnystudio.com/listener for privacy information.

What happens when we take the writer away and ask two British rock stars, from two different generations, to interview each other? In today's episode of Rolling Stone's Musicians on Musicians – also running as a special series on the Rolling Stone Music Now feed – Roger Daltrey and Yungblud join forces to talk fashion, optimal recording hours, and managing your image in a world gone mad. In the past few years, Yungblud has picked up the torch for a new kind of British rock: one informed by social causes, personal vulnerability, and an affinity for modern pop and hip-hop. His new, self-titled, album leans even further into those vibes: it's glammy, showy and confident, much like Yungblud himself. At a studio in London this summer, the young star met another quintessential British rock singer: Roger Daltrey of the Who. 57 years after he first sang “My Generation,” Daltrey is as active as ever, currently wrapping an arena tour with the Who. His conversation with Yungblud revealed a rock icon with some strong opinions — and a rabid curiosity about the experiences of younger artists. Learn more about your ad choices. Visit podcastchoices.com/adchoices

What happens when we take the writer away and ask two British rock stars, from two different generations, to interview each other? In today's episode, Roger Daltrey and YUNGBLUD join forces to talk fashion, optimal recording hours and managing your image in a world gone mad. In the past few years, YUNGBLUD has picked up the torch for a new kind of British rock: one informed by social causes, personal vulnerability, and an affinity for modern pop and hip-hop. His new, self-titled, album leans even further into those vibes: it's glammy, showy and confident, much like Yungblud himself. At a studio in London this summer, the young star met another quintessential British rock singer: Roger Daltrey of the Who. 57 years after he first sang “My Generation,” Daltrey is as active as ever, currently wrapping an arena tour with the Who. His conversation with Yungblud revealed a rock icon with some strong opinions — and a rabid curiosity about the experiences of younger artists. Produced by OBB Sound. Learn more about your ad choices. Visit megaphone.fm/adchoices

Michael Warnock, our Commercial Director at Daltrey, joins us to discuss his views on the current cybersecurity landscape. Michael analyses the security breaches that have occurred in recent weeks and what cyber-risk means for government, including CNI. Finally, he delves into the way technology has evolved to date within the cyber sphere.  “The way businesses are now operating are highly digitalised, and without those modern robust cyber defences in place, the weak underbellies are really being found.”  To learn more about the work Michael is doing, head here, Michael Warnock LinkedIn.  CREDITS        Host:  Blair Crawford, Co-founder and CEO, Daltrey      Guests: Michael Warnock, Commercial Director, Daltrey  Producer: RadioHub Podcast Productions        LIKED THIS EPISODE? PLEASE RATE AND REVIEW  See omnystudio.com/listener for privacy information.

RockerMike and Rob Presents: Don Henze Don Henze was born in Passaic New Jersey and grew up in Baldwin Long Island. In the 80s he co-founded and played drums for the bands WetCat and New Music Museum. In 1991 Roger Daltrey managed his band Radio Stupid, and in 2022 he wrote a book about the experience titled: “Roger Daltrey and the Bright Shiny Object”. As a musician Henze has shared the stage and studio with Roger Daltrey, Dee Dee Ramone, John “The Cat” Gatto (The Good Rats), Herbie Hancock, Nile Rogers, Phoebe Snow, Mel Schacher (Grand Funk Railroad) and Gerard McMann (Cry Little Sister). He is credited with singing background vocals on Daltrey's album “Rocks in the Head”. https://www.liherald.com/baldwin/stories/former-baldwinite-writes-book-on-music-industry-experience,141450 https://www.instagram.com/don.henze/?hl=en https://www.facebook.com/don.henze.9 https://m.youtube.com/watch?v=ugbJ0aejMSA&autoplay=1 https://www.amazon.com/Roger-Daltrey-Bright-Shiny-Object-ebook/dp/B09RSDKP65 https://www.amazon.com/Don-M-Henze/e/B09Z3DR48L/ref=pd_sim_bl_sccl_3_5/000-0000000-0000000?pd_rd_w=gtGGN&pf_rd_p=262acb63-b997-4c81-83bd-9526eab7f618&pf_rd_r=YNQ2329DAREG0FGQYXP1&pd_rd_r=c44a556f-25b9-46e0-a68f-217da3469475&pd_rd_wg=yDc8b&pd_rd_i=B09QP23ZBY #drummer #Author #musician #writer #amazonbooksale #TheWho #RogerDaltrey @drummer @TheWho @RogerDaltrey @Author @writer @amazonbook @amazon @musician Park Dental Care 12419 101st Ave South Richmond Hill Queens (718) 847-3800 https://www.718DENTISTS.com Please follow us on Youtube,Facebook,Instagram,Twitter,Patreon and at www.gettinglumpedup.com https://linktr.ee/RobRossi Get your T-shirt at https://www.prowrestlingtees.com/gettinglumpedup And https://www.bonfire.com/store/getting-lumped-up/ Subscribe to the channel and hit the like button This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/rob-rossi/support https://www.patreon.com/Gettinglumpedup --- Support this podcast: https://anchor.fm/rob-rossi/support

Have you ever thought about hiring a coach?Blair Crawford from Biosecurity company Daltrey provides insight into how he went from being a tech-minded domain expert to an engaging communicator and presenter, both to internal team members and external clients/potential clients. The Answer? Coaching.Blair explains how he engaged a coach early in his career when he articulated a future goal to run a company. High on self-awareness, Blair hired a coach to help him make up the shortcomings he knew were ahead of him on his business path.Blair Crawford is CEO of Daltrey, a biometric and biosecurity company changing the way people interact with technology every day. A natural salesman, Blair loves building strong relationships and shows a real compassion and human side to creating a thriving team.  You can find Blair at the Identity Today Podcast: https://www.daltrey.com/podcast/                                       or his Linkedin: https://shorturl.at/pryKS Find out more about Andrew's Keynotes : https://www.andrewmay.com/keynotes/Follow Andrew May: https://www.instagram.com/andrewmay/Follow StriveStronger: https://www.instagram.com/strive.stronger/If you enjoy the podcast, we would really appreciate you leaving a short review on Apple Podcasts, Spotify or Google Play. It takes less than 60 seconds and really helps us build our audience and continue to provide high quality guests.

Dylan Gilbert, Privacy Policy Advisor at NIST joins us to discuss the importance of privacy within the workforce. Dylan makes an interesting analogy on the on-going development of privacy laws and how domestic and global companies can adopt and apply these frameworks. He also delves into NIST's approach to the application of differential privacy solutions and privacy-enhancing technologies using homomorphic encryption and secure multi-party computation. “You can ask ten people their views on privacy and they'll give you ten different answers. And so because of that, it can make policy both interesting and very challenging.”To learn more about the NIST frameworks, head here:  NIST Privacy Framework  NIST Privacy Risk Assessment Methodology  NIST Privacy Workforce Public Working Group  Differential Privacy Blog Series  NIST AI Risk Management Framework  CREDITS       Host:  Blair Crawford, Co-founder and CEO, Daltrey     Guests: Dylan Gilbert, Privacy Policy Advisor, NIST Producer: RadioHub Podcast Productions       LIKED THIS EPISODE? PLEASE RATE AND REVIEW  See omnystudio.com/listener for privacy information.

J Wolfgang Goerlich, Advisory CISO for Cisco joins us to discuss real-world security and how it translates into the field. Wolf uncovers the challenges he's faced throughout his career, implementing security by design, looking at both the usability and defensibility use cases and how the cyber-physical threat environment has evolved. Finally, his advice to CISOs's to improve their overall security posture.  “When technology hits the streets, it doesn't always get used the way that security people predict it will be.”  To learn more about J. Wolfgang's work head to:   https://blogs.cisco.com/author/wolfganggoerlich  https://jwgoerlich.com/   Securing Sexuality podcast: https://anchor.fm/securingsexuality/   CREDITS       Host:  Blair Crawford, Co-founder and CEO, Daltrey     Guests: J. Wolfgang Goerlich, Advisory CISO for CISCO  Producer: RadioHub Podcast Productions       LIKED THIS EPISODE? PLEASE RATE AND REVIEW  See omnystudio.com/listener for privacy information.

Lisa Fitzgerald, Partner at Lander & Rodgers, joins us to discuss the recent Federal Court ruling on cyber practices in financial services. We ask Lisa what it means for cybersecurity regulation, blockchain and digital assets. Lisa also explains her term “Splitchain”, and how it's helping to strengthen the commercialisation of blockchain.   “Businesses have historically been complacent about cyber risk and cybersecurity. And I think over the past few years it's almost been a resignation about the inevitability of cyber-attacks.”  For more information on Splitchain, head to: Landers.com.au  CREDITS      Host: Blair Crawford, Co-founder and CEO, Daltrey    Guest: Lisa Fitzgerald, Partner, Lander & Rogers Producer: RadioHub Podcast Productions     LIKED THIS EPISODE? PLEASE RATE AND REVIEW  See omnystudio.com/listener for privacy information.

How do you go from a backpacking salesperson to the CEO of one of Asia Pacific's fastest growing biometrics companies?Blair Crawford is CEO of Daltrey, a biometric and biosecurity company changing the way people interact with technology every day. A natural salesman, Blair loves building strong relationships and shows a real compassion and human side to creating a thriving team. Listen as Andrew asks Blair what it takes to start and drive a start-up business to success, what the future of biosecurity looks like, and how a simple boating trip became a life changing experience. You can find Blair at the Identity Today Podcast: https://www.daltrey.com/podcast/                                       or his Linkedin: https://shorturl.at/BCLNV Find out more about Andrew's Keynotes : https://www.andrewmay.com/keynotes/Follow Andrew May: https://www.instagram.com/andrewmay/Follow StriveStronger: https://www.instagram.com/strive.stronger/If you enjoy the podcast, we would really appreciate you leaving a short review on Apple Podcasts, Spotify or Google Play. It takes less than 60 seconds and really helps us build our audience and continue to provide high quality guests.

Today on Too Opinionated, we talk with singer-songwriter H. Jack Williams!  You'd be hard-pressed to find a life, a career, or a body of work quite like that of singer/songwriter/performer/composer H. Jack Williams.    Jack himself credits equal parts luck, talent, and tenacity. “My whole life, I've gone out and gotten stuff done,” he says. “I think I have unique emotional connections within me, and I've always found a way to make that connection musically.” But for one of Nashville's hardest-working songwriters and most in-demand co-writers – and now with flourishing work in film and television – it's been a one-of-a-kind 40+ year ride with some of the biggest names in Folk, Rock, and Country. And in many ways, he's just getting started.    Raised in the tiny town of Eureka, Florida, Williams began writing songs shortly after his 1971 discharge from the US Marines Force Recon. It was while working in Atlanta as a trained Escoffier chef and moonlighting as a roadie that Williams went after his first break by knocking on Richie Havens' hotel room door. “Banged on it all night long,” Jack laughs, “until he opened the door and I handed him a cassette.” The Woodstock icon invited Jack to New York City to be his opening act, eventually playing on and producing the demo that got Jack a $500 advance from Clive Davis (who insisted on first playing Jack the demo of ‘Mandy'). By 1974, Jack was back cooking in Atlanta when he spotted a tour bus belonging to The Who. Still, in his chef whites, Williams approached the road crew and boldly asked for an introduction to Roger Daltrey. “I knew Roger loved songwriters,” Jack says, “and Pete Townsend knew songs.” Williams was ushered backstage that night and spent the next few months on tour with the band, eventually signing a deal – his first – with the publishing company owned by Daltrey, Townsend, and Who manager Bill Curbishley. For two years and dozens of unmentionable road stories, Jack was mentored by one of the greatest acts in rock history.    Towards the end of his Who deal, Williams got a phone call from Ken Hensley, lead vocalist and primary songwriter of UK proto-metal rockers Uriah Heep, who invited Jack to move to London as the band's first outside in-house songwriter. Jack jumped at the invite, and amid opening UK shows for Havens and demo sessions with neighbors like Alvin Lee and George Harrison, Uriah Heep would record four of Jack's songs for the Gold albums Innocent Victim and Firefly. But it was a group of fellow small-town Florida boys that triggered the next chapter of Jack's career. “Lynyrd Skynyrd came to London for their Knebworth concert”, Jack explains. “I got to know the band, played Ronnie Van Zant some of my songs, and he suggested I come to Florida and be part of the Southern Rock scene.”    Williams moved back to the states, founding the Sarasota-based band Streets Of Ice, landing cuts with acts like Blackfoot and Molly Hatchet, and writing with Gregg Allman. Dickie Betts became a good friend and began producing the Streets Of Ice project. But when the band imploded just before signing their major label deal, Betts suggested that Jack's songwriting skills could find a full-time home in Nashville.     With a $50 loan and a one-way bus ticket, Williams landed in Nashville and signed a publishing deal with The Oak Ridge Boys, who soon recorded Jack's songs ‘Seasons' and ‘Everybody Wins'. Jack then had his first major hit, co-writing – with The Allman Brothers Band's Warren Haynes – Gregg Allman's ‘Just Before The Bullets Fly. But when the mid-‘90s Country Boom began to fade, Williams returned to his culinary background, opening restaurants in North Carolina, Memphis, and Olympia, running kitchen teams on research vessels in the Aleutian Islands and the Azores, and with supply ships during the Gulf War for which he earned a Medal of Bravery from President Bush. “I'd also played clubs in Seattle, which is how Leonard Chess signed me to a writing deal with Chess Records,” Jack adds with a laugh. “So I guess we can add ‘Blues Artist' to the list, too.”   Williams returned to Nashville in 2005, owning a catering business while landing cuts with artists that included Montgomery Gentry, Black Stone Cherry, and on the Miracles From Heaven soundtrack. He signed a new publishing deal with Lynn Gann Music Enterprises in 2015, scoring even more cuts that included Canadian artist Aaron Pritchett's Top 10 hit ‘Dirt Road In ‘Em'. “When it comes to commercial radio stuff, I can write like a gunfighter,” Jack says. “But at a certain point, I couldn't write another line about drinking beer in the back of a truck with a girl. I needed to find the soul of my music again.”    Jack began writing songs reflective of his lifetime of not only struggles but his continued sense of hope. He would soon – in more ways than one – find his voice. “Pete Townsend once told me, ‘Always hire a great singer',” Jack explains. “I never believed my vocals were strong, which is why I always used other singers for my demos. But I began participating in singer/songwriter nights here in Nashville and got the kind of reaction I'd never received before. When I started to sing what's in my heart, everything began to change.”    Williams soon began co-writing with Academy Award winner Kevin Costner, whose band Kevin Costner & Modern West had recorded two of Jack's songs (including the Top 20 hit ‘Love Shine'), leading Costner to cut four more Jack tracks for his 2019 Tales From Yellowstone album. Jack signed with Anthem Entertainment for additional film & television work and has since collaborated with award-winning Welsh composer John Hardy. And after nearly five decades of music and adventure fit for a dozen lives, his 2020 emotional gut-punch EP Already Dead – produced by Brothers Osborne's Adam Box – became H. Jack Williams' first-ever solo release. “I feel like a 20-year-old singer/songwriter again,” Jack says, with the combination of fortitude and poignancy that still defines his life, his career, and his very best work to come. “I'm a survivor, and I keep pushing forward. I believe that my A-game has just begun.”   Want to watch: YouTube Meisterkhan Pod (Please Subscribe)

This week on Rockonteurs, Gary and Guy are joined by Stereophonics frontman Kelly Jones. Armed with some incredible stories, a tremendous back catalogue of hits, and famous fans ranging from Bowie, Daltrey, Noel and Ronnie Wood, Kelly is a brilliant storyteller and a perfect guest for this podcast.Stereophonics release their new album Oochya! on March 4th… Rockonteurs is produced by Ben Jones for Gimme Sugar Limited. Hosted on Acast. See acast.com/privacy for more information.

This week on Rockonteurs, Gary and Guy are joined by Stereophonics frontman Kelly Jones. Armed with some incredible stories, a tremendous back catalogue of hits, and famous fans ranging from Bowie, Daltrey, Noel and Ronnie Wood, Kelly is a brilliant storyteller and a perfect guest for this podcast.Stereophonics release their new album Oochya! on March 4th… Rockonteurs is produced by Ben Jones for Gimme Sugar Limited. See acast.com/privacy for privacy and opt-out information.

You'd be hard-pressed to find a life, a career or a body of work quite like that of singer/songwriter/composer H. Jack Williams. Jack himself credits equal parts luck, talent and tenacity. “My whole life, I've gone out and gotten stuff done,” he says. “I think I have unique emotional connections within me, and I've always found a way to make that connection musically.” But for one of Nashville's hardest working songwriters and most in-demand co-writers – and now with flourishing work in film and television – it's been a one-of-a-kind 40+ year ride with some of the biggest names in Folk, Rock and Country. And in many ways, he's just getting started. Raised in the tiny town of Eureka, Florida, Williams began writing songs shortly after his 1971 discharge from the US Marines Force Recon. It was while working in Atlanta as a trained Escoffier chef and moonlighting as a roadie that Williams went after his first break by knocking on Richie Havens' hotel room door.  “Actually banged on it all night long,” Jack laughs, “until he opened the door and I handed him a cassette.” The Woodstock icon invited Jack to New York City to be his opening act, eventually playing on and producing the demo that got Jack a $500 advance from Clive Davis (who insisted on first playing Jack the demo of ‘Mandy'). By 1974, Jack was back cooking in Atlanta when he spotted a tour bus belonging to The Who. Still in his chef whites, Williams approached the road crew and boldly asked for an introduction to Roger Daltrey. “I knew Roger loved songwriters,” Jack says, “and Pete Townsend knew songs.” Williams was ushered backstage that night and spent the next 2 months on tour with the band, eventually signing a deal – his first – with the publishing company owned by Daltrey, Townsend and Who manager Bill Curbishley. For the next two years and dozens of unmentionable road stories, Jack was mentored by one of the greatest acts in rock history.

"It's everybody's problem, the Chief Security Officer can't sit on your couch at night and check your emails to make sure you don't click on a link, and with all of us working from home there has to be a level of common sense and responsibility” We've put together some of the best bits from series one of IDentity Today. Listen as our guests discuss important cyber themes, like who's responsible for security, the human element of security and the challenges of finding tech talent. CREDITS   Host: Blair Crawford, Co-founder and Managing Director, Daltrey   Guests: John Buckley, MSM Training and consultancy; Peter Coroneos, CyAN; Shamane Tan, Sekuro; Shannon Sedgwick, Ankura; Noel Allnutt, Sekuro; Glenn Lucas, Transformational Change; Ryan Janosevic, Retrospect Labs;  Audrey Jacquemart, Daltrey; Amie Dsouza, AGL. Producer: RadioHub Podcast Productions   WANT MORE IDENTITY NEWS?   Read our blog and subscribe to our newsletter   https://www.daltrey.com/blog/  Follow us on LinkedIn   www.linkedin.com/company/daltrey/   Follow us on Twitter   https://twitter.com/DaltreyID   LET'S CHAT   If you have press inquiries, a topic suggestion or want to be a guest on the show, email us at hello@daltrey.com    See omnystudio.com/listener for privacy information.

“The bad guys only have to get it right once, and it is difficult to protect against everything, but the consequences of a significant breach can be quite profound.” KPMG's Danny Flint, ForgeRock's James Ross and Daltrey's own Michael Warnock join Blair Crawford to peer into the crystal ball and discuss their predictions for the identity sector in 2022. The three share insights from the last 12 months, as well as trends across investment in identity, the role of government, the death of the password and more. CREDITS   Host: Blair Crawford, Co-founder and Managing Director, Daltrey   Guest: Danny Flint, Partner - National Lead for Identity & Access Management at KPMG, James Ross, Regional Vice President, at ForgeRock, and Michael Warnock Commercial Director at Daltrey Producer: RadioHub Podcast Productions   WANT MORE IDENTITY NEWS?   Read our blog and subscribe to our newsletter   www.daltrey.com.au/blog/   Follow us on LinkedIn   www.linkedin.com/company/daltrey/   Follow us on Twitter   https://twitter.com/DaltreyID   LET'S CHAT   If you have press inquiries, a topic suggestion or want to be a guest on the show, email us at hello@daltrey.com  See omnystudio.com/listener for privacy information.

Episode one hundred and thirty-six of A History of Rock Music in Five Hundred Songs is a special long episode, running almost ninety minutes, looking at "My Generation" by the Who. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "The Name Game" by Shirley Ellis. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I mispronounce the Herman's Hermits track "Can't You Hear My Heartbeat" as "Can You Hear My Heartbeat". I say "Rebel Without a Cause" when I mean "The Wild One". Brando was not in "Rebel Without a Cause". Resources As usual, I've created a Mixcloud playlist of the music excerpted here. This mix does not include the Dixon of Dock Green theme, as I was unable to find a full version of that theme anywhere (though a version with Jack Warner singing, titled "An Ordinary Copper" is often labelled as it) and what you hear in this episode is the only fragment I could get a clean copy of. The best compilation of the Who's music is Maximum A's & B's, a three-disc set containing the A and B sides of every single they released. The super-deluxe five-CD version of the My Generation album appears to be out of print as a CD, but can be purchased digitally. I referred to a lot of books for this episode, including: Generations: The History of America's Future, 1584 to 2069 by William Strauss and Neil Howe, which I don't necessarily recommend reading, but which is certainly an influential book. Revolt Into Style: The Pop Arts by George Melly which I *do* recommend reading if you have any interest at all in British pop culture of the fifties and sixties. Jim Marshall: The Father of Loud by Rich Maloof gave me all the biographical details about Marshall. The Who Before the Who by Doug Sandom, a rather thin book of reminiscences by the group's first drummer. The Ox by Paul Rees, an authorised biography of John Entwistle based on notes for his never-completed autobiography. Who I Am, the autobiography of Pete Townshend, is one of the better rock autobiographies. A Band With Built-In Hate by Peter Stanfield is an examination of the group in the context of pop-art and Mod. And Anyway, Anyhow, Anywhere by Andy Neill and Matt Kent is a day-by-day listing of the group's activities up to 1978. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript In 1991, William Strauss and Neil Howe wrote a book called Generations: The History of America's Future, 1584 to 2069. That book was predicated on a simple idea -- that there are patterns in American history, and that those patterns can be predicted in their rough outline. Not in the fine details, but broadly -- those of you currently watching the TV series Foundation, or familiar with Isaac Asimov's original novels, will have the idea already, because Strauss and Howe claimed to have invented a formula which worked as well as Asimov's fictional Psychohistory. Their claim was that, broadly speaking, generations can be thought to have a dominant personality type, influenced by the events that took place while they were growing up, which in turn are influenced by the personality types of the older generations. Because of this, Strauss and Howe claimed, American society had settled into a semi-stable pattern, where events repeat on a roughly eighty-eight-year cycle, driven by the behaviours of different personality types at different stages of their lives. You have four types of generation, which cycle -- the Adaptive, Idealist, Reactive, and Civic types. At any given time, one of these will be the elder statespeople, one will be the middle-aged people in positions of power, one will be the young rising people doing most of the work, and one will be the kids still growing up. You can predict what will happen, in broad outline, by how each of those generation types will react to challenges, and what position they will be in when those challenges arise. The idea is that major events change your personality, and also how you react to future events, and that how, say, Pearl Harbor affected someone will have been different for a kid hearing about the attack on the radio, an adult at the age to be drafted, and an adult who was too old to fight. The thesis of this book has, rather oddly, entered mainstream thought so completely that its ideas are taken as basic assumptions now by much of the popular discourse, even though on reading it the authors are so vague that pretty much anything can be taken as confirmation of their hypotheses, in much the same way that newspaper horoscopes always seem like they could apply to almost everyone's life. And sometimes, of course, they're just way off. For example they make the prediction that in 2020 there would be a massive crisis that would last several years, which would lead to a massive sense of community, in which "America will be implacably resolved to do what needs doing and fix what needs fixing", and in which the main task of those aged forty to sixty at that point would be to restrain those in leadership positions in the sixty-to-eighty age group from making irrational, impetuous, decisions which might lead to apocalypse. The crisis would likely end in triumph, but there was also a chance it might end in "moral fatigue, vast human tragedy, and a weak and vengeful sense of victory". I'm sure that none of my listeners can think of any events in 2020 that match this particular pattern. Despite its lack of rigour, Strauss and Howe's basic idea is now part of most people's intellectual toolkit, even if we don't necessarily think of them as the source for it. Indeed, even though they only talk about America in their book, their generational concept gets applied willy-nilly to much of the Western world. And likewise, for the most part we tend to think of the generations, whether American or otherwise, using the names they used. For the generations who were alive at the time they were writing, they used five main names, three of which we still use. Those born between 1901 and 1924 they term the "GI Generation", though those are now usually termed the "Greatest Generation". Those born between 1924 and 1942 were the "Silent Generation", those born 1943 through 1960 were the Boomers, and those born between 1982 and 2003 they labelled Millennials. Those born between 1961 and 1981 they labelled "thirteeners", because they were the unlucky thirteenth generation to be born in America since the declaration of independence. But that name didn't catch on. Instead, the name that people use to describe that generation is "Generation X", named after a late-seventies punk band led by Billy Idol: [Excerpt: Generation X, "Your Generation"] That band were short-lived, but they were in constant dialogue with the pop culture of ten to fifteen years earlier, Idol's own childhood. As well as that song, "Your Generation", which is obviously referring to the song this week's episode is about, they also recorded versions of John Lennon's "Gimme Some Truth", of Johnny Kidd and the Pirates' "Shakin' All Over", and an original song called "Ready Steady Go", about being in love with Cathy McGowan, the presenter of that show. And even their name was a reference, because Generation X were named after a book published in 1964, about not the generation we call Generation X, but about the Baby Boomers, and specifically about a series of fights on beaches across the South Coast of England between what at that point amounted to two gangs. These were fights between the old guard, the Rockers -- people who represented the recent past who wouldn't go away, what Americans would call "greasers", people who modelled themselves on Marlon Brando in Rebel Without A Cause, and who thought music had peaked with Gene Vincent and Eddie Cochran -- and a newer, younger, hipper, group of people, who represented the new, the modern -- the Mods: [Excerpt: The Who, "My Generation"] Jim Marshall, if he'd been American, would have been considered one of the Greatest Generation, but his upbringing was not typical of that, or of any, generation. When he was five, he was diagnosed as having skeletal tuberculosis, which had made his bones weak and easily broken. To protect them, he spent the next seven years of his life, from age five until twelve, in hospital in a full-body cast. The only opportunity he got to move during those years was for a few minutes every three months, when the cast would be cut off and reapplied to account for his growth during that time. Unsurprisingly, once he was finally out of the cast, he discovered he loved moving -- a lot. He dropped out of school aged thirteen -- most people at the time left school at aged fourteen anyway, and since he'd missed all his schooling to that point it didn't seem worth his while carrying on -- and took on multiple jobs, working sixty hours a week or more. But the job he made most money at was as an entertainer. He started out as a tap-dancer, taking advantage of his new mobility, but then his song-and-dance man routine became steadily more song and less dance, as people started to notice his vocal resemblance to Bing Crosby. He was working six nights a week as a singer, but when World War II broke out, the drummer in the seven-piece band he was working with was drafted -- Marshall wouldn't ever be drafted because of his history of illness. The other members of the band knew that as a dancer he had a good sense of rhythm, and so they made a suggestion -- if Jim took over the drums, they could split the money six ways rather than seven. Marshall agreed, but he discovered there was a problem. The drum kit was always positioned at the back of the stage, behind the PA, and he couldn't hear the other musicians clearly. This is actually OK for a drummer -- you're keeping time, and the rest of the band are following you, so as long as you can *sort of* hear them everyone can stay together. But a singer needs to be able to hear everything clearly, in order to stay on key. And this was in the days before monitor speakers, so the only option available was to just have a louder PA system. And since one wasn't available, Marshall just had to build one himself. And that's how Jim Marshall started building amplifiers. Marshall eventually gave up playing the drums, and retired to run a music shop. There's a story about Marshall's last gig as a drummer, which isn't in the biography of Marshall I read for this episode, but is told in other places by the son of the bandleader at that gig. Apparently Marshall had a very fraught relationship with his father, who was among other things a semi-professional boxer, and at that gig Marshall senior turned up and started heckling his son from the audience. Eventually the younger Marshall jumped off the stage and started hitting his dad, winning the fight, but he decided he wasn't going to perform in public any more. The band leader for that show was Clifford Townshend, a clarinet player and saxophonist whose main gig was as part of the Squadronaires, a band that had originally been formed during World War II by RAF servicemen to entertain other troops. Townshend, who had been a member of Oswald Moseley's fascist Blackshirts in the thirties but later had a change of heart, was a second-generation woodwind player -- his father had been a semi-professional flute player. As well as working with the Squadronaires, Townshend also put out one record under his own name in 1956, a version of "Unchained Melody" credited to "Cliff Townsend and his singing saxophone": [Excerpt: Cliff Townshend and his Singing Saxophone, "Unchained Melody"] Cliff's wife often performed with him -- she was a professional singer who had  actually lied about her age in order to join up with the Air Force and sing with the group -- but they had a tempestuous marriage, and split up multiple times. As a result of this, and the travelling lifestyle of musicians, there were periods where their son Peter was sent to live with his grandmother, who was seriously abusive, traumatising the young boy in ways that would affect him for the rest of his life. When Pete Townshend was growing up, he wasn't particularly influenced by music, in part because it was his dad's job rather than a hobby, and his parents had very few records in the house. He did, though, take up the harmonica and learn to play the theme tune to Dixon of Dock Green: [Excerpt: Tommy Reilly, "Dixon of Dock Green Theme"] His first exposure to rock and roll wasn't through Elvis or Little Richard, but rather through Ray Ellington. Ellington was a British jazz singer and drummer, heavily influenced by Louis Jordan, who provided regular musical performances on the Goon Show throughout the fifties, and on one episode had performed "That Rock 'n' Rollin' Man": [Excerpt: Ray Ellington, "That Rock 'N' Rollin' Man"] Young Pete's assessment of that, as he remembered it later, was "I thought it some kind of hybrid jazz: swing music with stupid lyrics. But it felt youthful and rebellious, like The Goon Show itself." But he got hooked on rock and roll when his father took him and a friend to see a film: [Excerpt: Bill Haley and the Comets, "Rock Around the Clock"] According to Townshend's autobiography, "I asked Dad what he thought of the music. He said he thought it had some swing, and anything that had swing was OK. For me it was more than just OK. After seeing Rock Around the Clock with Bill Haley, nothing would ever be quite the same." Young Pete would soon go and see Bill Haley live – his first rock and roll gig. But the older Townshend would soon revise his opinion of rock and roll, because it soon marked the end of the kind of music that had allowed him to earn his living -- though he still managed to get regular work, playing a clarinet was suddenly far less lucrative than it had been. Pete decided that he wanted to play the saxophone, like his dad, but soon he switched first to guitar and then to banjo. His first guitar was bought for him by his abusive grandmother, and three of the strings snapped almost immediately, so he carried on playing with just three strings for a while. He got very little encouragement from his parents, and didn't really improve for a couple of years. But then the trad jazz boom happened, and Townshend teamed up with a friend of his who played the trumpet and French horn. He had initially bonded with John Entwistle over their shared sense of humour -- both kids loved Mad magazine and would make tape recordings together of themselves doing comedy routines inspired by the Goon show and Hancock's Half Hour -- but Entwistle was also a very accomplished musician, who could play multiple instruments. Entwistle had formed a trad band called the Confederates, and Townshend joined them on banjo and guitar, but they didn't stay together for long. Both boys, though, would join a variety of other bands, both together and separately. As the trad boom faded and rock and roll regained its dominance among British youth, there was little place for Entwistle's trumpet in the music that was popular among teenagers, and at first Entwistle decided to try making his trumpet sound more like a saxophone, using a helmet as a mute to try to get it to sound like the sax on "Ramrod" by Duane Eddy: [Excerpt: Duane Eddy, "Ramrod"] Eddy soon became Entwistle's hero. We've talked about him before a couple of times, briefly, but not in depth, but Duane Eddy had a style that was totally different from most guitar heroes. Instead of playing mostly on the treble strings of the guitar, playing high twiddly parts, Eddy played low notes on the bass strings of his guitar, giving him the style that he summed up in album titles like "The Twang's the Thang" and "Have Twangy Guitar Will Travel". After a couple of years of having hits with this sound, produced by Lee Hazelwood and Lester Sill, Eddy also started playing another instrument, the instrument variously known as the six-string bass, the baritone guitar, or the Danelectro bass (after the company that manufactured the most popular model).  The baritone guitar has six strings, like a normal guitar, but it's tuned lower than a standard guitar -- usually a fourth lower, though different players have different preferences. The Danelectro became very popular in recording studios in the early sixties, because it helped solve a big problem in recording bass tones. You can hear more about this in the episodes of Cocaine and Rhinestones I recommended last week, but basically double basses were very, very difficult to record in the 1950s, and you'd often end up just getting a thudding, muddy, sound from them, which is one reason why when you listen to a lot of early rockabilly the bass is doing nothing very interesting, just playing root notes -- you couldn't easily get much clarity on the instrument at all. Conversely, with electric basses, with the primitive amps of the time, you didn't get anything like the full sound that you'd get from a double bass, but you *did* get a clear sound that would cut through on a cheap radio in a way that the sound of a double bass wouldn't. So the solution was obvious -- you have an electric instrument *and* a double bass play the same part. Use the double bass for the big dull throbbing sound, but use the electric one to give the sound some shape and cut-through. If you're doing that, you mostly want the trebly part of the electric instrument's tone, so you play it with a pick rather than fingers, and it makes sense to use a Danelectro rather than a standard bass guitar, as the Danelectro is more trebly than a normal bass. This combination, of Danelectro and double bass, appears to have been invented by Owen Bradley, and you can hear it for example on this record by Patsy Cline, with Bob Moore on double bass and Harold Bradley on baritone guitar: [Excerpt: Patsy Cline, "Crazy"] This sound, known as "tic-tac bass", was soon picked up by a lot of producers, and it became the standard way of getting a bass sound in both Nashville and LA. It's all over the Beach Boys' best records, and many of Jack Nitzsche's arrangements, and many of the other records the Wrecking Crew played on, and it's on most of the stuff the Nashville A-Team played on from the late fifties through mid-sixties, records by people like Elvis, Roy Orbison, Arthur Alexander, and the Everly Brothers. Lee Hazelwood was one of the first producers to pick up on this sound -- indeed, Duane Eddy has said several times that Hazelwood invented the sound before Owen Bradley did, though I think Bradley did it first -- and many of Eddy's records featured that bass sound, and eventually Eddy started playing a baritone guitar himself, as a lead instrument, playing it on records like "Because They're Young": [Excerpt: Duane Eddy, "Because They're Young"] Duane Eddy was John Entwistle's idol, and Entwistle learned Eddy's whole repertoire on trumpet, playing the saxophone parts. But then, realising that the guitar was always louder than the trumpet in the bands he was in, he realised that if he wanted to be heard, he should probably switch to guitar himself. And it made sense that a bass would be easier to play than a regular guitar -- if you only have four strings, there's more space between them, so playing is easier. So he started playing the bass, trying to sound as much like Eddy as he could. He had no problem picking up the instrument -- he was already a multi-instrumentalist -- but he did have a problem actually getting hold of one, as all the electric bass guitars available in the UK at the time were prohibitively expensive. Eventually he made one himself, with the help of someone in a local music shop, and that served for a time, though he would soon trade up to more professional instruments, eventually amassing the biggest collection of basses in the world. One day, Entwistle was approached on the street by an acquaintance, Roger Daltrey, who said to him "I hear you play bass" -- Entwistle was, at the time, carrying his bass. Daltrey was at this time a guitarist -- like Entwistle, he'd built his own instrument -- and he was the leader of a band called Del Angelo and his Detours. Daltrey wasn't Del Angelo, the lead singer -- that was a man called Colin Dawson who by all accounts sounded a little like Cliff Richard -- but he was the bandleader, hired and fired the members, and was in charge of their setlists. Daltrey lured Entwistle away from the band he was in with Townshend by telling him that the Detours were getting proper paid gigs, though they weren't getting many at the time. Unfortunately, one of the group's other guitarists, the member who owned the best amp, died in an accident not long after Entwistle joined the band. However, the amp was left in the group's possession, and Entwistle used it to lure Pete Townshend into the group by telling him he could use it -- and not telling him that he'd be sharing the amp with Daltrey. Townshend would later talk about his audition for the Detours -- as he was walking up the street towards Daltrey's house, he saw a stunningly beautiful woman walking away from the house crying. She saw his guitar case and said "Are you going to Roger's?" "Yes." "Well you can tell him, it's that bloody guitar or me". Townshend relayed the message, and Daltrey responded "Sod her. Come in." The audition was a formality, with the main questions being whether Townshend could play two parts of the regular repertoire for a working band at that time -- "Hava Nagila", and the Shadows' "Man of Mystery": [Excerpt: The Shadows, "Man of Mystery"] Townshend could play both of those, and so he was in. The group would mostly play chart hits by groups like the Shadows, but as trad jazz hadn't completely died out yet they would also do breakout sessions playing trad jazz, with Townshend on banjo, Entwistle on trumpet and Daltrey on trombone. From the start, there was a temperamental mismatch between the group's two guitarists. Daltrey was thoroughly working-class, culturally conservative,  had dropped out of school to go to work at a sheet metal factory, and saw himself as a no-nonsense plain-speaking man. Townshend was from a relatively well-off upper-middle-class family, was for a brief time a member of the Communist Party, and was by this point studying at art school, where he was hugely impressed by a lecture from Gustav Metzger titled “Auto-Destructive Art, Auto-Creative Art: The Struggle For The Machine Arts Of The Future”, about Metzger's creation of artworks which destroyed themselves. Townshend was at art school during a period when the whole idea of what an art school was for was in flux, something that's typified by a story Townshend tells about two of his early lectures. At the first, the lecturer came in and told the class to all draw a straight line. They all did, and then the lecturer told off anyone who had drawn anything that was anything other than six inches long, perfectly straight, without a ruler, going north-south, with a 3B pencil, saying that anything else at all was self-indulgence of the kind that needed to be drummed out of them if they wanted to get work as commercial artists. Then in another lecture, a different lecturer came in and asked them all to draw a straight line. They all drew perfectly straight, six-inch, north-south lines in 3B pencil, as the first lecturer had taught them. The new lecturer started yelling at them, then brought in someone else to yell at them as well, and then cut his hand open with a knife and dragged it across a piece of paper, smearing a rough line with his own blood, and screamed "THAT'S a line!" Townshend's sympathies lay very much with the second lecturer. Another big influence on Townshend at this point was a jazz double-bass player, Malcolm Cecil. Cecil would later go on to become a pioneer in electronic music as half of TONTO's Expanding Head Band, and we'll be looking at his work in more detail in a future episode, but at this point he was a fixture on the UK jazz scene. He'd been a member of Blues Incorporated, and had also played with modern jazz players like Dick Morrissey: [Excerpt: Dick Morrissey, "Jellyroll"] But Townshend was particularly impressed with a performance in which Cecil demonstrated unorthodox ways to play the double-bass, including playing so hard he broke the strings, and using a saw as a bow, sawing through the strings and damaging the body of the instrument. But these influences, for the moment, didn't affect the Detours, who were still doing the Cliff and the Shadows routine. Eventually Colin Dawson quit the group, and Daltrey took over the lead vocal role for the Detours, who settled into a lineup of Daltrey, Townshend, Entwistle, and drummer Doug Sandom, who was much older than the rest of the group -- he was born in 1930, while Daltrey and Entwistle were born in 1944 and Townshend in 1945. For a while, Daltrey continued playing guitar as well as singing, but his hands were often damaged by his work at the sheet-metal factory, making guitar painful for him. Then the group got a support slot with Johnny Kidd and the Pirates, who at this point were a four-piece band, with Kidd singing backed by bass, drums, and Mick Green playing one guitar on which he played both rhythm and lead parts: [Excerpt: Johnny Kidd and the Pirates, "Doctor Feel Good"] Green was at the time considered possibly the best guitarist in Britain, and the sound the Pirates were able to get with only one guitar convinced the Detours that they would be OK if Daltrey switched to just singing, so the group changed to what is now known as a "power trio" format. Townshend was a huge admirer of Steve Cropper, another guitarist who played both rhythm and lead, and started trying to adopt parts of Cropper's style, playing mostly chords, while Entwistle went for a much more fluid bass style than most, essentially turning the bass into another lead instrument, patterning his playing after Duane Eddy's work. By this time, Townshend was starting to push against Daltrey's leadership a little, especially when it came to repertoire. Townshend had a couple of American friends at art school who had been deported after being caught smoking dope, and had left their records with Townshend for safe-keeping. As a result, Townshend had become a devotee of blues and R&B music, especially the jazzier stuff like Ray Charles, Mose Allison, and Booker T and the MGs. He also admired guitar-based blues records like those by Howlin' Wolf or Jimmy Reed. Townshend kept pushing for this music to be incorporated into the group's sets, but Daltrey would push back, insisting as the leader that they should play the chart hits that everyone else played, rather than what he saw as Townshend's art-school nonsense. Townshend insisted, and eventually won -- within a short while the group had become a pure R&B group, and Daltrey was soon a convert, and became the biggest advocate of that style in the band. But there was a problem with only having one guitar, and that was volume. In particular, Townshend didn't want to be able to hear hecklers. There were gangsters in some of the audiences who would shout requests for particular songs, and you had to play them or else, even if they were completely unsuitable for the rest of the audience's tastes. But if you were playing so loud you couldn't hear the shouting, you had an excuse. Both Entwistle and Townshend had started buying amplifiers from Jim Marshall, who had opened up a music shop after quitting drums -- Townshend actually bought his first one from a shop assistant in Marshall's shop, John McLaughlin, who would later himself become a well-known guitarist. Entwistle, wanting to be heard over Townshend, had bought a cabinet with four twelve-inch speakers in it. Townshend, wanting to be heard over Entwistle, had bought *two* of these cabinets, and stacked them, one on top of the other, against Marshall's protestations -- Marshall said that they would vibrate so much that the top one might fall over and injure someone. Townshend didn't listen, and the Marshall stack was born. This ultra-amplification also led Townshend to change his guitar style further. He was increasingly reliant on distortion and feedback, rather than on traditional instrumental skills. Now, there are basically two kinds of chords that are used in most Western music. There are major chords, which consist of the first, third, and fifth note of the scale, and these are the basic chords that everyone starts with. So you can strum between G major and F major: [demonstrates G and F chords] There's also minor chords, where you flatten the third note, which sound a little sadder than major chords, so playing G minor and F minor: [demonstrates Gm and Fm chords] There are of course other kinds of chord -- basically any collection of notes counts as a chord, and can work musically in some context. But major and minor chords are the basic harmonic building blocks of most pop music. But when you're using a lot of distortion and feedback, you create a lot of extra harmonics -- extra notes that your instrument makes along with the ones you're playing. And for mathematical reasons I won't go into here because this is already a very long episode, the harmonics generated by playing the first and fifth notes sound fine together, but the harmonics from a third or minor third don't go along with them at all. The solution to this problem is to play what are known as "power chords", which are just the root and fifth notes, with no third at all, and which sound ambiguous as to whether they're major or minor. Townshend started to build his technique around these chords, playing for the most part on the bottom three strings of his guitar, which sounds like this: [demonstrates G5 and F5 chords] Townshend wasn't the first person to use power chords -- they're used on a lot of the Howlin' Wolf records he liked, and before Townshend would become famous the Kinks had used them on "You Really Got Me" -- but he was one of the first British guitarists to make them a major part of his personal style. Around this time, the Detours were starting to become seriously popular, and Townshend was starting to get exhausted by the constant demands on his time from being in the band and going to art school. He talked about this with one of his lecturers, who asked how much Townshend was earning from the band. When Townshend told him he was making thirty pounds a week, the lecturer was shocked, and said that was more than *he* was earning. Townshend should probably just quit art school, because it wasn't like he was going to make more money from anything he could learn there. Around this time, two things changed the group's image. The first was that they played a support slot for the Rolling Stones in December 1963. Townshend saw Keith Richards swinging his arm over his head and then bringing it down on the guitar, to loosen up his muscles, and he thought that looked fantastic, and started copying it -- from very early on, Townshend wanted to have a physical presence on stage that would be all about his body, to distract from his face, as he was embarrassed about the size of his nose. They played a second support slot for the Stones a few weeks later, and not wanting to look like he was copying Richards, Townshend didn't do that move, but then he noticed that Richards didn't do it either. He asked about it after the gig, and Richards didn't know what he was talking about -- "Swing me what?" -- so Townshend took that as a green light to make that move, which became known as the windmill, his own. The second thing was when in February 1964 a group appeared on Thank Your Lucky Stars: [Excerpt: Johnny Devlin and the Detours, "Sometimes"] Johnny Devlin and the Detours had had national media exposure, which meant that Daltrey, Townshend, Entwistle, and Sandom had to change the name of their group. They eventually settled on "The Who", It was around this time that the group got their first serious management, a man named Helmut Gorden, who owned a doorknob factory. Gorden had no management experience, but he did offer the group a regular salary, and pay for new equipment for them. However, when he tried to sign the group to a proper contract, as most of them were still under twenty-one he needed their parents to countersign for them. Townshend's parents, being experienced in the music industry, refused to sign, and so the group continued under Gorden's management without a contract. Gorden, not having management experience, didn't have any contacts in the music industry. But his barber did. Gorden enthused about his group to Jack Marks, the barber, and Marks in turn told some of his other clients about this group he'd been hearing about. Tony Hatch wasn't interested, as he already had a guitar group with the Searchers, but Chris Parmenter at Fontana Records was, and an audition was arranged. At the audition, among other numbers, they played Bo Diddley's "Here 'Tis": [Excerpt: Bo Diddley, "Here 'Tis"] Unfortunately for Doug, he didn't play well on that song, and Townshend started berating him. Doug also knew that Parmenter had reservations about him, because he was so much older than the rest of the band -- he was thirty-four at the time, while the rest of the group were only just turning twenty -- and he was also the least keen of the group on the R&B material they were playing. He'd been warned by Entwistle, his closest friend in the group, that Daltrey and Townshend were thinking of dropping him, and so he decided to jump before he was pushed, walking out of the audition. He agreed to come back for a handful more gigs that were already booked in, but that was the end of his time in the band, and of his time in the music industry -- though oddly not of his friendship with the group. Unlike other famous examples of an early member not fitting in and being forced out before a band becomes big, Sandom remained friends with the other members, and Townshend wrote the foreword to his autobiography, calling him a mentor figure, while Daltrey apparently insisted that Sandom phone him for a chat every Sunday, at the same time every week, until Sandom's death in 2019 at the age of eighty-nine. The group tried a few other drummers, including someone who Jim Marshall had been giving drum lessons to, Mitch Mitchell, before settling on the drummer for another group that played the same circuit, the Beachcombers, who played mostly Shadows material, plus the Beach Boys and Jan and Dean songs that their drummer, Keith Moon, loved. Moon and Entwistle soon became a formidable rhythm section, and despite having been turned down by Fontana, they were clearly going places. But they needed an image -- and one was provided for them by Pete Meaden. Meaden was another person who got his hair cut by Jack Marks, and he had had  little bit of music business experience, having worked for Andrew Oldham, the Rolling Stones' manager, for a while before going on to manage a group called the Moments, whose career highlight was recording a soundalike cover version of "You Really Got Me" for an American budget label: [Excerpt: The Moments, "You Really Got Me"] The Moments never had any big success, but Meaden's nose for talent was not wrong, as their teenage lead singer, Steve Marriott, later went on to much better things. Pete Meaden was taken on as Helmut Gorden's assistant, but from this point on the group decided to regard him as their de facto manager, and as more than just a manager. To Townshend in particular he was a guru figure, and he shaped the group to appeal to the Mods. Now, we've not talked much about the Mods previously, and what little has been said has been a bit contradictory. That's because the Mods were a tiny subculture at this point -- or to be more precise, they were three subcultures. The original mods had come along in the late 1950s, at a time when there was a division among jazz fans between fans of traditional New Orleans jazz -- "trad" -- and modern jazz. The mods were modernists, hence the name, but for the most part they weren't as interested in music as in clothes. They were a small group of young working-class men, almost all gay, who dressed flamboyantly and dandyishly, and who saw themselves, their clothing, and their bodies as works of art. In the late fifties, Britain was going through something of an economic boom, and this was the first time that working-class men *could* buy nice clothes. These working-class dandies would have to visit tailors to get specially modified clothes made, but they could just about afford to do so. The mod image was at first something that belonged to a very, very, small clique of people. But then John Stephens opened his first shop. This was the first era when short runs of factory-produced clothing became possible, and Stephens, a stylish young man, opened a shop on Carnaby Street, then a relatively cheap place to open a shop. He painted the outside yellow, played loud pop music, and attracted a young crowd. Stephens was selling factory-made clothes that still looked unique -- short runs of odd-coloured jeans, three-button jackets, and other men's fashion. Soon Carnaby Street became the hub for men's fashion in London, thanks largely to Stephens. At one point Stephens owned fifteen different shops, nine of them on Carnaby Street itself, and Stephens' shops appealed to the kind of people that the Kinks would satirise in their early 1966 hit single "Dedicated Follower of Fashion": [Excerpt: The Kinks, "Dedicated Follower of Fashion"] Many of those who visited Stephens' shops were the larger, second, generation of mods. I'm going to quote here from George Melly's Revolt Into Style, the first book to properly analyse British pop culture of the fifties and sixties, by someone who was there: "As the ‘mod' thing spread it lost its purity. For the next generation of Mods, those who picked up the ‘mod' thing around 1963, clothes, while still their central preoccupation, weren't enough. They needed music (Rhythm and Blues), transport (scooters) and drugs (pep pills). What's more they needed fashion ready-made. They hadn't the time or the fanaticism to invent their own styles, and this is where Carnaby Street came in." Melly goes on to talk about how these new Mods were viewed with distaste by the older Mods, who left the scene. The choice of music for these new Mods was as much due to geographic proximity as anything else. Carnaby Street is just round the corner from Wardour Street, and Wardour Street is where the two clubs that between them were the twin poles of the London R&B scenes, the Marquee and the Flamingo, were both located. So it made sense that the young people frequenting John Stephens' boutiques on Carnaby Street were the same people who made up the audiences -- and the bands -- at those clubs. But by 1964, even these second-generation Mods were in a minority compared to a new, third generation, and here I'm going to quote Melly again: "But the Carnaby Street Mods were not the final stage in the history of this particular movement. The word was taken over finally by a new and more violent sector, the urban working class at the gang-forming age, and this became quite sinister. The gang stage rejected the wilder flights of Carnaby Street in favour of extreme sartorial neatness. Everything about them was neat, pretty and creepy: dark glasses, Nero hair-cuts, Chelsea boots, polo-necked sweaters worn under skinny V-necked pullovers, gleaming scooters and transistors. Even their offensive weapons were pretty—tiny hammers and screwdrivers. En masse they looked like a pack of weasels." I would urge anyone who's interested in British social history to read Melly's book in full -- it's well worth it. These third-stage Mods soon made up the bulk of the movement, and they were the ones who, in summer 1964, got into the gang fights that were breathlessly reported in all the tabloid newspapers. Pete Meaden was a Mod, and as far as I can tell he was a leading-edge second-stage Mod, though as with all these things who was in what generation of Mods is a bit blurry. Meaden had a whole idea of Mod-as-lifestyle and Mod-as-philosophy, which worked well with the group's R&B leanings, and with Townshend's art-school-inspired fascination with the aesthetics of Pop Art. Meaden got the group a residency at the Railway Hotel, a favourite Mod hangout, and he also changed their name -- The Who didn't sound Mod enough. In Mod circles at the time there was a hierarchy, with the coolest people, the Faces, at the top, below them a slightly larger group of people known as Numbers, and below them the mass of generic people known as Tickets. Meaden saw himself as the band's Svengali, so he was obviously the Face, so the group had to be Numbers -- so they became The High Numbers. Meaden got the group a one-off single deal, to record two songs he had allegedly written, both of which had lyrics geared specifically for the Mods. The A-side was "Zoot Suit": [Excerpt: The High Numbers, "Zoot Suit"] This had a melody that was stolen wholesale from "Misery" by the Dynamics: [Excerpt: The Dynamics, "Misery"] The B-side, meanwhile, was titled "I'm the Face": [Excerpt: The High Numbers, "I'm the Face"] Which anyone with any interest at all in blues music will recognise immediately as being "Got Love if You Want It" by Slim Harpo: [Excerpt: Slim Harpo, "Got Love if You Want it"] Unfortunately for the High Numbers, that single didn't have much success. Mod was a local phenomenon, which never took off outside London and its suburbs, and so the songs didn't have much appeal in the rest of the country -- while within London, Mod fashions were moving so quickly that by the time the record came out, all its up-to-the-minute references were desperately outdated. But while the record didn't have much success, the group were getting a big live following among the Mods, and their awareness of rapidly shifting trends in that subculture paid off for them in terms of stagecraft. To quote Townshend: "What the Mods taught us was how to lead by following. I mean, you'd look at the dance floor and see some bloke stop during the dance of the week and for some reason feel like doing some silly sort of step. And you'd notice some of the blokes around him looking out of the corners of their eyes and thinking 'is this the latest?' And on their own, without acknowledging the first fellow, a few of 'em would start dancing that way. And we'd be watching. By the time they looked up on the stage again, we'd be doing that dance and they'd think the original guy had been imitating us. And next week they'd come back and look to us for dances". And then Kit Lambert and Chris Stamp came into the Railway Hotel. Kit Lambert was the son of Constant Lambert, the founding music director of the Royal Ballet, who the economist John Maynard Keynes described as the most brilliant man he'd ever met. Constant Lambert was possibly Britain's foremost composer of the pre-war era, and one of the first people from the serious music establishment to recognise the potential of jazz and blues music. His most famous composition, "The Rio Grande", written in 1927 about a fictitious South American river, is often compared with Gershwin's Rhapsody in Blue: [Excerpt: Constant Lambert, "The Rio Grande"] Kit Lambert was thus brought up in an atmosphere of great privilege, both financially and intellectually, with his godfather being the composer Sir William Walton while his godmother was the prima ballerina Dame Margot Fonteyn, with whom his father was having an affair. As a result of the problems between his parents, Lambert spent much of his childhood living with his grandmother. After studying history at Oxford and doing his national service, Lambert had spent a few months studying film at the Institut des hautes études cinématographiques in Paris, where he went because Jean-Luc Godard and Alain Renais taught there -- or at least so he would later say, though there's no evidence I can find that Godard actually taught there, so either he went there under a mistaken impression or he lied about it later to make himself sound more interesting. However, he'd got bored with his studies after only a few months, and decided that he knew enough to just make a film himself, and he planned his first documentary. In early 1961, despite having little film experience, he joined two friends from university, Richard Mason and John Hemming, in an attempt to make a documentary film tracing the source of the Iriri, a river in South America that was at that point the longest unnavigated river in the world. Unfortunately, the expedition was as disastrous as it's possible for such an expedition to be. In May 1961 they landed in the Amazon basin and headed off on their expedition to find the source of the Iriri, with the help of five local porters and three people sent along by the Brazillian government to map the new areas they were to discover. Unfortunately, by September, not only had they not found the source of the Iriri, they'd actually not managed to find the Iriri itself, four and a half months apparently not being a long enough time to find an eight-hundred-and-ten-mile-long river. And then Mason made his way into history in the worst possible way, by becoming the last, to date, British person to be murdered by an uncontacted indigenous tribe, the Panará, who shot him with eight poison arrows and then bludgeoned his skull. A little over a decade later the Panará made contact with the wider world after nearly being wiped out by disease. They remembered killing Mason and said that they'd been scared by the swishing noise his jeans had made, as they'd never encountered anyone who wore clothes before. Before they made contact, the Panará were also known as the Kreen-Akrore, a name given them by the Kayapó people, meaning "round-cut head", a reference to the way they styled their hair, brushed forward and trimmed over the forehead in a way that was remarkably similar to some of the Mod styles. Before they made contact, Paul McCartney would in 1970 record an instrumental, "Kreen Akrore", after being inspired by a documentary called The Tribe That Hides From Man. McCartney's instrumental includes sound effects, including McCartney firing a bow and arrow, though apparently the bow-string snapped during the recording: [Excerpt: Paul McCartney, "Kreen Akrore"] For a while, Lambert was under suspicion for the murder, though the Daily Express, which had sponsored the expedition, persuaded Brazillian police to drop the charges. While he was in Rio waiting for the legal case to be sorted, Lambert developed what one book on the Who describes as "a serious anal infection". Astonishingly, this experience did not put Lambert off from the film industry, though he wouldn't try to make another film of his own for a couple of years. Instead, he went to work at Shepperton Studios, where he was an uncredited second AD on many films, including From Russia With Love and The L-Shaped Room. Another second AD working on many of the same films was Chris Stamp, the brother of the actor Terence Stamp, who was just starting out in his own career. Stamp and Lambert became close friends, despite -- or because of -- their differences. Lambert was bisexual, and preferred men to women, Stamp was straight. Lambert was the godson of a knight and a dame, Stamp was a working-class East End Cockney. Lambert was a film-school dropout full of ideas and grand ambitions, but unsure how best to put those ideas into practice, Stamp was a practical, hands-on, man. The two complemented each other perfectly, and became flatmates and collaborators. After seeing A Hard Day's Night, they decided that they were going to make their own pop film -- a documentary, inspired by the French nouvelle vague school of cinema, which would chart a pop band from playing lowly clubs to being massive pop stars. Now all they needed was to find a band that were playing lowly clubs but could become massive stars. And they found that band at the Railway Hotel, when they saw the High Numbers. Stamp and Lambert started making their film, and completed part of it, which can be found on YouTube: [Excerpt: The High Numbers, "Oo Poo Pa Doo"] The surviving part of the film is actually very, very, well done for people who'd never directed a film before, and I have no doubt that if they'd completed the film, to be titled High Numbers, it would be regarded as one of the classic depictions of early-sixties London club life, to be classed along with The Small World of Sammy Lee and Expresso Bongo. What's even more astonishing, though, is how *modern* the group look. Most footage of guitar bands of this period looks very dated, not just in the fashions, but in everything -- the attitude of the performers, their body language, the way they hold their instruments. The best performances are still thrilling, but you can tell when they were filmed. On the other hand, the High Numbers look ungainly and awkward, like the lads of no more than twenty that they are -- but in a way that was actually shocking to me when I first saw this footage. Because they look *exactly* like every guitar band I played on the same bill as during my own attempts at being in bands between 2000 and about 2005. If it weren't for the fact that they have such recognisable faces, if you'd told me this was footage of some band I played on the same bill with at the Star and Garter or Night and Day Cafe in 2003, I'd believe it unquestioningly. But while Lambert and Stamp started out making a film, they soon pivoted and decided that they could go into management. Of course, the High Numbers did already have management -- Pete Meaden and Helmut Gorden -- but after consulting with the Beatles' lawyer, David Jacobs, Lambert and Stamp found out that Gorden's contract with the band was invalid, and so when Gorden got back from a holiday, he found himself usurped. Meaden was a bit more difficult to get rid of, even though he had less claim on the group than Gorden -- he was officially their publicist, not their manager, and his only deal was with Gorden, even though the group considered him their manager. While Meaden didn't have a contractual claim though, he did have one argument in his favour, which is that he had a large friend named Phil the Greek, who had a big knife. When this claim was put to Lambert and Stamp, they agreed that this was a very good point indeed, one that they hadn't considered, and agreed to pay Meaden off with two hundred and fifty pounds. This would not be the last big expense that Stamp and Lambert would have as the managers of the Who, as the group were now renamed. Their agreement with the group had the two managers taking forty percent of the group's earnings, while the four band members would split the other sixty percent between themselves -- an arrangement which should theoretically have had the managers coming out ahead. But they also agreed to pay the group's expenses. And that was to prove very costly indeed. Shortly after they started managing the group, at a gig at the Railway Hotel, which had low ceilings, Townshend lifted his guitar up a bit higher than he'd intended, and broke the headstock. Townshend had a spare guitar with him, so this was OK, and he also remembered Gustav Metzger and his ideas of auto-destructive art, and Malcolm Cecil sawing through his bass strings and damaging his bass, and decided that it was better for him to look like he'd meant to do that than to look like an idiot who'd accidentally broken his guitar, so he repeated the motion, smashing his guitar to bits, before carrying on the show with his spare. The next week, the crowd were excited, expecting the same thing again, but Townshend hadn't brought a spare guitar with him. So as not to disappoint them, Keith Moon destroyed his drum kit instead. This destruction was annoying to Entwistle, who saw musical instruments as something close to sacred, and it also annoyed the group's managers at first, because musical instruments are expensive. But they soon saw the value this brought to the band's shows, and reluctantly agreed to keep buying them new instruments. So for the first couple of years, Lambert and Stamp lost money on the group. They funded this partly through Lambert's savings, partly through Stamp continuing to do film work, and partly from investors in their company, one of whom was Russ Conway, the easy-listening piano player who'd had hits like "Side Saddle": [Excerpt: Russ Conway, "Side Saddle"] Conway's connections actually got the group another audition for a record label, Decca (although Conway himself recorded for EMI), but the group were turned down. The managers were told that they would have been signed, but they didn't have any original material. So Pete Townshend was given the task of writing some original material. By this time Townshend's musical world was expanding far beyond the R&B that the group were performing on stage, and he talks in his autobiography about the music he was listening to while he was trying to write his early songs. There was "Green Onions", which he'd been listening to for years in his attempt to emulate Steve Cropper's guitar style, but there was also The Freewheelin' Bob Dylan, and two tracks he names in particular, "Devil's Jump" by John Lee Hooker: [Excerpt: John Lee Hooker, "Devil's Jump"] And "Better Get Hit in Your Soul" by Charles Mingus: [Excerpt: Charles Mingus, "Better Get Hit In Your Soul"] He was also listening to what he described as "a record that changed my life as a composer", a recording of baroque music that included sections of Purcell's Gordian Knot Untied: [Excerpt: Purcell, Chaconne from Gordian Knot Untied] Townshend had a notebook in which he listed the records he wanted to obtain, and he reproduces that list in his autobiography -- "‘Marvin Gaye, 1-2-3, Mingus Revisited, Stevie Wonder, Jimmy Smith Organ Grinder's Swing, In Crowd, Nina in Concert [Nina Simone], Charlie Christian, Billie Holiday, Ella, Ray Charles, Thelonious Monk Around Midnight and Brilliant Corners.'" He was also listening to a lot of Stockhausen and Charlie Parker, and to the Everly Brothers -- who by this point were almost the only artist that all four members of the Who agreed were any good, because Daltrey was now fully committed to the R&B music he'd originally dismissed, and disliked what he thought was the pretentiousness of the music Townshend was listening to, while Keith Moon was primarily a fan of the Beach Boys. But everyone could agree that the Everlys, with their sensitive interpretations, exquisite harmonies, and Bo Diddley-inflected guitars, were great, and so the group added several songs from the Everlys' 1965 albums Rock N Soul and Beat N Soul to their set, like "Man With Money": [Excerpt: The Everly Brothers, "Man With Money"] Despite Daltrey's objections to diluting the purity of the group's R&B sound, Townshend brought all these influences into his songwriting. The first song he wrote to see release was not actually recorded by the Who, but a song he co-wrote for a minor beat group called the Naturals, who released it as a B-side: [Excerpt: The Naturals, "It Was You"] But shortly after this, the group got their first big break, thanks to Lambert's personal assistant, Anya Butler. Butler was friends with Shel Talmy's wife, and got Talmy to listen to the group. Townshend in particular was eager to work with Talmy, as he was a big fan of the Kinks, who were just becoming big, and who Talmy produced. Talmy signed the group to a production deal, and then signed a deal to license their records to Decca in America -- which Lambert and Stamp didn't realise wasn't the same label as British Decca. Decca in turn sublicensed the group's recordings to their British subsidiary Brunswick, which meant that the group got a minuscule royalty for sales in Britain, as their recordings were being sold through three corporate layers all taking their cut. This didn't matter to them at first, though, and they went into the studio excited to cut their first record as The Who. As was typical at the time, Talmy brought in a few session players to help out. Clem Cattini turned out not to be needed, and left quickly, but Jimmy Page stuck around -- not to play on the A-side, which Townshend said was "so simple even I could play it", but the B-side, a version of the old blues standard "Bald-Headed Woman", which Talmy had copyrighted in his own name and had already had the Kinks record: [Excerpt: The Who, "Bald-Headed Woman"] Apparently the only reason that Page played on that is that Page wouldn't let Townshend use his fuzzbox. As well as Page and Cattini, Talmy also brought in some backing vocalists. These were the Ivy League, a writing and production collective consisting at this point of John Carter and Ken Lewis, both of whom had previously been in a band with Page, and Perry Ford. The Ivy League were huge hit-makers in the mid-sixties, though most people don't recognise their name. Carter and Lewis had just written "Can You Hear My Heartbeat" for Herman's Hermits: [Excerpt: Herman's Hermits, "Can You Hear My Heartbeat?"] And, along with a couple of other singers who joined the group, the Ivy League would go on to sing backing vocals on hits by Sandie Shaw, Tom Jones and others. Together and separately the members of the Ivy League were also responsible for writing, producing, and singing on "Let's Go to San Francisco" by the Flowerpot Men, "Winchester Cathedral" by the New Vaudeville Band, "Beach Baby" by First Class, and more, as well as their big hit under their own name, "Tossing and Turning": [Excerpt: The Ivy League, "Tossing and Turning"] Though my favourite of their tracks is their baroque pop masterpiece "My World Fell Down": [Excerpt: The Ivy League, "My World Fell Down"] As you can tell, the Ivy League were masters of the Beach Boys sound that Moon, and to a lesser extent Townshend, loved. That backing vocal sound was combined with a hard-driving riff inspired by the Kinks' early hits like "You Really Got Me" and "All Day and All of the Night", and with lyrics that explored inarticulacy, a major theme of Townshend's lyrics: [Excerpt: The Who, "I Can't Explain"] "I Can't Explain" made the top ten, thanks in part to a publicity stunt that Lambert came up with. The group had been booked on to Ready, Steady, Go!, and the floor manager of the show mentioned to Lambert that they were having difficulty getting an audience for that week's show -- they were short about a hundred and fifty people, and they needed young, energetic, dancers. Lambert suggested that the best place to find young, energetic, dancers, was at the Marquee on a Tuesday night -- which just happened to be the night of the Who's regular residency at the club. Come the day of filming, the Ready, Steady, Go! audience was full of the Who's most hardcore fans, all of whom had been told by Lambert to throw scarves at the band when they started playing. It was one of the most memorable performances on the show. But even though the record was a big hit, Daltrey was unhappy. The man who'd started out as guitarist in a Shadows cover band and who'd strenuously objected to the group's inclusion of R&B material now had the zeal of a convert. He didn't want to be doing this "soft commercial pop", or Townshend's art-school nonsense. He wanted to be an R&B singer, playing hard music for working-class men like him. Two decisions were taken to mollify the lead singer. The first was that when they went into the studio to record their first album, it was all soul and R&B apart from one original. The album was going to consist of three James Brown covers, three Motown covers, Bo Diddley's "I'm a Man", and a cover of Paul Revere and the Raiders' "Louie Louie" sequel "Louie Come Home", retitled "Lubie". All of this was material that Daltrey was very comfortable with. Also, Daltrey was given some input into the second single, which would be the only song credited to Daltrey and Townshend, and Daltrey's only songwriting contribution to a Who A-side. Townshend had come up with the title "Anyway, Anyhow, Anywhere" while listening to Charlie Parker, and had written the song based on that title, but Daltrey was allowed to rewrite the lyrics and make suggestions as to the arrangement. That record also made the top ten: [Excerpt: The Who, "Anyway, Anyhow, Anywhere"] But Daltrey would soon become even more disillusioned. The album they'd recorded was shelved, though some tracks were later used for what became the My Generation album, and Kit Lambert told the Melody Maker “The Who are having serious doubts about the state of R&B. Now the LP material will consist of hard pop. They've finished with ‘Smokestack Lightning'!” That wasn't the only thing they were finished with -- Townshend and Moon were tired of their band's leader, and also just didn't think he was a particularly good singer -- and weren't shy about saying so, even to the press. Entwistle, a natural peacemaker, didn't feel as strongly, but there was a definite split forming in the band. Things came to a head on a European tour. Daltrey was sick of this pop nonsense, he was sick of the arty ideas of Townshend, and he was also sick of the other members' drug use. Daltrey didn't indulge himself, but the other band members had been using drugs long before they became successful, and they were all using uppers, which offended Daltrey greatly. He flushed Keith Moon's pill stash down the toilet, and screamed at his band mates that they were a bunch of junkies, then physically attacked Moon. All three of the other band members agreed -- Daltrey was out of the band. They were going to continue as a trio. But after a couple of days, Daltrey was back in the group. This was mostly because Daltrey had come crawling back to them, apologising -- he was in a very bad place at the time, having left his wife and kid, and was actually living in the back of the group's tour van. But it was also because Lambert and Stamp persuaded the group they needed Daltrey, at least for the moment, because he'd sung lead on their latest single, and that single was starting to rise up the charts. "My Generation" had had a long and torturous journey from conception to realisation. Musically it originally had been inspired by Mose Allison's "Young Man's Blues": [Excerpt: Mose Allison, "Young Man's Blues"] Townshend had taken that musical mood and tied it to a lyric that was inspired by a trilogy of TV plays, The Generations, by the socialist playwright David Mercer, whose plays were mostly about family disagreements that involved politics and class, as in the case of the first of those plays, where two upwardly-mobile young brothers of very different political views go back to visit their working-class family when their mother is on her deathbed, and are confronted by the differences they have with each other, and with the uneducated father who sacrificed to give them a better life than he had: [Excerpt: Where the Difference Begins] Townshend's original demo for the song was very much in the style of Mose Allison, as the excerpt of it that's been made available on various deluxe reissues of the album shows: [Excerpt: Pete Townshend, "My Generation (demo)"] But Lambert had not been hugely impressed by that demo. Stamp had suggested that Townshend try a heavier guitar riff, which he did, and then Lambert had added the further suggestion that the music would be improved by a few key changes -- Townshend was at first unsure about this, because he already thought he was a bit too influenced by the Kinks, and he regarded Ray Davies as, in his words, "the master of modulation", but eventually he agreed, and decided that the key changes did improve the song. Stamp made one final suggestion after hearing the next demo version of the song. A while earlier, the Who had been one of the many British groups, like the Yardbirds and the Animals, who had backed Sonny Boy Williamson II on his UK tour. Williamson had occasionally done a little bit of a stutter in some of his performances, and Daltrey had picked up on that and started doing it. Townshend had in turn imitated Daltrey's mannerism a couple of times on the demo, and Stamp thought that was something that could be accentuated. Townshend agreed, and reworked the song, inspired by John Lee Hooker's "Stuttering Blues": [Excerpt: John Lee Hooker, "Stuttering Blues"] The stuttering made all the difference, and it worked on three levels. It reinforced the themes of inarticulacy that run throughout the Who's early work -- their first single, after all, had been called "I Can't Explain", and Townshend talks movingly in his autobiography about talking to teenage fans who felt that "I Can't Explain" had said for them the things they couldn't say th

“It's well recognised that health data is considerably more valuable than financial data alone, because rather than having a one-off emptying of a bank account, it leads to true identity theft.” Simon Kos, Health Industry Advisor at Microsoft, joins Blair Crawford to discuss digital transformation in healthcare and the role digital identity can play in providing stronger authentication in patient care and data protection. CREDITS   Host: Blair Crawford, Co-founder and Managing Director, Daltrey   Guest: Simon Kos, Health Industry Executive at Microsoft Producer: RadioHub Podcast Productions   WANT MORE IDENTITY NEWS?   Read our blog and subscribe to our newsletter   www.daltrey.com.au/blog/   Follow us on LinkedIn   www.linkedin.com/company/daltrey/   Follow us on Twitter   https://twitter.com/DaltreyID   LET'S CHAT   If you have press inquiries, a topic suggestion or want to be a guest on the show, email us at hello@daltrey.com  See omnystudio.com/listener for privacy information.

“Is this another Dutch tulip speculative play where exuberance takes over, rationality takes a back seat and things are getting funded left, right and centre?” Peter Coroneos, International Vice President of the Cybersecurity Advisors Network, joins Blair Crawford to try and take the BS out of what's become an overexposed and very noisy cybersecurity sector.   CREDITS   Host: Blair Crawford, Co-founder and Managing Director, Daltrey   Guest: Peter Coroneos, International Vice President, CyAN Producer: RadioHub Podcast Productions     WANT MORE IDENTITY NEWS?   Read our blog and subscribe to our newsletter   www.daltrey.com.au/blog/   Follow us on LinkedIn   www.linkedin.com/company/daltrey/   Follow us on Twitter   https://twitter.com/DaltreyID   LET'S CHAT   If you have press inquiries, a topic suggestion or want to be a guest on the show, email us at hello@daltrey.com  See omnystudio.com/listener for privacy information.

“Data privacy informs data protection. Data protection can exist on its own, without data privacy, but data privacy cannot exist without data protection.” Jay Hira, Security and Compliance Advisor at Salesforce, joins Blair Crawford to discuss the relationship between data protection and data privacy, and how having one doesn't ensure the other.   CREDITS   Host: Blair Crawford, Co-founder and Managing Director, Daltrey   Guest: Jay Hira, Security & Compliance Advisor, Salesforce Producer: RadioHub Podcast Productions     WANT MORE IDENTITY NEWS?   Read our blog and subscribe to our newsletter   www.daltrey.com.au/blog/   Follow us on LinkedIn   www.linkedin.com/company/daltrey/   Follow us on Twitter   https://twitter.com/DaltreyID   LET'S CHAT   If you have press inquiries, a topic suggestion or want to be a guest on the show, email us at hello@daltrey.com  See omnystudio.com/listener for privacy information.

“From a leadership mindset point of view, I think it's absolutely critical that there's a focus on fostering a culture of empowerment, putting the human at the core of cybersecurity resilience for an organisation.” Guillaume Noé, Senior Director of Cybersecurity at Avanade, joins Blair Crawford to discuss the challenges faced by today's CISOs and security managers, and how an organisation's culture impacts its cybersecurity posture.   CREDITS   Host: Blair Crawford, Co-founder and Managing Director, Daltrey   Guest: Guillaume Noé, Senior Director, Cybersecurity, Avanade Producer: RadioHub Podcast Productions   WANT MORE IDENTITY NEWS?   Read our blog and subscribe to our newsletter   www.daltrey.com.au/blog/   Follow us on LinkedIn   www.linkedin.com/company/daltrey/   Follow us on Twitter   https://twitter.com/DaltreyID   LET'S CHAT   If you have press inquiries, a topic suggestion or want to be a guest on the show, email us at hello@daltrey.com    See omnystudio.com/listener for privacy information.

A never-before-published interview with Roger Daltrey from 1994.In the interview, Daltrey talks about:Whether he has gotten his due from his solo albumsWhich album was a writing breakthrough for himWhy he thinks fans have a hard time accepting him outside of The WhoWhat's great about The Who's musicWhy The Who isn't touringHow hard it is singing Who songsHow anger changes in middle ageIf he feels competitive with Pete TownshendIf he knew Townshend was competing with himHow Tommy really became a hit recordWhy Townshend is the way he is about The WhoWhy it was a constant struggle to make more recordsHow he feels everyone in the band but Pete did not get the recognition they deservedThe chemistry in the bandWhat was something he was proud of from the Carnegie Hall gigPlaying with the Spin Doctors on the Dave Letterman show.How his upcoming concert differs from the Carnegie Hall showWhat Townshend said to him after the Carnegie showThe challenges with the Carnegie Hall concertThe bad sound at Carnegie HallWhen he knew he was going to take the show on the roadWhether he ever considered hitting the road with a three-member rock bandWhether they considered playing Woodstock ‘94The story of how he started spinning the microphoneHow the music biz is so “bloody corporate”Whether he thinks he will ever just sit back and relaxWhether he goes to see his contemporaries in concertWhether he worries he's going to disappoint fansWhy didn't the Who do encores See acast.com/privacy for privacy and opt-out information.

“We can definitely be very mindful about how we recruit talent and look out for those transferrable skills. Instead of saying the candidate should have 10 out of 10 skills and only then we will hire the candidate.” Amie DSouza, IAM PAM Scrum Master at AGL, and Audrey Jacquemart, Daltrey's Director Product and Solution Engineering, join Blair Crawford to discuss the importance of role models and mentorship, as well as equitable representation across the workforce. CREDITS   Host: Blair Crawford, Co-founder and Managing Director, Daltrey   Guests: Amie DSouza, IAM PAM Scrum Master at AGL, and Audrey Jacquemart, Director Product and Solution Engineering, Daltrey Producer: RadioHub Podcast Productions     WANT MORE IDENTITY NEWS?   Read our blog and subscribe to our newsletter   www.daltrey.com.au/blog/   Follow us on LinkedIn   www.linkedin.com/company/daltrey/   Follow us on Twitter   https://twitter.com/DaltreyID   LET'S CHAT   If you have press inquiries, a topic suggestion or want to be a guest on the show, email us at hello@daltrey.com    See omnystudio.com/listener for privacy information.

“The smart organisations and the businesses which have got a rock-solid modern workplace practice, they've got that digital HQ, their workers are productive, their workers are happy. And it becomes a business enabler for good people to do their job well.” Noel Allnutt, Co-founder and Managing Director at Solista, joins Blair Crawford to discuss the security concerns and user experience opportunities of the modern workplace. Plus, how your workplace technology could mean the difference between keeping or losing top talent.   CREDITS   Host: Blair Crawford, Co-founder and Managing Director, Daltrey   Guests: Noel Allnutt, Co-founder and Managing Director, Solista Producer: RadioHub Podcast Productions     WANT MORE IDENTITY NEWS?   Read our blog   www.daltrey.com.au/blog/   Follow us on LinkedIn   www.linkedin.com/company/daltrey/   Follow us on Twitter   https://twitter.com/DaltreyID   LET'S CHAT   If you have press inquiries, a topic suggestion or want to be a guest on the show, email us at hello@daltrey.com    See omnystudio.com/listener for privacy information.

There once was a note, pure and easy, playing so free, like a breath rippling by.

“I think it's really important to go beyond what the vendors talk about and have a think about what insider threat actually means to you and your organisation. And what are the highest risks and threats that you need to manage? And then align your programs with those threats and risks.” Jan Zeilinga, founder and CEO of NextID, joins Blair Crawford to discuss insider threat, the importance of securing the human and privileged access management. Plus, the differences between malicious intent and plain old ignorance when it comes to security.   CREDITS   Host: Blair Crawford, Co-founder and Managing Director, Daltrey   Guests: Jan Zeilinga, founder and CEO, NextID Producer: RadioHub Podcast Productions     WANT MORE IDENTITY NEWS?   Read our blog and subscribe to our newsletter   www.daltrey.com.au/blog/   Follow us on LinkedIn   www.linkedin.com/company/daltrey/   Follow us on Twitter   https://twitter.com/DaltreyID   LET'S CHAT   If you have press inquiries, a topic suggestion or want to be a guest on the show, email us at hello@daltrey.com  See omnystudio.com/listener for privacy information.

“Usernames and passwords are the leading attack vector in data breaches, account hijacking and identity theft… And the pandemic just exacerbated the vulnerabilities that have been created by years of cybersecurity complacency.” Isabel Botha, Head of Government and Healthcare at ForgeRock, joins Blair Crawford to discuss why passwords are so problematic, and pose such a serious security risk to organisations today. Plus the benefits and key considerations of passwordless authentication using biometrics.    CREDITS   Host: Blair Crawford, Co-founder and Managing Director, Daltrey   Guests: Isabel Botha, Head of Government & Healthcare, ForgeRock  Producer: RadioHub Podcast Productions   WANT MORE IDENTITY NEWS?   Read our blog and subscribe to our newsletter   www.daltrey.com.au/blog/   Follow us on LinkedIn   www.linkedin.com/company/daltrey/   Follow us on Twitter   https://twitter.com/DaltreyID     LET'S CHAT   If you have press inquiries, a topic suggestion or want to be a guest on the show, email us at hello@daltrey.com  See omnystudio.com/listener for privacy information.

“We've got all of these malicious adversaries. We've got all these highly advanced, highly skilled, highly motivated actors out there, coming up with new tradecraft, improving the techniques they're using to compromise our networks all the time.” Ryan Janosevic of Retrospect Labs joins Blair Crawford to discuss the importance of cyber resilience and why businesses find it so hard to do incident response well. Plus the challenges of talent diversity in Australia.   CREDITS   Host: Blair Crawford, Co-founder and Managing Director, Daltrey   Guests: Ryan Janosevic, Co-founder and COO, Retrospect Labs  Producer: RadioHub Podcast Productions     WANT MORE IDENTITY NEWS?   Read our blog and subscribe to our newsletter   www.daltrey.com.au/blog/   Follow us on LinkedIn   www.linkedin.com/company/daltrey/   Follow us on Twitter   https://twitter.com/DaltreyID   LET'S CHAT   If you have press inquiries, a topic suggestion or want to be a guest on the show, email us at hello@daltrey.com  See omnystudio.com/listener for privacy information.

Steve and Remfry start proceedings this week by going into a very strange tangent inspired by the Sky Arts documentary Allen V Farrow (sorry about that). In the news, Vinyl sales look set to eclipse CD sales in the UK since 1987 and Roger 'Man of the People' Daltrey is releasing his own branded Champagne.  New releases reviewed this week include Is 4 Lovers by Death From Above 1979 (25:37) Tonic Immobility by Tomahawk (52:09) OH NO by Xiu Xiu (64:49) the self-titled album by Black Spiders (78:19) and Serj Tankian's Elasticity EP (90:28) This podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy

Iain Lee's live on talkRADIO between 10pm-1am Monday to Fridays but, if for some inexplicable reason you miss the show, you can get the best bits every day right here.Or, to be absolutely certain you don't miss out, subscribe to the podcast on iTunes. Hosted on Acast. See acast.com/privacy for more information.

Emmy winning writer/director Jeff Greenstein (Desperate Housewives, Friends, Will & Grace) returns to the show for a deep dive about one of rock's most iconic bands, The Who, and their strange 1966 LP 'A Quick One'. We talk about how the album was a transition from the band's R&B beginnings to their concept album period, the influence of the Who's unconventional managers Lambert & Stamp, why every member of the band wrote songs on this album, the mini-opera title track, the relationship between Daltrey and Townshend and how Jeff almost had the Who appear in a TV show he wrote. My Favorite Album is a podcast unpacking the great works of pop music. Each episode features a different songwriter or musician discussing their favorite album of all time - their history with it, the making of the album, individual songs and the album's influence on their own music.Jeremy Dylan is a filmmaker, journalist and photographer from Sydney, Australia who has worked in the music industry since 2007. He directed the the feature music documentary Jim Lauderdale: The King of Broken Hearts (out now!) and the feature film Benjamin Sniddlegrass and the Cauldron of Penguins, in addition to many commercials and music videos. If you've got any feedback or suggestions, drop us a line at myfavoritealbumpodcast@gmail.com.