Podcast appearances and mentions of dave gilmour

In this episode of the Kate Bush Fan Podcast, Seán introduces Darrell's chat with Pat Martin, bass guitarist with British band Unicorn. Because of his close association with Dave Gilmour of Pink Floyd, he was asked to play for the young Cathy Bush's first ever recording at the age of fifteen in 1973. Pat can be heard on ‘Passing Through Air' from this session which was released as a B-side to ‘Army Dreamers' in 1980. The late, Ricky Hopper is also discussed. It was through him that Kate's music was heard in the first place, championing her relentlessly. We get to hear how Pat was invited to this session at Gilmour's house, and his fond remembrances of the young and shy Cathy. He knew there was something very special and that here was an artist, sure and confident about her craft. We also get to hear wonderful stories about Pat's involvement with Unicorn, and the amazing artists they worked with, including Patti Smith, Fleetwood Mac and Linda Rondstadt among many otters. Unicorn's song 'Ooh Mother' was recently played in the USA TV drama ‘Paradise'. It has resulted in the song being streamed 115k times on Spotify. It's worth a listen.

Welcome to the new video edition of the show. Mention the name Chris Slade and people automatically think of AC/DC "The Razors Edge" and Thunderstruck" those incredible performances at Monsters of Rock Donnington and the biggest outdoor festival ever held in Moscow. There is though so much more to Chris's life in music from Manfred Mann's Earth Band , Frankie Miller, Uriah Heep, Gary Numan, Dave Gilmour , The Firm Gary Moore and that was all before we get to AC/DC. Chris joined me to look back at his life in music and we look back across 7 decades in the business he is great company has many tales to tell.

Can you believe another year has gone by? We can't! Who would have ever thought 9 years The Hustle would become what it has. As usual, we always celebrate this day with a very special guest and this year is no different. This week we welcome the wonderful Nick Laird-Clowes of the Dream Academy! The band snuck up on everyone in 1985 with the seminal and wholly unique "Life in a Northern Town". Those who were there will never forget it. They followed that up with two more equally excellent albums before calling it quits, but Nick has never sat still. After forging a friendship with Dave Gilmour, he's collaborated with him on many projects and continues to compose his own music. They recently released a fantastic 7-disc box set called Religion, Revolution and Railways that has everything you could ever want. Nick's enthusiasm will burst through your speakers! www.nicklairdclowes.com www.patreon.com/thehustlepod

Bagawire is the new band to look out for. Its band members are Steve Overland and Tony Remy, both legends in the world of music. Steve Overland is a singer, songwriter & guitarist who has headlined all over Europe and America. He is best known as FM's lead singer and for whom he's written 20 albums. Steve's been voted one of the top 10 rock singers of all time and in Europe he is known simply as The Voice. Tony Remy is one of the world's greatest and most versatile guitarists. He has been sought after by rock and pop music icons including Annie Lennox, Simply Red, Gary Barlow, Jack Bruce, Craig David, Glenn Hughes and from the Jazz, Funk and Soul world, he's played with Herbie Hancock, Pee Wee Ellis, The (Jazz) Crusaders, Matt Bianco, Incognito and many more. Sonia Jones, their manager, is one of the top backing vocalists worldwide & has sung, recorded and toured with bands including The Who, Rolling Stones, Dave Gilmour, Donna Summer, Spandau Ballet and Monty Python. I am lucky enough to sing with them with the band The Staks.  

The Brian's celebrate their huge win of the previous year, that is, predicting the road toll and other tricky elements. The Suzuki Jimny takes the top gong for most death related accidents while the name Kevin is the outright winner in the most deaths category. The truth only known on the northside of Brisbanium is unleashed and Brian let's the world know that Ma Ling has been awarded best Asian restaurant and Bathhouse and personally taken the gong for her Fellatio skills. Both Brian's endorse the award wholeheartedly and love her technique.The Herrings will shortly start Poocasting from the Dark side of the Moon. With encouragement from Dave Gilmour, the Brian's will be the first human type things to drop a shit on the moon as well. Buzz Aldrin has encouraged the Brian's and sees a Nobel Prize for Stool prowess heading into the Siamese Herring Experiment's trophy cabinet. All this and a moron this week's shopping list.

Roger Waters, Dave Gilmour and Nick Mason go on the record about:Syd BarrettDark Side Of The MoonWish You Were HereThe WallThe Final CutFeudsLive 8

Sign up to our newsletter and never miss a release! | Visit our website My guest today is Richard Lissack who is a nationally and internationally recognised barrister and is one of the handful of practitioners listed as a “Star of the Bar”. Richard talks about his highly unusual route to becoming one of the top barristers in the UK, his pro-bono work for Jack Alderman, who was the longest-serving death row prisoner in the United States, The Bristol Royal Infirmary Heart Scandal, why you should never pre-judge people's innocence or guilt, tips for becoming a barrister, words of wisdom on living life and how Kate Bush was spotted by Dave Gilmour – all told with great humour, insight and candour. Related Links and reading Richard Lissack National Bereavement Partnership Links to the Jack Alderman Case  Links to The Bristol Heart Scandal 

Episode one hundred and fifty-seven of A History of Rock Music in Five Hundred Songs looks at “See Emily Play", the birth of the UK underground, and the career of Roger Barrett, known as Syd. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-five-minute bonus episode available, on "First Girl I Loved" by the Incredible String Band. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this time, due to the number of Pink Floyd songs. I referred to two biographies of Barrett in this episode -- A Very Irregular Head by Rob Chapman is the one I would recommend, and the one whose narrative I have largely followed. Some of the information has been superseded by newer discoveries, but Chapman is almost unique in people writing about Barrett in that he actually seems to care about the facts and try to get things right rather than make up something more interesting. Crazy Diamond by Mike Watkinson and Pete Anderson is much less reliable, but does have quite a few interview quotes that aren't duplicated by Chapman. Information about Joe Boyd comes from Boyd's book White Bicycles. In this and future episodes on Pink Floyd I'm also relying on Nick Mason's Inside Out: A Personal History of Pink Floyd and Pink Floyd: All the Songs by Jean-Michel Guesdon and Philippe Margotin. The compilation Relics contains many of the most important tracks from Barrett's time with Pink Floyd, while Piper at the Gates of Dawn is his one full album with them. Those who want a fuller history of his time with the group will want to get Piper and also the box set Cambridge St/ation 1965-1967. Barrett only released two solo albums during his career. They're available as a bundle here. Completists will also want the rarities and outtakes collection Opel.  ERRATA: I talk about “Interstellar Overdrive” as if Barrett wrote it solo. The song is credited to all four members, but it was Barrett who came up with the riff I talk about. And annoyingly, given the lengths I went to to deal correctly with Barrett's name, I repeatedly refer to "Dave" Gilmour, when Gilmour prefers David. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A note before I begin -- this episode deals with drug use and mental illness, so anyone who might be upset by those subjects might want to skip this one. But also, there's a rather unique problem in how I deal with the name of the main artist in the story today. The man everyone knows as Syd Barrett was born Roger Barrett, used that name with his family for his whole life, and in later years very strongly disliked being called "Syd", yet everyone other than his family called him that at all times until he left the music industry, and that's the name that appears on record labels, including his solo albums. I don't believe it's right to refer to people by names they choose not to go by themselves, but the name Barrett went by throughout his brief period in the public eye was different from the one he went by later, and by all accounts he was actually distressed by its use in later years. So what I'm going to do in this episode is refer to him as "Roger Barrett" when a full name is necessary for disambiguation or just "Barrett" otherwise, but I'll leave any quotes from other people referring to "Syd" as they were originally phrased. In future episodes on Pink Floyd, I'll refer to him just as Barrett, but in episodes where I discuss his influence on other artists, I will probably have to use "Syd Barrett" because otherwise people who haven't listened to this episode won't know what on Earth I'm talking about. Anyway, on with the show. “It's gone!” sighed the Rat, sinking back in his seat again. “So beautiful and strange and new. Since it was to end so soon, I almost wish I had never heard it. For it has roused a longing in me that is pain, and nothing seems worth while but just to hear that sound once more and go on listening to it for ever. No! There it is again!” he cried, alert once more. Entranced, he was silent for a long space, spellbound. “Now it passes on and I begin to lose it,” he said presently. “O Mole! the beauty of it! The merry bubble and joy, the thin, clear, happy call of the distant piping! Such music I never dreamed of, and the call in it is stronger even than the music is sweet! Row on, Mole, row! For the music and the call must be for us.” That's a quote from a chapter titled "The Piper at the Gates of Dawn" from the classic children's book The Wind in the Willows -- a book which for most of its length is a fairly straightforward story about anthropomorphic animals having jovial adventures, but which in that one chapter has Rat and Mole suddenly encounter the Great God Pan and have a hallucinatory, transcendental experience caused by his music, one so extreme it's wiped from their minds, as they simply cannot process it. The book, and the chapter, was a favourite of Roger Barrett, a young child born in Cambridge in 1946. Barrett came from an intellectual but not especially bookish family. His father, Dr. Arthur Barrett, was a pathologist -- there's a room in Addenbrooke's Hospital named after him -- but he was also an avid watercolour painter, a world-leading authority on fungi, and a member of the Cambridge Philharmonic Society who was apparently an extraordinarily good singer; while his mother Winifred was a stay-at-home mother who was nonetheless very active in the community, organising a local Girl Guide troupe. They never particularly encouraged their family to read, but young Roger did particularly enjoy the more pastoral end of the children's literature of the time. As well as the Wind in the Willows he also loved Alice in Wonderland, and the Little Grey Men books -- a series of stories about tiny gnomes and their adventures in the countryside. But his two big passions were music and painting. He got his first ukulele at age eleven, and by the time his father died, just before Roger's sixteenth birthday, he had graduated to playing a full-sized guitar. At the time his musical tastes were largely the same as those of any other British teenager -- he liked Chubby Checker, for example -- though he did have a tendency to prefer the quirkier end of things, and some of the first songs he tried to play on the guitar were those of Joe Brown: [Excerpt: Joe Brown, "I'm Henry VIII I Am"] Barrett grew up in Cambridge, and for those who don't know it, Cambridge is an incubator of a very particular kind of eccentricity. The university tends to attract rather unworldly intellectual overachievers to the city -- people who might not be able to survive in many other situations but who can thrive in that one -- and every description of Barrett's father suggests he was such a person -- Barrett's sister Rosemary has said that she believes that most of the family were autistic, though whether this is a belief based on popular media portrayals or a deeper understanding I don't know. But certainly Cambridge is full of eccentric people with remarkable achievements, and such people tend to have children with a certain type of personality, who try simultaneously to live up to and rebel against expectations of greatness that come from having parents who are regarded as great, and to do so with rather less awareness of social norms than the typical rebel has. In the case of Roger Barrett, he, like so many others of his generation, was encouraged to go into the sciences -- as indeed his father had, both in his career as a pathologist and in his avocation as a mycologist. The fifties and sixties were a time, much like today, when what we now refer to as the STEM subjects were regarded as new and exciting and modern. But rather than following in his father's professional footsteps, Roger Barrett instead followed his hobbies. Dr. Barrett was a painter and musician in his spare time, and Roger was to turn to those things to earn his living. For much of his teens, it seemed that art would be the direction he would go in. He was, everyone agrees, a hugely talented painter, and he was particularly noted for his mastery of colours. But he was also becoming more and more interested in R&B music, especially the music of Bo Diddley, who became his new biggest influence: [Excerpt: Bo Diddley, "Who Do You Love?"] He would often spend hours with his friend Dave Gilmour, a much more advanced guitarist, trying to learn blues riffs. By this point Barrett had already received the nickname "Syd". Depending on which story you believe, he either got it when he started attending a jazz club where an elderly jazzer named Sid Barrett played, and the people were amused that their youngest attendee, like one of the oldest, was called Barrett; or, more plausibly, he turned up to a Scout meeting once wearing a flat cap rather than the normal scout beret, and he got nicknamed "Sid" because it made him look working-class and "Sid" was a working-class sort of name. In 1962, by the time he was sixteen, Barrett joined a short-lived group called Geoff Mott and the Mottoes, on rhythm guitar. The group's lead singer, Geoff Mottlow, would go on to join a band called the Boston Crabs who would have a minor hit in 1965 with a version of the Coasters song "Down in Mexico": [Excerpt: The Boston Crabs, "Down in Mexico"] The bass player from the Mottoes, Tony Sainty, and the drummer Clive Welham, would go on to form another band, The Jokers Wild, with Barrett's friend Dave Gilmour. Barrett also briefly joined another band, Those Without, but his time with them was similarly brief. Some sources -- though ones I consider generally less reliable -- say that the Mottoes' bass player wasn't Tony Sainty, but was Roger Waters, the son of one of Barrett's teachers, and that one of the reasons the band split up was that Waters had moved down to London to study architecture. I don't think that's the case, but it's definitely true that Barrett knew Waters, and when he moved to London himself the next year to go to Camberwell Art College, he moved into a house where Waters was already living. Two previous tenants at the same house, Nick Mason and Richard Wright, had formed a loose band with Waters and various other amateur musicians like Keith Noble, Shelagh Noble, and Clive Metcalfe. That band was sometimes known as the Screaming Abdabs, The Megadeaths, or The Tea Set -- the latter as a sly reference to slang terms for cannabis -- but was mostly known at first as Sigma 6, named after a manifesto by the novelist Alexander Trocchi for a kind of spontaneous university. They were also sometimes known as Leonard's Lodgers, after the landlord of the home that Barrett was moving into, Mike Leonard, who would occasionally sit in on organ and would later, as the band became more of a coherent unit, act as a roadie and put on light shows behind them -- Leonard was himself very interested in avant-garde and experimental art, and it was his idea to play around with the group's lighting. By the time Barrett moved in with Waters in 1964, the group had settled on the Tea Set name, and consisted of Waters on bass, Mason on drums, Wright on keyboards, singer Chris Dennis, and guitarist Rado Klose. Of the group, Klose was the only one who was a skilled musician -- he was a very good jazz guitarist, while the other members were barely adequate. By this time Barrett's musical interests were expanding to include folk music -- his girlfriend at the time talked later about him taking her to see Bob Dylan on his first UK tour and thinking "My first reaction was seeing all these people like Syd. It was almost as if every town had sent one Syd Barrett there. It was my first time seeing people like him." But the music he was most into was the blues. And as the Tea Set were turning into a blues band, he joined them. He even had a name for the new band that would make them more bluesy. He'd read the back of a record cover which had named two extremely obscure blues musicians -- musicians he may never even have heard. Pink Anderson: [Excerpt: Pink Anderson, "Boll Weevil"] And Floyd Council: [Excerpt: Floyd Council, "Runaway Man Blues"] Barrett suggested that they put together the names of the two bluesmen, and presumably because "Anderson Council" didn't have quite the right ring, they went for The Pink Floyd -- though for a while yet they would sometimes still perform as The Tea Set, and they were sometimes also called The Pink Floyd Sound. Dennis left soon after Barrett joined, and the new five-piece Pink Floyd Sound started trying to get more gigs. They auditioned for Ready Steady Go! and were turned down, but did get some decent support slots, including for a band called the Tridents: [Excerpt: The Tridents, "Tiger in Your Tank"] The members of the group were particularly impressed by the Tridents' guitarist and the way he altered his sound using feedback -- Barrett even sent a letter to his girlfriend with a drawing of the guitarist, one Jeff Beck, raving about how good he was. At this point, the group were mostly performing cover versions, but they did have a handful of originals, and it was these they recorded in their first demo sessions in late 1964 and early 1965. They included "Walk With Me Sydney", a song written by Roger Waters as a parody of "Work With Me Annie" and "Dance With Me Henry" -- and, given the lyrics, possibly also Hank Ballard's follow-up "Henry's Got Flat Feet (Can't Dance No More) and featuring Rick Wright's then-wife Juliette Gale as Etta James to Barrett's Richard Berry: [Excerpt: The Tea Set, "Walk With Me Sydney"] And four songs by Barrett, including one called "Double-O Bo" which was a Bo Diddley rip-off, and "Butterfly", the most interesting of these early recordings: [Excerpt: The Tea Set, "Butterfly"] At this point, Barrett was very unsure of his own vocal abilities, and wrote a letter to his girlfriend saying "Emo says why don't I give up 'cos it sounds horrible, and I would but I can't get Fred to join because he's got a group (p'raps you knew!) so I still have to sing." "Fred" was a nickname for his old friend Dave Gilmour, who was playing in his own band, Joker's Wild, at this point. Summer 1965 saw two important events in the life of the group. The first was that Barrett took LSD for the first time. The rest of the group weren't interested in trying it, and would indeed generally be one of the more sober bands in the rock business, despite the reputation their music got. The other members would for the most part try acid once or twice, around late 1966, but generally steer clear of it. Barrett, by contrast, took it on a very regular basis, and it would influence all the work he did from that point on. The other event was that Rado Klose left the group. Klose was the only really proficient musician in the group, but he had very different tastes to the other members, preferring to play jazz to R&B and pop, and he was also falling behind in his university studies, and decided to put that ahead of remaining in the band. This meant that the group members had to radically rethink the way they were making music. They couldn't rely on instrumental proficiency, so they had to rely on ideas. One of the things they started to do was use echo. They got primitive echo devices and put both Barrett's guitar and Wright's keyboard through them, allowing them to create new sounds that hadn't been heard on stage before. But they were still mostly doing the same Slim Harpo and Bo Diddley numbers everyone else was doing, and weren't able to be particularly interesting while playing them. But for a while they carried on doing the normal gigs, like a birthday party they played in late 1965, where on the same bill was a young American folk singer named Paul Simon, and Joker's Wild, the band Dave Gilmour was in, who backed Simon on a version of "Johnny B. Goode". A couple of weeks after that party, Joker's Wild went into the studio to record their only privately-pressed five-song record, of them performing recent hits: [Excerpt: Joker's Wild, "Walk Like a Man"] But The Pink Floyd Sound weren't as musically tight as Joker's Wild, and they couldn't make a living as a cover band even if they wanted to. They had to do something different. Inspiration then came from a very unexpected source. I mentioned earlier that one of the names the group had been performing under had been inspired by a manifesto for a spontaneous university by the writer Alexander Trocchi. Trocchi's ideas had actually been put into practice by an organisation calling itself the London Free School, based in Notting Hill. The London Free School was an interesting mixture of people from what was then known as the New Left, but who were already rapidly aging, the people who had been the cornerstone of radical campaigning in the late fifties and early sixties, who had run the Aldermaston marches against nuclear weapons and so on, and a new breed of countercultural people who in a year or two would be defined as hippies but at the time were not so easy to pigeonhole. These people were mostly politically radical but very privileged people -- one of the founder members of the London Free School was Peter Jenner, who was the son of a vicar and the grandson of a Labour MP -- and they were trying to put their radical ideas into practice. The London Free School was meant to be a collective of people who would help each other and themselves, and who would educate each other. You'd go to the collective wanting to learn how to do something, whether that's how to improve the housing in your area or navigate some particularly difficult piece of bureaucracy, or how to play a musical instrument, and someone who had that skill would teach you how to do it, while you hopefully taught them something else of value. The London Free School, like all such utopian schemes, ended up falling apart, but it had a wider cultural impact than most such schemes. Britain's first underground newspaper, the International Times, was put together by people involved in the Free School, and the annual Notting Hill Carnival, which is now one of the biggest outdoor events in Britain every year with a million attendees, came from the merger of outdoor events organised by the Free School with older community events. A group of musicians called AMM was associated with many of the people involved in the Free School. AMM performed totally improvised music, with no structure and no normal sense of melody and harmony: [Excerpt: AMM, "What Is There In Uselesness To Cause You Distress?"] Keith Rowe, the guitarist in AMM, wanted to find his own technique uninfluenced by American jazz guitarists, and thought of that in terms that appealed very strongly to the painterly Barrett, saying "For the Americans to develop an American school of painting, they somehow had to ditch or lose European easel painting techniques. They had to make a break with the past. What did that possibly mean if you were a jazz guitar player? For me, symbolically, it was Pollock laying the canvas on the floor, which immediately abandons European easel technique. I could see that by laying the canvas down, it became inappropriate to apply easel techniques. I thought if I did that with a guitar, I would just lose all those techniques, because they would be physically impossible to do." Rowe's technique-free technique inspired Barrett to make similar noises with his guitar, and to think less in terms of melody and harmony than pure sound. AMM's first record came out in 1966. Four of the Free School people decided to put together their own record label, DNA, and they got an agreement with Elektra Records to distribute its first release -- Joe Boyd, the head of Elektra in the UK, was another London Free School member, and someone who had plenty of experience with disruptive art already, having been on the sound engineering team at the Newport Folk Festival when Dylan went electric. AMM went into the studio and recorded AMMMusic: [Excerpt: AMM, "What Is There In Uselesness To Cause You Distress?"] After that came out, though, Peter Jenner, one of the people who'd started the label, came to a realisation. He said later "We'd made this one record with AMM. Great record, very seminal, seriously avant-garde, but I'd started adding up and I'd worked out that the deal we had, we got two percent of retail, out of which we, the label, had to pay for recording costs and pay ourselves. I came to the conclusion that we were going to have to sell a hell of a lot of records just to pay the recording costs, let alone pay ourselves any money and build a label, so I realised we had to have a pop band because pop bands sold a lot of records. It was as simple as that and I was as naive as that." Jenner abandoned DNA records for the moment, and he and his friend Andrew King decided they were going to become pop managers. and they found The Pink Floyd Sound playing at an event at the Marquee, one of a series of events that were variously known as Spontaneous Underground and The Trip. Other participants in those events included Soft Machine; Mose Allison; Donovan, performing improvised songs backed by sitar players; Graham Bond; a performer who played Bach pieces while backed by African drummers; and The Poison Bellows, a poetry duo consisting of Spike Hawkins and Johnny Byrne, who may of all of these performers be the one who other than Pink Floyd themselves has had the most cultural impact in the UK -- after writing the exploitation novel Groupie and co-writing a film adaptation of Spike Milligan's war memoirs, Byrne became a TV screenwriter, writing many episodes of Space: 1999 and Doctor Who before creating the long-running TV series Heartbeat. Jenner and King decided they wanted to sign The Pink Floyd Sound and make records with them, and the group agreed -- but only after their summer holidays. They were all still students, and so they dispersed during the summer. Waters and Wright went on holiday to Greece, where they tried acid for the first of only a small number of occasions and were unimpressed, while Mason went on a trip round America by Greyhound bus. Barrett, meanwhile, stayed behind, and started writing more songs, encouraged by Jenner, who insisted that the band needed to stop relying on blues covers and come up with their own material, and who saw Barrett as the focus of the group. Jenner later described them as "Four not terribly competent musicians who managed between them to create something that was extraordinary. Syd was the main creative drive behind the band - he was the singer and lead guitarist. Roger couldn't tune his bass because he was tone deaf, it had to be tuned by Rick. Rick could write a bit of a tune and Roger could knock out a couple of words if necessary. 'Set the Controls for the Heart of the Sun' was the first song Roger ever wrote, and he only did it because Syd encouraged everyone to write. Syd was very hesitant about his writing, but when he produced these great songs everyone else thought 'Well, it must be easy'" Of course, we know this isn't quite true -- Waters had written "Walk with me Sydney" -- but it is definitely the case that everyone involved thought of Barrett as the main creative force in the group, and that he was the one that Jenner was encouraging to write new material. After the summer holidays, the group reconvened, and one of their first actions was to play a benefit for the London Free School. Jenner said later "Andrew King and myself were both vicars' sons, and we knew that when you want to raise money for the parish you have to have a social. So in a very old-fashioned way we said 'let's put on a social'. Like in the Just William books, like a whist drive. We thought 'You can't have a whist drive. That's not cool. Let's have a band. That would be cool.' And the only band we knew was the band I was starting to get involved with." After a couple of these events went well, Joe Boyd suggested that they make those events a regular club night, and the UFO Club was born. Jenner and King started working on the light shows for the group, and then bringing in other people, and the light show became an integral part of the group's mystique -- rather than standing in a spotlight as other groups would, they worked in shadows, with distorted kaleidoscopic lights playing on them, distancing themselves from the audience. The highlight of their sets was a long piece called "Interstellar Overdrive", and this became one of the group's first professional recordings, when they went into the studio with Joe Boyd to record it for the soundtrack of a film titled Tonite Let's All Make Love in London. There are conflicting stories about the inspiration for the main riff for "Interstellar Overdrive". One apparent source is the riff from Love's version of the Bacharach and David song "My Little Red Book". Depending on who you ask, either Barrett was obsessed with Love's first album and copied the riff, or Peter Jenner tried to hum him the riff and Barrett copied what Jenner was humming: [Excerpt: Love, "My Little Red Book"] More prosaically, Roger Waters has always claimed that the main inspiration was from "Old Ned", Ron Grainer's theme tune for the sitcom Steptoe and Son (which for American listeners was remade over there as Sanford and Son): [Excerpt: Ron Grainer, "Old Ned"] Of course it's entirely possible, and even likely, that Barrett was inspired by both, and if so that would neatly sum up the whole range of Pink Floyd's influences at this point. "My Little Red Book" was a cover by an American garage-psych/folk-rock band of a hit by Manfred Mann, a group who were best known for pop singles but were also serious blues and jazz musicians, while Steptoe and Son was a whimsical but dark and very English sitcom about a way of life that was slowly disappearing. And you can definitely hear both influences in the main riff of the track they recorded with Boyd: [Excerpt: The Pink Floyd, "Interstellar Overdrive"] "Interstellar Overdrive" was one of two types of song that The Pink Floyd were performing at this time -- a long, extended, instrumental psychedelic excuse for freaky sounds, inspired by things like the second disc of Freak Out! by the Mothers of Invention. When they went into the studio again with Boyd later in January 1967, to record what they hoped would be their first single, they recorded two of the other kind of songs -- whimsical story songs inspired equally by the incidents of everyday life and by children's literature. What became the B-side, "Candy and a Currant Bun", was based around the riff from "Smokestack Lightnin'" by Howlin' Wolf: [Excerpt: Howlin' Wolf, "Smokestack Lightnin'"] That song had become a favourite on the British blues scene, and was thus the inspiration for many songs of the type that get called "quintessentially English". Ray Davies, who was in many ways the major songwriter at this time who was closest to Barrett stylistically, would a year later use the riff for the Kinks song "Last of the Steam-Powered Trains", but in this case Barrett had originally written a song titled "Let's Roll Another One", about sexual longing and cannabis. The lyrics were hastily rewritten in the studio to remove the controversial drug references-- and supposedly this caused some conflict between Barrett and Waters, with Waters pushing for the change, while Barrett argued against it, though like many of the stories from this period this sounds like the kind of thing that gets said by people wanting to push particular images of both men. Either way, the lyric was changed to be about sweet treats rather than drugs, though the lascivious elements remained in. And some people even argue that there was another lyric change -- where Barrett sings "walk with me", there's a slight "f" sound in his vocal. As someone who does a lot of microphone work myself, it sounds to me like just one of those things that happens while recording, but a lot of people are very insistent that Barrett is deliberately singing a different word altogether: [Excerpt: The Pink Floyd, "Candy and a Currant Bun"] The A-side, meanwhile, was inspired by real life. Both Barrett and Waters had mothers who used  to take in female lodgers, and both had regularly had their lodgers' underwear stolen from washing lines. While they didn't know anything else about the thief, he became in Barrett's imagination a man who liked to dress up in the clothing after he stole it: [Excerpt: The Pink Floyd, "Arnold Layne"] After recording the two tracks with Joe Boyd, the natural assumption was that the record would be put out on Elektra, the label which Boyd worked for in the UK, but Jac Holzman, the head of Elektra records, wasn't interested, and so a bidding war began for the single, as by this point the group were the hottest thing in London. For a while it looked like they were going to sign to Track Records, the label owned by the Who's management, but in the end EMI won out. Right as they signed, the News of the World was doing a whole series of articles about pop stars and their drug use, and the last of the articles talked about The Pink Floyd and their association with LSD, even though they hadn't released a record yet. EMI had to put out a press release saying that the group were not psychedelic, insisting"The Pink Floyd are not trying to create hallucinatory effects in their audience." It was only after getting signed that the group became full-time professionals. Waters had by this point graduated from university and was working as a trainee architect, and quit his job to become a pop star. Wright dropped out of university, but Mason and Barrett took sabbaticals. Barrett in particular seems to have seen this very much as a temporary thing, talking about how he was making so much money it would be foolish not to take the opportunity while it lasted, but how he was going to resume his studies in a year. "Arnold Layne" made the top twenty, and it would have gone higher had the pirate radio station Radio London, at the time the single most popular radio station when it came to pop music, not banned the track because of its sexual content. However, it would be the only single Joe Boyd would work on with the group. EMI insisted on only using in-house producers, and so while Joe Boyd would go on to a great career as a producer, and we'll see him again, he was replaced with Norman Smith. Smith had been the chief engineer on the Beatles records up to Rubber Soul, after which he'd been promoted to being a producer in his own right, and Geoff Emerick had taken over. He also had aspirations to pop stardom himself, and a few years later would have a transatlantic hit with "Oh Babe, What Would You Say?" under the name Hurricane Smith: [Excerpt: Hurricane Smith, "Oh Babe, What Would You Say?"] Smith's production of the group would prove controversial among some of the group's longtime fans, who thought that he did too much to curtail their more experimental side, as he would try to get the group to record songs that were more structured and more commercial, and would cut down their improvisations into a more manageable form. Others, notably Peter Jenner, thought that Smith was the perfect producer for the group. They started work on their first album, which was mostly recorded in studio three of Abbey Road, while the Beatles were just finishing off work on Sgt Pepper in studio two. The album was titled The Piper at the Gates of Dawn, after the chapter from The Wind in the Willows, and other than a few extended instrumental showcases, most of the album was made up of short, whimsical, songs by Barrett that were strongly infused with imagery from late-Victorian and Edwardian children's books. This is one of the big differences between the British and American psychedelic scenes. Both the British and American undergrounds were made up of the same type of people -- a mixture of older radical activists, often Communists, who had come up in Britain in the Ban the Bomb campaigns and in America in the Civil Rights movement; and younger people, usually middle-class students with radical politics from a privileged background, who were into experimenting with drugs and alternative lifestyles. But the  social situations were different. In America, the younger members of the underground were angry and scared, as their principal interest was in stopping the war in Vietnam in which so many of them were being killed. And the music of the older generation of the underground, the Civil Rights activists, was shot through with influence from the blues, gospel, and American folk music, with a strong Black influence. So that's what the American psychedelic groups played, for the most part, very bluesy, very angry, music, By contrast, the British younger generation of hippies were not being drafted to go to war, and mostly had little to complain about, other than a feeling of being stifled by their parents' generation's expectations. And while most of them were influenced by the blues, that wasn't the music that had been popular among the older underground people, who had either been listening to experimental European art music or had been influenced by Ewan MacColl and his associates into listening instead to traditional old English ballads, things like the story of Tam Lin or Thomas the Rhymer, where someone is spirited away to the land of the fairies: [Excerpt: Ewan MacColl, "Thomas the Rhymer"] As a result, most British musicians, when exposed to the culture of the underground over here, created music that looked back to an idealised childhood of their grandparents' generation, songs that were nostalgic for a past just before the one they could remember (as opposed to their own childhoods, which had taken place in war or the immediate aftermath of it, dominated by poverty, rationing, and bomb sites (though of course Barrett's childhood in Cambridge had been far closer to this mythic idyll than those of his contemporaries from Liverpool, Birmingham, Newcastle, or London). So almost every British musician who was making music that might be called psychedelic was writing songs that were influenced both by experimental art music and by pre-War popular song, and which conjured up images from older children's books. Most notably of course at this point the Beatles were recording songs like "Strawberry Fields Forever" and "Penny Lane" about places from their childhood, and taking lyrical inspiration from Victorian circus posters and the works of Lewis Carroll, but Barrett was similarly inspired. One of the books he loved most as a child was "The Little Grey Men" by BB, a penname for Denys Watkins-Pitchford. The book told the story of three gnomes,  Baldmoney, Sneezewort, and Dodder, and their adventures on a boat when the fourth member of their little group, Cloudberry, who's a bit of a rebellious loner and more adventurous than the other three, goes exploring on his own and they have to go off and find him. Barrett's song "The Gnome" doesn't use any precise details from the book, but its combination of whimsy about a gnome named Grimble-gromble and a reverence for nature is very much in the mould of BB's work: [Excerpt: The Pink Floyd, "The Gnome"] Another huge influence on Barrett was Hillaire Belloc. Belloc is someone who is not read much any more, as sadly he is mostly known for the intense antisemitism in some of his writing, which stains it just as so much of early twentieth-century literature is stained, but he was one of the most influential writers of the early part of the twentieth century. Like his friend GK Chesterton he was simultaneously an author of Catholic apologia and a political campaigner -- he was a Liberal MP for a few years, and a strong advocate of an economic system known as Distributism, and had a peculiar mixture of very progressive and extremely reactionary ideas which resonated with a lot of the atmosphere in the British underground of the time, even though he would likely have profoundly disapproved of them. But Belloc wrote in a variety of styles, including poems for children, which are the works of his that have aged the best, and were a huge influence on later children's writers like Roald Dahl with their gleeful comic cruelty. Barrett's "Matilda Mother" had lyrics that were, other than the chorus where Barrett begs his mother to read him more of the story, taken verbatim from three poems from Belloc's Cautionary Tales for Children -- "Jim, Who Ran away from his Nurse, and was Eaten by a Lion", "Henry King (Who chewed bits of String, and was cut off in Dreadful Agonies)", and "Matilda (Who Told Lies and Was Burned to Death)" -- the titles of those give some idea of the kind of thing Belloc would write: [Excerpt: The Pink Floyd, "Matilda Mother (early version)"] Sadly for Barrett, Belloc's estate refused to allow permission for his poems to be used, and so he had to rework the lyrics, writing new fairy-tale lyrics for the finished version. Other sources of inspiration for lyrics came from books like the I Ching, which Barrett used for "Chapter 24", having bought a copy from the Indica Bookshop, the same place that John Lennon had bought The Psychedelic Experience, and there's been some suggestion that he was deliberately trying to copy Lennon in taking lyrical ideas from a book of ancient mystic wisdom. During the recording of Piper at the Gates of Dawn, the group continued playing live. As they'd now had a hit single, most of their performances were at Top Rank Ballrooms and other such venues around the country, on bills with other top chart groups, playing to audiences who seemed unimpressed or actively hostile. They also, though made two important appearances. The more well-known of these was at the 14-Hour Technicolor Dream, a benefit for International Times magazine with people including Yoko Ono, their future collaborator Ron Geesin, John's Children, Soft Machine, and The Move also performing. The 14-Hour Technicolor Dream is now largely regarded as *the* pivotal moment in the development of the UK counterculture, though even at the time some participants noted that there seemed to be a rift developing between the performers, who were often fairly straightforward beer-drinking ambitious young men who had latched on to kaftans and talk about enlightenment as the latest gimmick they could use to get ahead in the industry, and the audience who seemed to be true believers. Their other major performance was at an event called "Games for May -- Space Age Relaxation for the Climax of Spring", where they were able to do a full long set in a concert space with a quadrophonic sound system, rather than performing in the utterly sub-par environments most pop bands had to at this point. They came up with a new song written for the event, which became their second single, "See Emily Play". [Excerpt: The Pink Floyd, "See Emily Play"] Emily was apparently always a favourite name of Barrett's, and he even talked with one girlfriend about the possibility of naming their first child Emily, but the Emily of the song seems to have had a specific inspiration. One of the youngest attendees at the London Free School was an actual schoolgirl, Emily Young, who would go along to their events with her schoolfriend Anjelica Huston (who later became a well-known film star). Young is now a world-renowned artist, regarded as arguably Britain's greatest living stone sculptor, but at the time she was very like the other people at the London Free School -- she was from a very privileged background, her father was Wayland Young, 2nd Baron Kennet, a Labour Peer and minister who later joined the SDP. But being younger than the rest of the attendees, and still a little naive, she was still trying to find her own personality, and would take on attributes and attitudes of other people without fully understanding them,  hence the song's opening lines, "Emily tries, but misunderstands/She's often inclined to borrow somebody's dream til tomorrow". The song gets a little darker towards the end though, and the image in the last verse, where she puts on a gown and floats down a river forever *could* be a gentle, pastoral, image of someone going on a boat ride, but it also could be a reference to two rather darker sources. Barrett was known to pick up imagery both from classic literature and from Arthurian legend, and so the lines inevitably conjure up both the idea of Ophelia drowning herself and of the Lady of Shallot in Tennyson's Arthurian poem, who is trapped in a tower but finds a boat, and floats down the river to Camelot but dies before the boat reaches the castle: [Excerpt: The Pink Floyd, "See Emily Play"] The song also evokes very specific memories of Barrett's childhood -- according to Roger Waters, the woods mentioned in the lyrics are meant to be woods in which they had played as children, on the road out of Cambridge towards the Gog and Magog Hills. The song was apparently seven minutes long in its earliest versions, and required a great deal of editing to get down to single length, but it was worth it, as the track made the top ten. And that was where the problems started. There are two different stories told about what happened to Roger Barrett over the next forty years, and both stories are told by people with particular agendas, who want particular versions of him to become the accepted truth. Both stories are, in the extreme versions that have been popularised, utterly incompatible with each other, but both are fairly compatible with the scanty evidence we have. Possibly the truth lies somewhere between them. In one version of the story, around this time Barrett had a total mental breakdown, brought on or exacerbated by his overuse of LSD and Mandrax (a prescription drug consisting of a mixture of the antihistamine diphenhydramine and the sedative methaqualone, which was marketed in the US under the brand-name Quaalude), and that from late summer 1967 on he was unable to lead a normal life, and spent the rest of his life as a burned-out shell. The other version of the story is that Barrett was a little fragile, and did have periods of mental illness, but for the most part was able to function fairly well. In this version of the story, he was neurodivergent, and found celebrity distressing, but more than that he found the whole process of working within commercial restrictions upsetting -- having to appear on TV pop shows and go on package tours was just not something he found himself able to do, but he was responsible for a whole apparatus of people who relied on him and his group for their living. In this telling, he was surrounded by parasites who looked on him as their combination meal-ticket-cum-guru, and was simply not suited for the role and wanted to sabotage it so he could have a private life instead. Either way, *something* seems to have changed in Barrett in a profound way in the early summer of 1967. Joe Boyd talks about meeting him after not having seen him for a few weeks, and all the light being gone from his eyes. The group appeared on Top of the Pops, Britain's top pop TV show, three times to promote "See Emily Play", but by the third time Barrett didn't even pretend to mime along with the single. Towards the end of July, they were meant to record a session for the BBC's Saturday Club radio show, but Barrett walked out of the studio before completing the first song. It's notable that Barrett's non-cooperation or inability to function was very much dependent on circumstance. He was not able to perform for Saturday Club, a mainstream pop show aimed at a mass audience, but gave perfectly good performances on several sessions for John Peel's radio show The Perfumed Garden, a show firmly aimed at Pink Floyd's own underground niche. On the thirty-first of July, three days after the Saturday Club walkout, all the group's performances for the next month were cancelled, due to "nervous exhaustion". But on the eighth of August, they went back into the studio, to record "Scream Thy Last Scream", a song Barrett wrote and which Nick Mason sang: [Excerpt: Pink Floyd, "Scream Thy Last Scream"] That was scheduled as the group's next single, but the record company vetoed it, and it wouldn't see an official release for forty-nine years. Instead they recorded another single, "Apples and Oranges": [Excerpt: Pink Floyd, "Apples and Oranges"] That was the last thing the group released while Barrett was a member. In November 1967 they went on a tour of the US, making appearances on American Bandstand and the Pat Boone Show, as well as playing several gigs. According to legend, Barrett was almost catatonic on the Pat Boone show, though no footage of that appears to be available anywhere -- and the same things were said about their performance on Bandstand, and when that turned up, it turned out Barrett seemed no more uncomfortable miming to their new single than any of the rest of the band, and was no less polite when Dick Clark asked them questions about hamburgers. But on shows on the US tour, Barrett would do things like detune his guitar so it just made clanging sounds, or just play a single note throughout the show. These are, again, things that could be taken in two different ways, and I have no way to judge which is the more correct. On one level, they could be a sign of a chaotic, disordered, mind, someone dealing with severe mental health difficulties. On the other, they're the kind of thing that Barrett was applauded and praised for in the confines of the kind of avant-garde underground audience that would pay to hear AMM or Yoko Ono, the kind of people they'd been performing for less than a year earlier, but which were absolutely not appropriate for a pop group trying to promote their latest hit single. It could be that Barrett was severely unwell, or it could just be that he wanted to be an experimental artist and his bandmates wanted to be pop stars -- and one thing absolutely everyone agrees is that the rest of the group were more ambitious than Barrett was. Whichever was the case, though, something had to give. They cut the US tour short, but immediately started another British package tour, with the Jimi Hendrix Experience, the Move, Amen Corner and the Nice. After that tour they started work on their next album, A Saucerful of Secrets. Where Barrett was the lead singer and principal songwriter on Piper at the Gates of Dawn, he only sings and writes one song on A Saucerful of Secrets, which is otherwise written by Waters and Wright, and only appears at all on two more of the tracks -- by the time it was released he was out of the group. The last song he tried to get the group to record was called "Have You Got it Yet?" and it was only after spending some time rehearsing it that the rest of the band realised that the song was a practical joke on them -- every time they played it, he would change the song around so they would mess up, and pretend they just hadn't learned the song yet. They brought in Barrett's old friend Dave Gilmour, initially to be a fifth member on stage to give the band some stability in their performances, but after five shows with the five-man lineup they decided just not to bother picking Barrett up, but didn't mention he was out of the group, to avoid awkwardness. At the time, Barrett and Rick Wright were flatmates, and Wright would actually lie to Barrett and say he was just going out to buy a packet of cigarettes, and then go and play gigs without him. After a couple of months of this, it was officially announced that Barrett was leaving the group. Jenner and King went with him, convinced that he was the real talent in the group and would have a solo career, and the group carried on with new management. We'll be looking at them more in future episodes. Barrett made a start at recording a solo album in mid-1968, but didn't get very far. Jenner produced those sessions, and later said "It seemed a good idea to go into the studio because I knew he had the songs. And he would sometimes play bits and pieces and you would think 'Oh that's great.' It was a 'he's got a bit of a cold today and it might get better' approach. It wasn't a cold -- and you knew it wasn't a cold -- but I kept thinking if he did the right things he'd come back to join us. He'd gone out and maybe he'd come back. That was always the analogy in my head. I wanted to make it feel friendly for him, and that where we were was a comfortable place and that he could come back and find himself again. I obviously didn't succeed." A handful of tracks from those sessions have since been released, including a version of “Golden Hair”, a setting by Barrett of a poem by James Joyce that he would later revisit: [Excerpt: Syd Barrett, “Golden Hair (first version)”] Eleven months later, he went back into the studio again, this time with producer Malcolm Jones, to record an album that later became The Madcap Laughs, his first solo album. The recording process for the album has been the source of some controversy, as initially Jones was producing the whole album, and they were working in a way that Barrett never worked before. Where previously he had cut backing tracks first and only later overdubbed his vocals, this time he started by recording acoustic guitar and vocals, and then overdubbed on top of that. But after several sessions, Jones was pulled off the album, and Gilmour and Waters were asked to produce the rest of the sessions. This may seem a bit of a callous decision, since Gilmour was the person who had replaced Barrett in his group, but apparently the two of them had remained friends, and indeed Gilmour thought that Barrett had only got better as a songwriter since leaving the band. Where Malcolm Jones had been trying, by his account, to put out something that sounded like a serious, professional, record, Gilmour and Waters seemed to regard what they were doing more as producing a piece of audio verite documentary, including false starts and studio chatter. Jones believed that this put Barrett in a bad light, saying the outtakes "show Syd, at best as out of tune, which he rarely was, and at worst as out of control (which, again, he never was)." Gilmour and Waters, on the other hand, thought that material was necessary to provide some context for why the album wasn't as slick and professional as some might have hoped. The eventual record was a hodge-podge of different styles from different sessions, with bits from the Jenner sessions, the Jones sessions, and the Waters and Gilmour sessions all mixed together, with some tracks just Barrett badly double-tracking himself with an acoustic guitar, while other tracks feature full backing by Soft Machine. However, despite Jones' accusations that the album was more-or-less sabotaged by Gilmour and Waters, the fact remains that the best tracks on the album are the ones Barrett's former bandmates produced, and there are some magnificent moments on there. But it's a disturbing album to listen to, in the same way other albums by people with clear talent but clear mental illness are, like Skip Spence's Oar, Roky Erickson's later work, or the Beach Boys Love You. In each case, the pleasure one gets is a real pleasure from real aesthetic appreciation of the work, but entangled with an awareness that the work would not exist in that form were the creator not suffering. The pleasure doesn't come from the suffering -- these are real artists creating real art, not the kind of outsider art that is really just a modern-day freak-show -- but it's still inextricable from it: [Excerpt: Syd Barrett, "Dark Globe"] The Madcap Laughs did well enough that Barrett got to record a follow-up, titled simply Barrett. This one was recorded over a period of only a handful of months, with Gilmour and Rick Wright producing, and a band consisting of Gilmour, Wright, and drummer Jerry Shirley. The album is generally considered both more consistent and less interesting than The Madcap Laughs, with less really interesting material, though there are some enjoyable moments on it: [Excerpt: Syd Barrett, "Effervescing Elephant"] But the album is a little aimless, and people who knew him at the time seem agreed that that was a reflection of his life. He had nothing he *needed* to be doing -- no  tour dates, no deadlines, no pressure at all, and he had a bit of money from record royalties -- so he just did nothing at all. The one solo gig he ever played, with the band who backed him on Barrett, lasted four songs, and he walked off half-way through the fourth. He moved back to Cambridge for a while in the early seventies, and he tried putting together a new band with Twink, the drummer of the Pink Fairies and Pretty Things, Fred Frith, and Jack Monck, but Frith left after one gig. The other three performed a handful of shows either as "Stars" or as "Barrett, Adler, and Monck", just in the Cambridge area, but soon Barrett got bored again. He moved back to London, and in 1974 he made one final attempt to make a record, going into the studio with Peter Jenner, where he recorded a handful of tracks that were never released. But given that the titles of those tracks were things like "Boogie #1", "Boogie #2", "Slow Boogie", "Fast Boogie", "Chooka-Chooka Chug Chug" and "John Lee Hooker", I suspect we're not missing out on a lost masterpiece. Around this time there was a general resurgence in interest in Barrett, prompted by David Bowie having recorded a version of "See Emily Play" on his covers album Pin-Ups, which came out in late 1973: [Excerpt: David Bowie, "See Emily Play"] At the same time, the journalist Nick Kent wrote a long profile of Barrett, The Cracked Ballad of Syd Barrett, which like Kent's piece on Brian Wilson a year later, managed to be a remarkable piece of writing with a sense of sympathy for its subject and understanding of his music, but also a less-than-accurate piece of journalism which led to a lot of myths and disinformation being propagated. Barrett briefly visited his old bandmates in the studio in 1975 while they were recording the album Wish You Were Here -- some say even during the recording of the song "Shine On, You Crazy Diamond", which was written specifically about Barrett, though Nick Mason claims otherwise -- and they didn't recognise him at first, because by this point he had a shaved head and had put on a great deal of weight. He seemed rather sad, and that was the last time any of them saw him, apart from Roger Waters, who saw him in Harrod's a few years later. That time, as soon as Barrett recognised Waters, he dropped his bag and ran out of the shop. For the next thirty-one years, Barrett made no public appearances. The last time he ever voluntarily spoke to a journalist, other than telling them to go away, was in 1982, just after he'd moved back to Cambridge, when someone doorstopped him and he answered a few questions and posed for a photo before saying "OK! That's enough, this is distressing for me, thank you." He had the reputation for the rest of his life of being a shut-in, a recluse, an acid casualty. His family, on the other hand, have always claimed that while he was never particularly mentally or physically healthy, he wasn't a shut-in, and would go to the pub, meet up with his mother a couple of times a week to go shopping, and chat to the women behind the counter at Sainsbury's and at the pharmacy. He was also apparently very good with children who lived in the neighbourhood. Whatever the truth of his final decades, though, however mentally well or unwell he actually was, one thing is very clear, which is that he was an extremely private man, who did not want attention, and who was greatly distressed by the constant stream of people coming and looking through his letterbox, trying to take photos of him, trying to interview him, and so on. Everyone on his street knew that when people came asking which was Syd Barrett's house, they were meant to say that no-one of that name lived there -- and they were telling the truth. By the time he moved back, he had stopped answering to "Syd" altogether, and according to his sister "He came to hate the name latterly, and what it meant." He did, in 2001, go round to his sister's house to watch a documentary about himself on the TV -- he didn't own a TV himself -- but he didn't enjoy it and his only comment was that the music was too noisy. By this point he never listened to rock music, just to jazz and classical music, usually on the radio. He was financially secure -- Dave Gilmour made sure that when compilations came out they always included some music from Barrett's period in the group so he would receive royalties, even though Gilmour had no contact with him after 1975 -- and he spent most of his time painting -- he would take photos of the paintings when they were completed, and then burn the originals. There are many stories about those last few decades, but given how much he valued his privacy, it wouldn't be right to share them. This is a history of rock music, and 1975 was the last time Roger Keith Barrett ever had anything to do with rock music voluntarily. He died of cancer in 2006, and at his funeral there was a reading from The Little Grey Men, which was also quoted in the Order of Service -- "The wonder of the world, the beauty and the power, the shapes of things, their colours lights and shades; these I saw. Look ye also while life lasts.” There was no rock music played at Barrett's funeral -- instead there were a selection of pieces by Handel, Haydn, and Bach, ending with Bach's Allemande from the Partita No. IV in D major, one of his favourite pieces: [Excerpt: Glenn Gould, "Allemande from the Partita No. IV in D major"]  As they stared blankly in dumb misery deepening as they slowly realised all they had seen and all they had lost, a capricious little breeze, dancing up from the surface of the water, tossed the aspens, shook the dewy roses and blew lightly and caressingly in their faces; and with its soft touch came instant oblivion. For this is the last best gift that the kindly demi-god is careful to bestow on those to whom he has revealed himself in their helping: the gift of forgetfulness. Lest the awful remembrance should remain and grow, and overshadow mirth and pleasure, and the great haunting memory should spoil all the after-lives of little animals helped out of difficulties, in order that they should be happy and lighthearted as before. Mole rubbed his eyes and stared at Rat, who was looking about him in a puzzled sort of way. “I beg your pardon; what did you say, Rat?” he asked. “I think I was only remarking,” said Rat slowly, “that this was the right sort of place, and that here, if anywhere, we should find him. And look! Why, there he is, the little fellow!” And with a cry of delight he ran towards the slumbering Portly. But Mole stood still a moment, held in thought. As one wakened suddenly from a beautiful dream, who struggles to recall it, and can re-capture nothing but a dim sense of the beauty of it, the beauty! Till that, too, fades away in its turn, and the dreamer bitterly accepts the hard, cold waking and all its penalties; so Mole, after struggling with his memory for a brief space, shook his head sadly and followed the Rat.

Improvisamos un repertorio con novedades, temas de artistas que nos visitan estos días, canciones grabadas en concierto y algún antojo. DISCO 1 LOBOS NEGROS Rumba ’n' Blues (17) DISCO 2 WILLIE NILE & STEVE EARLE Blood On Your Hands (4) DISCO 3 WARD HAYDEN & OUTLIERS Bad Time To Quit Drinkin’ (7) DISCO 4 ATLANTA RHYTHM SECTION Spooky (9) DISCO 5 JESPER LINDELL & AMY HELM Twilight (4)  DISCO 6 TRISHA TEARWOOD Thinkin’ About You (1)  DISCO 7 MUÑECO VUDÚ El Camino (5) DISCO 8 LOGGINS AND MESSINA Danny’s Song (CD 1- 2)  DISCO 9 MICHAEL McDONALD Minute By Minute (8)  DISCO 10 DAVE GILMOUR Run Like Hell (CD 2 - 7)  DISCO 11 JAVIER RUIBAL La canción del gitano (6) DISCO 12 VALERIE CARTER Crazy You (2)  DISCO 13 CRISTINA MORA Sans Nations (11) Escuchar audio

It's another blockbusting, soon-to-be-award-winning instalment of Life on Planet Porky the podcast with Mike Parry and Lesley-Ann Jones. Today you'll hear them discuss: summer sweat, which country Porky might head to when it's hot, Estonia, why paradise isn't all it's cracked up to be, Salman Rushdie, the Groucho club, Jerry Hall's divorce and what she might make from it, the death of the press, Sir Ralph Halpern, Stringfellow and the glamour model, Margaret Thatcher's roving eye, Lamont Dozier, the feud between Oasis and Blur, Reading signing an Eton student, footballer backgrounds, the next James Bond, Madonna turning 65, Dave Gilmour's housing debate, and Martin Lewis appearing to lose the plot. It's the podcast that won't waste any of your precious time, it's Life on Planet Porky.  Follow the show on Twitter: @PlanetPorky or Mike is: @MikeParry8 while you can find Lesley-Ann: @LAJwriter. Or you can email us questions or comments to: planetporkypod@gmail.com. We'd love to hear from you!

Shuli Egar makes his ILRR debut to discuss the legendary all-time great Pink Floyd and founder Roger Water's troubling (for some) politics. Is it easy to separate the art from the artist? Should Jews consider boycotting his concerts? Was the Syd Barret era actually any good? Just HOW good a guitar player is Dave Gilmour? All this and more! Check it out!

Bruce Springsteen called him “one of the great, great American songwriters”, Jackson Browne hailed him as “the first and foremost proponent of song noir”, and Stephen King once said that if he could write like him, he “would be a happy guy”. The list of artists that lined up to appear on his records include Bruce Springsteen, Neil Young, Bob Dylan, Dave Gilmour and Emmylou Harris. So how is it that most people, if they have heard of Warren Zevon at all, know him only as “that Werewolves' guy”? This book goes beyond that solitary hit single to examine all aspects of Zevon's multifaceted, five-decade career, from his beginnings in the slightly psychedelic folk duo Lyme and Cybelle, through to his commercial breakthrough in the late Seventies with ‘Excitable Boy', his critically acclaimed late Eighties comeback ‘Sentimental Hygiene', his decline into cult obscurity, and his triumphant if heart-breaking final testament, ‘The Wind', released just prior to his death in 2003. Along the way the reader will discover one of rock's consummate balladeers, as well as a cast of characters including doomed drug dealers, psychopathic adolescents, outlaws of the Old West, BDSM fetishists, ghostly gunslingers, an unfeasibly large assembly of apes, and, yes, lycanthropes unleashed on the streets of London.Peter Gallagher is the author of Marc Bolan, Tyrannosaurus Rex, and T. Rex: Every Album, Every Song, a previous volume in Sonicbond's “On Track” series. He is a regular contributor to Shindig! magazine and his fiction has appeared in Writing Magazine and The London Reader. His next book will be “Kiss in the 1970s”, also for Sonicbond, and he is working on a novel set in the Weimar Republic, which he hopes will see publication some time before the cows come home. He lives in Glasgow, Scotland.Listen to a playlist of the music discussed in this episode: https://open.spotify.com/playlist/3JyTplSInQCaYPC4cR4daL?si=06e8fb0651ef4363Listen to “Follow Me” (#65 single from 1966) from Warren Zevon's early duo project Lyme and Cybelle: https://www.youtube.com/watch?v=6OwklTxG-rQPurchase a copy of "Warren Zevon: Every Album, Every Song" through Burning Shed in the UK: https://burningshed.com/peter-gallagher_warren-zevon-on-track_bookPurchase a copy of "Warren Zevon: Every Album, Every Song" through Amazon in the US: https://www.amazon.com/Warren-Zevon-Every-Album-Song/dp/178952170XThe Booked On Rock Website: www.bookedonrock.comFollow The Booked On Rock with Eric Senich:FACEBOOK: www.facebook.com/bookedonrockpodcastTWITTER: https://twitter.com/bookedonrockINSTAGRAM: www.instagram.com/bookedonrockpodcast/?hl=enSupport Your Local Bookstore! Find your nearest independent bookstore here: www.indiebound.org/indie-store-finderContact The Booked On Rock Podcast:thebookedonrockpodcast@gmail.comThe Booked On Rock Music: “Whoosh” & “Nasty” by Crowander (www.crowander.com)

ALONE TOGETHER DAVE MASON (Ex-Traffic) Yet another blockbuster/innovative album from 1970 The BEST FUSION of acoustic/electric rock you will ever hear! ARTISTS INCLUDE Adele, Kevin Welch, Khristian Mizzi, Melanie, Michael Waugh, Tina Arena, Tom Waits, and Glenn Cardier. SENSATIONAL GUITARISTS INCLUDE Joe Satriani, Dave Gilmour, Traffic, Justin Hayward (Moody Blues) Vince Martell (Vanilla Fudge). COPYCATS ARE COOL CATS! Original Artist — Only You Know and I Know—DAVE MASON Cover Version — DELANEY AND BONNIE James Gee as in, Gee, do I LOOK like I drink anything ‘Sugar-Free'?!!

Imagine playing Pink Floyd songs with an actual member of Pink Floyd. Lee Harris is living his dream from one of his formative gigs, aged 7. Lee discusses playing onstage with each of Nick Mason, Dave Gilmour and Roger Waters, talks through how to approach a pivotal career meeting with someone you idolise and pays tribute to former Blockheads bandmate Derek Hussey. Advice:-  "Musicians shouldn't be worried about getting another job to get money in the bank. There is no shame in supporting yourself, you never know where it may lead to." Slight delay getting this one out, soz. Edited by Bastian Hues Hosted by Chris Simpson  https://www.facebook.com/lee.harris.official

l disco que vamos a escuchar hoy es ‘The Kick Inside’, algo así como ‘La patada interior’. El álbum alcanzó el puesto número 3 en la lista de álbumes del Reino Unido y ha sido certificado Platino por la Industria Fonográfica Británica (BPI). El disco lo grabó cuando sólo tenía 19 años de edad, saliendo al siguiente año. Kate Bush fue descubierta nada menos que por el ex-Pink Floyd Dave Gilmour cuando ésta contaba con 16 años de edad. Una de las características que más le definen es su gran voz, pudiendo alcanzar nada menos que un rango de 4 octavas. * Una infancia muy musical Catherine Bush nació el 30 de julio de 1958 en el condado de Kent, Inglaterra. Su padre era un médico inglés de nombre Robert Bush, y su madre una irlandesa llamada County Waterford, ambos ya fallecidos. Estudió en una escuela católica, junto a sus hermanos mayores John y Paddy. Kate también gozó de un gran ambiente musical en casa: su madre era una reconocida bailarina de baile tradicional irlandés y su padre era también un aventajado pianista, su hermano Paddy trabajaba como constructor de instrumentos musicales y su otro hermano John era poeta y fotógrafo, además de que ambos hermanos estaban muy involucrados en la escena folk de la zona. Por lo tanto, no fue difícil que Kate se sintiese atraída por el piano, el órgano y el violín con sólo 11 años de edad. Pronto empezó a componer y poner letras a sus canciones. Fue mientras estudiaba en la escuela, cuando sus padres recogieron una demo con 50 temas creados por la joven para mostrar su trabajo a las discográficas. * Su relación con Dave Gilmour, de Pink Floyd La vida da muchas vueltas y fue la casualidad que un amigo de la familia, un tal Ricky Hopper lo fuese también del entonces componente de Pink Floyd, David Gilmour que quedó impresionado tras la escucha y pensó que la demo no tenía suficiente calidad para ser mostrada a las compañías fonográficas del momento. Así que decidió ayudarla para hacer una nueva demo. Gilmour pagó de su propio bolsillo la grabación de 3 nuevos temas que fueron producidos a su vez, por otro amigo de Gilmour, el músico Andrew Powell, músico y arreglista que participaría en casi todos los discos de Alan Parsons. Andrew decidió ser el productor de los dos primeros larga duración de Kate. 'The Kick Inside' y 'Lionheart' ambos aparecidos en 1978. También trabajó en estos discos, como ingeniero de sonido Geoffrey Emerick, que ya había estado con The Beatles en discos como 'Revolver', 'Sgt. Peppers' o 'Abbey Road', entre otros. Al final, esa demo con tres canciones cayó en manos de Terry Staler, un ejecutivo de EMI que quedó gratamente impresionado con la labor de la joven. En un acto realmente impensable en la industria discográfica actual, Bob Mercer, un director ejecutivo de EMI, pensó que a pesar que Kate contaba con muy buen trabajo, un éxito a edad tan temprana podía ser poco beneficioso, y un fracaso realmente dañino. Así que pensó que era mejor que la chica se dedicase a sus estudios, y a pesar de estar en nómina de la discográfica, se lo tomaron con calma, dando tiempo a que Kate madurase como artista y personalmente, fuese el resultado que fuese. La percepción de Kate, como contaba hace pocos años era algo distinta, tal vez Radcliffe la contrató para que no pudiese ir a la competencia. De todas formas, con el generoso avance de honorarios de una persona que, recordemos, todavía no había grabado nada en absoluto, la joven aprovechó para acabar sus estudios con una nota más que notable y tomar clases de interpretación con el actor Lindsay Kemp, que también trabajó con David Bowie en sus inicios. También tomaría clases de mímica con Adam Darius. A pesar de todo, Kate siguió escribiendo canciones, algunas de las cuales se pueden encontrar hoy en un disco pirata conocido como ‘Phoenix Recordings’, llegándose a contar alrededor de 200 composiciones. * Preparando todo para su primer disco Para la grabación de este disco, se pidió a Bush utilizar músicos de sesión en lugar de la KT Bush Band, aunque siguió conservando a algunos de ellos, como su hermano Paddy que tocaba la armónica y la mandolina o Stuart Elliott que tocó algunos de los tambores y se convirtió en su baterista principal en álbumes posteriores. David Gilmour produce dos de los temas del mismo. Una de las canciones más conocidas de este disco es ‘Wutherings Heights’, que fue el primer éxito de su carrera, llegando a ser la primera vez que una cantautora encabezó las listas con una canción escrita por ella misma. Está inspirada en la novela única novela que escribió en 1847 Emily Brontë. Se mantuvo en el número uno en la lista de singles del Reino Unido durante cuatro semanas y sigue siendo el sencillo más exitoso de Bush. Pitchfork la nombró la quinta mejor canción de la década de 1970, y en 2020, The Guardian la clasificó como el decimocuarto mejor sencillo número uno del Reino Unido. Bush escribió la canción a los 18 años, después de ver la adaptación de la BBC de 1967 de la novela Cumbres Borrascosas de 1847. Al leer el libro descubrió que compartía su cumpleaños con la autora del mismo. Otro de los temas más conocidos del disco es “The Man with the Child in His Eyes”, que fue sacada como segundo single. Escribió la canción cuando tenía 13 años y la grabó a los 16 bajo la dirección de David Gilmour. En 2010, el ex presentador de radio y televisión Steve Blacknell, que fue el primer novio de Bush, ofreció a la venta la letra original escrita a mano de la canción a través del sitio web de recuerdos musicales 991.com. La propia Bush nunca ha dicho sobre quién escribió la canción, pero Backnell ha declarado que una persona cercana a Bush le había dicho que la canción estaba escrita sobre él. Durante mucho tiempo se supuso que se trataba de Gilmour. A día de hoy, Kate Bush ha sido nominada a 13 galardones de la industria fonográfica británica, ganó como Mejor Artista Femenina Británica en 1987 y ha sido nominada a tres premios Grammy. En 2002, Bush fue reconocida con un premio Ivor Novello por su destacada contribución a la música británica. Bush fue nombrado CBE en los Honores de Año Nuevo de 2013 por sus servicios a la música. Fue nominada tres veces para aparecer en elSalón de la Fama del Rock and Roll de 2018, 2021 y 2022.

We review rock climbing documentaries The Dawn Wall and Free Solo, Icelandic noir series Trapped, books on the Beatles, a Paul McCartney podcast,  the Last Night in Soho film, and trail a book and a film about Pogues singer Shane MacGowan. We talk about our favourite special guest appearances, and those of our listeners.Scarlett Johansson was pretty special. Were Van Morrison's special guests actually special? Is Dave Grohl the new Ronnie Wood? Who DIDN'T join Stevie Wonder on stage for his birthday? Old school rockers Jimmy Page and Dave Gilmour butt in with Aerosmith and Bombay Bicycle Club. Elvis Costello, Nick Lowe, Chris Difford and Glenn Tilbrook sing harmonies from heaven. And more!Listen now with show notes and links to some of the items discussed in the episode:http://www.onlyapodcast.com/episode-4-special-guest-appearances/

The worlds of law and music may seem like unexpected companions in the climate crisis, but brought together they're a formidable force for change. Here, environmental lawyer and founder of ClientEarth James Thornton discusses how his organisation's work with Coldplay, Brian Eno and Pink Floyd's David Gilmour has directly halted the coal-fired power plants, saved lives and preserved the planet. Client Earth are considered one of the most impactful climate organisations out there – and rightly so. James is also a huge advocate for how art can help communicate urgency, but also build a vision of hope that'll encourage all us to contribute towards a better, healthier, fairer future. He also shares his thoughts on UN's pivotal COP26 summit in Glasgow - being held just days away now in Glasgow, UK - and hosts Fay Milton and Greg Cochrane will also leave you with some recommendations. — Sounds Like A Plan series 2 is supported by Festival Republic. They put on festivals including the legendary Reading Festival, being at Richfield Avenue, Reading on August 26-28th 2022. Weekend tickets are available now: https://www.readingfestival.com/tickets — Links to things discussed in the podcast: Dave Gilmour's viral message about the sale of his guitars and Client Earth https://www.youtube.com/watch?v=BHrd8NUOVH4 ClientEarth summit https://events.hubilo.com/ClientEarthSummit2021/register — This episode's recommendations: Fay's recommendation What a Wonderful World - Choir's Sing For Change https://www.musicdeclares.net/ Greg's recommendation On.to – all inclusive electric car subscription https://on.to/ — This episode was partly recorded at Pirate studios. Pirate have modern and affordable recorded locations around the UK available to book 24/7. https://pirate.com/en/ — More from us on social media: Instagram – @soundslikeaplanpodcast Fay Milton Twitter – @faymilton Instagram – @faymilton Greg Cochrane Twitter – @Gregcochrane --- Send in a voice message: https://anchor.fm/new-allotment/message

The worlds of law and music may seem like unexpected companions in the climate crisis, but brought together they're a formidable force for change. Here, environmental lawyer and founder of ClientEarth James Thornton discusses how his organisation's work with Coldplay, Brian Eno and Pink Floyd's David Gilmour has directly halted the coal-fired power plants, saved lives and preserved the planet. Client Earth are considered one of the most impactful climate organisations out there – and rightly so. James is also a huge advocate for how art can help communicate urgency, but also build a vision of hope that'll encourage all us to contribute towards a better, healthier, fairer future. He also shares his thoughts on UN's pivotal COP26 summit in Glasgow - being held just days away now in Glasgow, UK - and hosts Fay Milton and Greg Cochrane will also leave you with some recommendations. — Sounds Like A Plan series 2 is supported by Festival Republic. They put on festivals including the legendary Reading Festival, being at Richfield Avenue, Reading on August 26-28th 2022. Weekend tickets are available now: https://www.readingfestival.com/tickets — Links to things discussed in the podcast: Dave Gilmour's viral message about the sale of his guitars and Client Earth https://www.youtube.com/watch?v=BHrd8NUOVH4 ClientEarth summit https://events.hubilo.com/ClientEarthSummit2021/register — This episode's recommendations: Fay's recommendation What a Wonderful World - Choir's Sing For Change https://www.musicdeclares.net/ Greg's recommendation On.to – all inclusive electric car subscription https://on.to/ — This episode was partly recorded at Pirate studios. Pirate have modern and affordable recorded locations around the UK available to book 24/7. https://pirate.com/en/ — More from us on social media: Instagram – @soundslikeaplanpodcast Fay Milton Twitter – @faymilton Instagram – @faymilton Greg Cochrane Twitter – @Gregcochrane --- Send in a voice message: https://anchor.fm/new-allotment/message

Episode one hundred and thirty-five of A History of Rock Music in Five Hundred Songs looks at “The Sound of Silence" by Simon and Garfunkel, and the many records they made, together and apart, before their success. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Blues Run the Game" by Jackson C. Frank. 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 talk about a tour of Lancashire towns, but some of the towns I mention were in Cheshire at the time, and some are in Greater Manchester or Merseyside now. They're all very close together though. I say Mose Rager was Black. I was misremembering, confusing Mose Rager, a white player in the Muhlenberg style, with Arnold Schultz, a Black player who invented it. I got this right in the episode on "Bye Bye Love". Also, I couldn't track down a copy of the Paul Kane single version of “He Was My Brother” in decent quality, so I used the version on The Paul Simon Songbook instead, as they're basically identical performances. Resources As usual, I've created a Mixcloud playlist of the music excerpted here. This compilation collects all Simon and Garfunkel's studio albums, with bonus tracks, plus a DVD of their reunion concert. There are many collections of the pre-S&G recordings by the two, as these are now largely in the public domain. This one contains a good selection. I've referred to several books for this episode: Simon and Garfunkel: Together Alone by Spencer Leigh is a breezy, well-researched, biography of the duo. Paul Simon: The Life by Robert Hilburn is the closest thing there is to an authorised biography of Simon. And What is it All But Luminous? is Art Garfunkel's memoir. It's not particularly detailed, being more a collection of thoughts and poetry than a structured narrative, but gives a good idea of Garfunkel's attitude to people and events in his life. Roots, Radicals, and Rockers: How Skiffle Changed the World by Billy Bragg has some great information on the British folk scene of the fifties and sixties. And Singing From the Floor is an oral history of British folk clubs, including a chapter on Dylan's 1962 visit to London. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today, we're going to take a look at a hit record that almost never happened -- a record by a duo who had already split up, twice, by the time it became a hit, and who didn't know it was going to come out. We're going to look at how a duo who started off as an Everly Brothers knockoff, before becoming unsuccessful Greenwich Village folkies, were turned into one of the biggest acts of the sixties by their producer. We're going to look at Simon and Garfunkel, and at "The Sound of Silence": [Excerpt: Simon and Garfunkel, "The Sound of Silence"] The story of Simon and Garfunkel starts with two children in a school play.  Neither Paul Simon or Art Garfunkel had many friends when they met in a school performance of Alice in Wonderland, where Simon was playing the White Rabbit and Garfunkel the Cheshire Cat. Simon was well-enough liked, by all accounts, but he'd been put on an accelerated programme for gifted students which meant he was progressing through school faster than his peers. He had a small social group, mostly based around playing baseball, but wasn't one of the popular kids. Art Garfunkel, another gifted student, had no friends at all until he got to know Simon, who he described later as his "one and only friend" in this time period. One passage in Garfunkel's autobiography seems to me to sum up everything about Garfunkel's personality as a child -- and indeed a large part of his personality as it comes across in interviews to this day. He talks about the pleasure he got from listening to the chart rundown on the radio -- "It was the numbers that got me. I kept meticulous lists—when a new singer like Tony Bennett came onto the charts with “Rags to Riches,” I watched the record jump from, say, #23 to #14 in a week. The mathematics of the jumps went to my sense of fun." Garfunkel is, to this day, a meticulous person -- on his website he has a list of every book he's read since June 1968, which is currently up to one thousand three hundred and ten books, and he has always had a habit of starting elaborate projects and ticking off every aspect of them as he goes. Both Simon and Garfunkel were outsiders at this point, other than their interests in sport, but Garfunkel was by far the more introverted of the two, and as a result he seems to have needed their friendship more than Simon did. But the two boys developed an intense, close, friendship, initially based around their shared sense of humour. Both of them were avid readers of Mad magazine, which had just started publishing when the two of them had met up, and both could make each other laugh easily. But they soon developed a new interest, when Martin Block on the middle-of-the-road radio show Make Believe Ballroom announced that he was going to play the worst record he'd ever heard. That record was "Gee" by the Crows: [Excerpt: The Crows, "Gee"] Paul Simon later said that that record was the first thing he'd ever heard on that programme that he liked, and soon he and Garfunkel had become regular listeners to Alan Freed's show on WINS, loving the new rock and roll music they were discovering. Art had already been singing in public from an early age -- his first public performance had been singing Nat "King" Cole's hit "Too Young" in a school talent contest when he was nine -- but the two started singing together. The first performance by Simon and Garfunkel was at a high school dance and, depending on which source you read, was a performance either of "Sh'Boom" or of Big Joe Turner's "Flip, Flop, and Fly": [Excerpt: Big Joe Turner, "Flip, Flop, and Fly"] The duo also wrote at least one song together as early as 1955 -- or at least Garfunkel says they wrote it together. Paul Simon describes it as one he wrote. They tried to get a record deal with the song, but it was never recorded at the time -- but Simon has later performed it: [Excerpt: Paul Simon, "The Girl For Me"] Even at this point, though, while Art Garfunkel was putting all his emotional energy into the partnership with Simon, Simon was interested in performing with other people. Al Kooper was another friend of Simon's at the time, and apparently Simon and Kooper would also perform together. Once Elvis came on to Paul's radar, he also bought a guitar, but it was when the two of them first heard the Everly Brothers that they realised what it was that they could do together. Simon fell in love with the Everly Brothers as soon as he heard "Bye Bye Love": [Excerpt: The Everly Brothers, "Bye Bye Love"] Up to this point, Paul hadn't bought many records -- he spent his money on baseball cards and comic books, and records just weren't good value. A pack of baseball cards was five cents, a comic book was ten cents, but a record was a dollar. Why buy records when you could hear music on the radio for free? But he needed that record, he couldn't just wait around to hear it on the radio. He made an hour-long two-bus journey to a record shop in Queens, bought the record, took it home, played it... and almost immediately scratched it. So he got back on the bus, travelled for another hour, bought another copy, took it home, and made sure he didn't scratch that one. Simon and Garfunkel started copying the Everlys' harmonies, and would spend hours together, singing close together watching each other's mouths and copying the way they formed words, eventually managing to achieve a vocal blend through sheer effort which would normally only come from familial closeness. Paul became so obsessed with music that he sold his baseball card collection and bought a tape recorder for two hundred dollars. They would record themselves singing, and then sing back along with it, multitracking themselves, but also critiquing the tape, refining their performances. Paul's father was a bass player -- "the family bassman", as he would later sing -- and encouraged his son in his music, even as he couldn't see the appeal in this new rock and roll music. He would critique Paul's songs, saying things like "you went from four-four to a bar of nine-eight, you can't do that" -- to which his son would say "I just did" -- but this wasn't hostile criticism, rather it was giving his son a basic grounding in song construction which would prove invaluable. But the duo's first notable original song -- and first hit -- came about more or less by accident. In early 1956, the doo-wop group the Clovers had released the hit single "Devil or Angel". Its B-side had a version of "Hey Doll Baby", a song written by the blues singer Titus Turner, and which sounds to me very inspired by Hank Williams' "Hey, Good Lookin'": [Excerpt: The Clovers, "Hey, Doll Baby"] That song was picked up by the Everly Brothers, who recorded it for their first album: [Excerpt: The Everly Brothers, "Hey Doll Baby"] Here is where the timeline gets a little confused for me, because that album wasn't released until early 1958, although the recording session for that track was in August 1957. Yet that track definitely influenced Paul Simon and Art Garfunkel to record a song that they released in November 1957. All I can imagine is that they heard the brothers perform it live, or maybe a radio station had an acetate copy. Because the way everyone has consistently told the story is that at the end of summer 1957, Simon and Garfunkel had both heard the Everly Brothers perform "Hey Doll Baby", but couldn't remember how it went. The two of them tried to remember it, and to work a version of it out together, and their hazy memories combined to reconstruct something that was completely different, and which owed at least as much to "Wake Up Little Suzie" as to "Hey Doll Baby". Their new song, "Hey Schoolgirl", was catchy enough that they thought if they recorded a demo of it, maybe the Everly Brothers themselves would record the song. At the demo studio they happened to encounter Sid Prosen, who owned a small record label named Big Records. He heard the duo perform and realised he might have his own Everly Brothers here. He signed the duo to a contract, and they went into a professional studio to rerecord "Hey Schoolgirl", this time with Paul's father on bass, and a couple of other musicians to fill out the sound: [Excerpt: Tom and Jerry, "Hey Schoolgirl"] Of course, the record couldn't be released under their real names -- there was no way anyone was going to buy a record by Simon and Garfunkel. So instead they became Tom and Jerry. Paul Simon was Jerry Landis -- a surname he chose because he had a crush on a girl named Sue Landis. Art became Tom Graff, because he liked drawing graphs. "Hey Schoolgirl" became a local hit. The two were thrilled to hear it played on Alan Freed's show (after Sid Prosen gave Freed two hundred dollars), and were even more thrilled when they got to perform on American Bandstand, on the same show as Jerry Lee Lewis. When Dick Clark asked them where they were from, Simon decided to claim he was from Macon, Georgia, where Little Richard came from, because all his favourite rock and roll singers were from the South. "Hey Schoolgirl" only made number forty-nine nationally, because the label didn't have good national distribution, but it sold over a hundred thousand copies, mostly in the New York area. And Sid Prosen seems to have been one of a very small number of independent label owners who wasn't a crook -- the two boys got about two thousand dollars each from their hit record. But while Tom and Jerry seemed like they might have a successful career, Simon and Garfunkel were soon to split up, and the reason for their split was named True Taylor. Paul had been playing some of his songs for Sid Prosen, to see what the duo's next single should be, and Prosen had noticed that while some of them were Everly Brothers soundalikes, others were Elvis soundalikes. Would Paul be interested in recording some of those, too? Obviously Art couldn't sing on those, so they'd use a different name, True Taylor. The single was released around the same time as the second Tom and Jerry record, and featured an Elvis-style ballad by Paul on one side, and a rockabilly song written by his father on the other: [Excerpt: True Taylor, "True or False"] But Paul hadn't discussed that record with Art before doing it, and the two had vastly different ideas about their relationship. Paul was Art's only friend, and Art thought they had an indissoluble bond and that they would always work together. Paul, on the other hand, thought of Art as one of his friends and someone he made music with, but he could play at being Elvis if he wanted, as well as playing at being an Everly brother. Garfunkel, in his memoir published in 2017, says "the friendship was shattered for life" -- he decided then and there that Paul Simon was a "base" person, a betrayer. But on the other hand, he still refers to Simon, over and over again, in that book as still being his friend, even as Simon has largely been disdainful of him since their last performance together in 2010. Friendships are complicated. Tom and Jerry struggled on for a couple more singles, which weren't as successful as "Hey Schoolgirl" had been, with material like "Two Teenagers", written by Rose Marie McCoy: [Excerpt: Tom and Jerry, "Two Teenagers"] But as they'd stopped being friends, and they weren't selling records, they drifted apart and didn't really speak for five years, though they would occasionally run into one another. They both went off to university, and Garfunkel basically gave up on the idea of having a career in music, though he did record a couple of singles, under the name "Artie Garr": [Excerpt: Artie Garr, "Beat Love"] But for the most part, Garfunkel concentrated on his studies, planning to become either an architect or maybe an academic. Paul Simon, on the other hand, while he was technically studying at university too, was only paying minimal attention to his studies. Instead, he was learning the music business. Every afternoon, after university had finished, he'd go around the Brill Building and its neighbouring buildings, offering his services both as a songwriter and as a demo performer. As Simon was competent on guitar, bass, and drums, could sing harmonies, and could play a bit of piano if it was in the key of C, he could use primitive multitracking to play and sing all the parts on a demo, and do it well: [Excerpt: Paul Simon, "Boys Were Made For Girls"] That's an excerpt from a demo Simon recorded for Burt Bacharach, who has said that he tried to get Simon to record as many of his demos as possible, though only a couple of them have surfaced publicly. Simon would also sometimes record demos with his friend Carole Klein, sometimes under the name The Cosines: [Excerpt: The Cosines, "Just to Be With You"] As we heard back in the episode on "Will You Love Me Tomorrow?", Carole Klein went on to change her name to Carole King, and become one of the most successful songwriters of the era -- something which spurred Paul Simon on, as he wanted to emulate her success. Simon tried to get signed up by Don Kirshner, who was publishing Goffin and King, but Kirshner turned Simon down -- an expensive mistake for Kirshner, but one that would end up benefiting Simon, who eventually figured out that he should own his own publishing. Simon was also getting occasional work as a session player, and played lead guitar on "The Shape I'm In" by Johnny Restivo, which made the lower reaches of the Hot One Hundred: [Excerpt: Johnny Restivo, "The Shape I'm In"] Between 1959 and 1963 Simon recorded a whole string of unsuccessful pop singles. including as a member of the Mystics: [Excerpt: The Mystics, "All Through the Night"] He even had a couple of very minor chart hits -- he got to number 99 as Tico and the Triumphs: [Excerpt: Tico and the Triumphs, "Motorcycle"] and number ninety-seven as Jerry Landis: [Excerpt: Jerry Landis, "The Lone Teen Ranger"] But he was jumping around, hopping onto every fad as it passed, and not getting anywhere. And then he started to believe that he could do something more interesting in music. He first became aware that the boundaries of what could be done in music extended further than "ooh-bop-a-loochy-ba" when he took a class on modern music at university, which included a trip to Carnegie Hall to hear a performance of music by the avant-garde composer Edgard Varese: [Excerpt: Edgard Varese, "Ionisation"] Simon got to meet Varese after the performance, and while he would take his own music in a very different, and much more commercial, direction than Varese's, he was nonetheless influenced by what Varese's music showed about the possibilities that existed in music. The other big influence on Simon at this time was when he heard The Freewheelin' Bob Dylan: [Excerpt: Bob Dylan, "Girl From the North Country"] Simon immediately decided to reinvent himself as a folkie, despite at this point knowing very little about folk music other than the Everly Brothers' Songs Our Daddy Taught Us album. He tried playing around Greenwich Village, but found it an uncongenial atmosphere, and inspired by the liner notes to the Dylan album, which talked about Dylan's time in England, he made what would be the first of several trips to the UK, where he was given a rapturous reception simply on the grounds of being an American and owning a better acoustic guitar -- a Martin -- than most British people owned. He had the showmanship that he'd learned from watching his father on stage and sometimes playing with him, and from his time in Tom and Jerry and working round the studios, and so he was able to impress the British folk-club audiences, who were used to rather earnest, scholarly, people, not to someone like Simon who was clearly ambitious and very showbiz. His repertoire at this point consisted mostly of songs from the first two Dylan albums, a Joan Baez record, Little Willie John's "Fever", and one song he'd written himself, an attempt at a protest song called "He Was My Brother", which he would release on his return to the US under yet another stage name, Paul Kane: [Excerpt: Paul Kane, "He Was My Brother"] Simon has always stated that that song was written about a friend of his who was murdered when he went down to Mississippi with the Freedom Riders -- but while Simon's friend was indeed murdered, it wasn't until about a year after he wrote the song, and Simon has confused the timelines in his subsequent recollections. At the time he recorded that, when he had returned to New York at the end of the summer, Simon had a job as a song plugger for a publishing company, and he gave the publishing company the rights to that song and its B-side, which led to that B-side getting promoted by the publisher, and ending up covered on one of the biggest British albums of 1964, which went to number two in the UK charts: [Excerpt: Val Doonican, "Carlos Dominguez"] Oddly, that may not end up being the only time we feature a Val Doonican track on this podcast. Simon continued his attempts to be a folkie, even teaming up again with Art Garfunkel, with whom he'd re-established contact, to perform in Greenwich Village as Kane and Garr, but they went down no better as a duo than Simon had as a solo artist. Simon went back to the UK again over Christmas 1963, and while he was there he continued work on a song that would become such a touchstone for him that of the first six albums he would be involved in, four would feature the song while a fifth would include a snippet of it. "The Sound of Silence" was apparently started in November 1963, but not finished until February 1964, by which time he was once again back in the USA, and back working as a song plugger. It was while working as a song plugger that Simon first met Tom Wilson, Bob Dylan's producer at Columbia. Simon met up with Wilson trying to persuade him to use some of the songs that the publishing company were putting out. When Wilson wasn't interested, Simon played him a couple of his own songs. Wilson took one of them, "He Was My Brother", for the Pilgrims, a group he was producing who were supposed to be the Black answer to Peter, Paul, and Mary: [Excerpt: The Pilgrims, "He Was My Brother"] Wilson was also interested in "The Sound of Silence", but Simon was more interested in getting signed as a performer than in having other acts perform his songs. Wilson was cautious, though -- he was already producing one folkie singer-songwriter, and he didn't really need a second one. But he *could* probably do with a vocal group... Simon mentioned that he had actually made a couple of records before, as part of a duo. Would Wilson be at all interested in a vocal *duo*? Wilson would be interested. Simon and Garfunkel auditioned for him, and a few days later were in the Columbia Records studio on Seventh Avenue recording their first album as a duo, which was also the first time either of them would record under their own name. Wednesday Morning, 3AM, the duo's first album, was a simple acoustic album, and the only instrumentation was Simon and Barry Kornfeld, a Greenwich Village folkie, on guitars, and Bill Lee, the double bass player who'd played with Dylan and others, on bass. Tom Wilson guided the duo in their song selection, and the eventual album contained six cover versions and six originals written by Simon. The cover versions were a mixture of hootenanny staples like "Go Tell it on the Mountain", plus Dylan's "The Times They Are A-Changin'", included to cross-promote Dylan's new album and to try to link the duo with the more famous writer, and one unusual one, "The Sun is Burning", written by Ian Campbell, a Scottish folk singer who Simon had got to know on his trips to the UK: [Excerpt: Simon and Garfunkel, "The Sun is Burning"] But the song that everyone was keenest on was "The Sound of Silence", the first song that Simon had written that he thought would stand up in comparison with the sort of song that Dylan was writing: [Excerpt: Simon and Garfunkel, "The Sound of Silence (Wednesday Morning 3AM version)"] In between sessions for the album, Simon and Garfunkel also played a high-profile gig at Gerde's Folk City in the Village, and a couple of shows at the Gaslight Cafe. The audiences there, though, regarded them as a complete joke -- Dave Van Ronk would later relate that for weeks afterwards, all anyone had to do was sing "Hello darkness, my old friend", for everyone around to break into laughter. Bob Dylan was one of those who laughed at the performance -- though Robert Shelton later said that Dylan hadn't been laughing at them, specifically, he'd just had a fit of the giggles -- and this had led to a certain amount of anger from Simon towards Dylan. The album was recorded in March 1964, and was scheduled for release  in October. In the meantime, they both made plans to continue with their studies and their travels. Garfunkel was starting to do postgraduate work towards his doctorate in mathematics, while Simon was now enrolled in Brooklyn Law School, but was still spending most of his time travelling, and would drop out after one semester. He would spend much of the next eighteen months in the UK. While he was occasionally in the US between June 1964 and November 1965, Simon now considered himself based in England, where he made several acquaintances that would affect his life deeply. Among them were a young woman called Kathy Chitty, with whom he would fall in love and who would inspire many of his songs, and an older woman called Judith Piepe (and I apologise if I'm mispronouncing her name, which I've only ever seen written down, never heard) who many people believed had an unrequited crush on Simon. Piepe ran her London flat as something of a commune for folk musicians, and Simon lived there for months at a time while in the UK. Among the other musicians who stayed there for a time were Sandy Denny, Cat Stevens, and Al Stewart, whose bedroom was next door to Simon's. Piepe became Simon's de facto unpaid manager and publicist, and started promoting him around the British folk scene. Simon also at this point became particularly interested in improving his guitar playing. He was spending a lot of time at Les Cousins, the London club that had become the centre of British acoustic guitar. There are, roughly, three styles of acoustic folk guitar -- to be clear, I'm talking about very broad-brush categorisations here, and there are people who would disagree and say there are more, but these are the main ones. Two of these are American styles -- there's the simple style known as Carter scratching, popularised by Mother Maybelle Carter of the Carter family, and for this all you do is alternate bass notes with your thumb while scratching the chord on the treble strings with one finger, like this: [Excerpt: Carter picking] That's the style played by a lot of country and folk players who were primarily singers accompanying themselves. In the late forties and fifties, though, another style had become popularised -- Travis picking. This is named after Merle Travis, the most well-known player in the style, but he always called it Muhlenberg picking, after Muhlenberg County, where he'd learned the style from Ike Everly -- the Everly Brothers' father -- and Mose Rager, a Black guitarist. In Travis picking, the thumb alternates between two bass notes, but rather than strumming a chord, the index and middle fingers play simple patterns on the treble strings, like this: [Excerpt: Travis picking] That's, again, a style primarily used for accompaniment, but it can also be used to play instrumentals by oneself. As well as Travis and Ike Everly, it's also the style played by Donovan, Chet Atkins, James Taylor, and more. But there's a third style, British baroque folk guitar, which was largely the invention of Davey Graham. Graham, you might remember, was a folk guitarist who had lived in the same squat as Lionel Bart when Bart started working with Tommy Steele, and who had formed a blues duo with Alexis Korner. Graham is now best known for one of his simpler pieces, “Anji”, which became the song that every British guitarist tried to learn: [Excerpt: Davey Graham, "Anji"] Dozens of people, including Paul Simon, would record versions of that. Graham invented an entirely new style of guitar playing, influenced by ragtime players like Blind Blake, but also by Bach, by Moroccan oud music, and by Celtic bagpipe music. While it was fairly common for players to retune their guitar to an open major chord, allowing them to play slide guitar, Graham retuned his to a suspended fourth chord -- D-A-D-G-A-D -- which allowed him to keep a drone going on some strings while playing complex modal counterpoints on others. While I demonstrated the previous two styles myself, I'm nowhere near a good enough guitarist to demonstrate British folk baroque, so here's an excerpt of Davey Graham playing his own arrangement of the traditional ballad "She Moved Through the Fair", recast as a raga and retitled "She Moved Thru' the Bizarre": [Excerpt: Davey Graham, "She Moved Thru' the Bizarre"] Graham's style was hugely influential on an entire generation of British guitarists, people who incorporated world music and jazz influences into folk and blues styles, and that generation of guitarists was coming up at the time and playing at Les Cousins. People who started playing in this style included Jimmy Page, Bert Jansch, Roy Harper, John Renbourn, Richard Thompson, Nick Drake, and John Martyn, and it also had a substantial influence on North American players like Joni Mitchell, Tim Buckley, and of course Paul Simon. Simon was especially influenced at this time by Martin Carthy, the young British guitarist whose style was very influenced by Graham -- but while Graham applied his style to music ranging from Dave Brubeck to Lutheran hymns to Big Bill Broonzy songs, Carthy mostly concentrated on traditional English folk songs. Carthy had a habit of taking American folk singers under his wing, and he taught Simon several songs, including Carthy's own arrangement of the traditional "Scarborough Fair": [Excerpt: Martin Carthy, "Scarborough Fair"] Simon would later record that arrangement, without crediting Carthy, and this would lead to several decades of bad blood between them, though Carthy forgave him in the 1990s, and the two performed the song together at least once after that. Indeed, Simon seems to have made a distinctly negative impression on quite a few of the musicians he knew in Britain at this time, who seem to, at least in retrospect, regard him as having rather used and discarded them as soon as his career became successful. Roy Harper has talked in liner notes to CD reissues of his work from this period about how Simon used to regularly be a guest in his home, and how he has memories of Simon playing with Harper's baby son Nick (now himself one of the greats of British guitar) but how as soon as he became successful he never spoke to Harper again. Similarly, in 1965 Simon started a writing partnership with Bruce Woodley of the Seekers, an Australian folk-pop band based in the UK, best known for "Georgy Girl". The two wrote "Red Rubber Ball", which became a hit for the Cyrkle: [Excerpt: The Cyrke, "Red Rubber Ball"] and also "Cloudy", which the Seekers recorded as an album track: [Excerpt: The Seekers, "Cloudy"] When that was recorded by Simon and Garfunkel, Woodley's name was removed from the writing credits, though Woodley still apparently received royalties for it. But at this point there *was* no Simon and Garfunkel. Paul Simon was a solo artist working the folk clubs in Britain, and Simon and Garfunkel's one album had sold a minuscule number of copies. They did, when Simon briefly returned to the US in March, record two tracks for a prospective single, this time with an electric backing band. One was a rewrite of the title track of their first album, now titled "Somewhere They Can't Find Me" and with a new chorus and some guitar parts nicked from Davey Graham's "Anji"; the other a Twist-beat song that could almost be Manfred Mann or Georgie Fame -- "We Got a Groovy Thing Goin'". That was also influenced by “Anji”, though by Bert Jansch's version rather than Graham's original. Jansch rearranged the song and stuck in this phrase: [Excerpt: Bert Jansch, “Anji”] Which became the chorus to “We Got a Groovy Thing Goin'”: [Excerpt: Simon and Garfunkel, "We Got a Groovy Thing Goin'"] But that single was never released, and as far as Columbia were concerned, Simon and Garfunkel were a defunct act, especially as Tom Wilson, who had signed them, was looking to move away from Columbia. Art Garfunkel did come to visit Simon in the UK a couple of times, and they'd even sing together occasionally, but it was on the basis of Paul Simon the successful club act occasionally inviting his friend on stage during the encore, rather than as a duo, and Garfunkel was still seeing music only as a sideline while Simon was now utterly committed to it. He was encouraged in this commitment by Judith Piepe, who considered him to be the greatest songwriter of his generation, and who started a letter-writing campaign to that effect, telling the BBC they needed to put him on the radio. Eventually, after a lot of pressure, they agreed -- though they weren't exactly sure what to do with him, as he didn't fit into any of the pop formats they had. He was given his own radio show -- a five-minute show in a religious programming slot. Simon would perform a song, and there would be an introduction tying the song into some religious theme or other. Two series of four episodes of this were broadcast, in a plum slot right after Housewives' Choice, which got twenty million listeners, and the BBC were amazed to find that a lot of people phoned in asking where they could get hold of the records by this Paul Simon fellow. Obviously he didn't have any out yet, and even the Simon and Garfunkel album, which had been released in the US, hadn't come out in Britain. After a little bit of negotiation, CBS, the British arm of Columbia Records, had Simon come in and record an album of his songs, titled The Paul Simon Songbook. The album, unlike the Simon and Garfunkel album, was made up entirely of Paul Simon originals. Two of them were songs that had previously been recorded for Wednesday Morning 3AM -- "He Was My Brother" and a new version of "The Sound of Silence": [Excerpt: Paul Simon, "The Sound of Silence"] The other ten songs were newly-written pieces like "April Come She Will", "Kathy's Song", a parody of Bob Dylan entitled "A Simple Desultory Philippic", and the song that was chosen as the single, "I am a Rock": [Excerpt: Paul Simon, "I am a Rock"] That song was also the one that was chosen for Simon's first TV appearance since Tom and Jerry had appeared on Bandstand eight years earlier. The appearance on Ready, Steady, Go, though, was not one that anyone was happy with. Simon had been booked to appear on  a small folk music series, Heartsong, but that series was cancelled before he could appear. Rediffusion, the company that made the series, also made Ready, Steady, Go, and since they'd already paid Simon they decided they might as well stick him on that show and get something for their money. Unfortunately, the episode in question was already running long, and it wasn't really suited for introspective singer-songwriter performances -- the show was geared to guitar bands and American soul singers. Michael Lindsay-Hogg, the director, insisted that if Simon was going to do his song, he had to cut at least one verse, while Simon was insistent that he needed to perform the whole thing because "it's a story". Lindsay-Hogg got his way, but nobody was happy with the performance. Simon's album was surprisingly unsuccessful, given the number of people who'd called the BBC asking about it -- the joke went round that the calls had all been Judith Piepe doing different voices -- and Simon continued his round of folk clubs, pubs, and birthday parties, sometimes performing with Garfunkel, when he visited for the summer, but mostly performing on his own. One time he did perform with a full band, singing “Johnny B Goode” at a birthday party, backed by a band called Joker's Wild who a couple of weeks later went into the studio to record their only privately-pressed five-song record, of them performing recent hits: [Excerpt: Joker's Wild, "Walk Like a Man"] The guitarist from Joker's Wild would later join the other band who'd played at that party, but the story of David Gilmour joining Pink Floyd is for another episode. During this time, Simon also produced his first record for someone else, when he was responsible for producing the only album by his friend Jackson C Frank, though there wasn't much production involved as like Simon's own album it was just one man and his guitar. Al Stewart and Art Garfunkel were also in the control room for the recording, but the notoriously shy Frank insisted on hiding behind a screen so they couldn't see him while he recorded: [Excerpt: Jackson C Frank, "Blues Run the Game"] It seemed like Paul Simon was on his way to becoming a respected mid-level figure on the British folk scene, releasing occasional albums and maybe having one or two minor hits, but making a steady living. Someone who would be spoken of in the same breath as Ralph McTell perhaps. Meanwhile, Art Garfunkel would be going on to be a lecturer in mathematics whose students might be surprised to know he'd had a minor rock and roll hit as a kid. But then something happened that changed everything. Wednesday Morning 3AM hadn't sold at all, and Columbia hadn't promoted it in the slightest. It was too collegiate and polite for the Greenwich Village folkies, and too intellectual for the pop audience that had been buying Peter, Paul, and Mary, and it had come out just at the point that the folk boom had imploded. But one DJ in Boston, Dick Summer, had started playing one song from it, "The Sound of Silence", and it had caught on with the college students, who loved the song. And then came spring break 1965. All those students went on holiday, and suddenly DJs in places like Cocoa Beach, Florida, were getting phone calls requesting "The Sound of Silence" by Simon and Garfunkel. Some of them with contacts at Columbia got in touch with the label, and Tom Wilson had an idea. On the first day of what turned out to be his last session with Dylan, the session for "Like a Rolling Stone", Wilson asked the musicians to stay behind and work on something. He'd already experimented with overdubbing new instruments on an acoustic recording with his new version of Dylan's "House of the Rising Sun", now he was going to try it with "The Sound of Silence". He didn't bother asking the duo what they thought -- record labels messed with people's records all the time. So "The Sound of Silence" was released as an electric folk-rock single: [Excerpt: Simon and Garfunkel, "The Sound of Silence"] This is always presented as Wilson massively changing the sound of the duo without their permission or knowledge, but the fact is that they had *already* gone folk-rock, back in March, so they were already thinking that way. The track was released as a single with “We Got a Groovy Thing Going” on the B-side, and was promoted first in the Boston market, and it did very well. Roy Harper later talked about Simon's attitude at this time, saying "I can remember going into the gents in The Three Horseshoes in Hempstead during a gig, and we're having a pee together. He was very excited, and he turns round to me and and says, “Guess what, man? We're number sixteen in Boston with The Sound of Silence'”. A few days later I was doing another gig with him and he made a beeline for me. “Guess what?” I said “You're No. 15 in Boston”. He said, “No man, we're No. 1 in Boston”. I thought, “Wow. No. 1 in Boston, eh?” It was almost a joke, because I really had no idea what that sort of stuff meant at all." Simon was even more excited when the record started creeping up the national charts, though he was less enthused when his copy of the single arrived from America. He listened to it, and thought the arrangement was a Byrds rip-off, and cringed at the way the rhythm section had to slow down and speed up in order to stay in time with the acoustic recording: [Excerpt: Simon and Garfunkel, "The Sound of Silence"] I have to say that, while the tempo fluctuations are noticeable once you know to look for them, it's a remarkably tight performance given the circumstances. As the record went up the charts, Simon was called back to America, to record an album to go along with it. The Paul Simon Songbook hadn't been released in the US,  and they needed an album *now*, and Simon was a slow songwriter, so the duo took six songs from that album and rerecorded them in folk-rock versions with their new producer Bob Johnston, who was also working with Dylan now, since Tom Wilson had moved on to Verve records. They filled out the album with "The Sound of Silence", the two electric tracks from March, one new song, "Blessed", and a version of "Anji", which came straight after "Somewhere They Can't Find Me", presumably to acknowledge Simon lifting bits of it. That version of “Anji” also followed Jansch's arrangement, and so included the bit that Simon had taken for “We Got a Groovy Thing Going” as well. They also recorded their next single, which was released on the British version of the album but not the American one, a song that Simon had written during a thoroughly depressing tour of Lancashire towns (he wrote it in Widnes, but a friend of Simon's who lived in Widnes later said that while it was written in Widnes it was written *about* Birkenhead. Simon has also sometimes said it was about Warrington or Wigan, both of which are so close to Widnes and so similar in both name and atmosphere that it would be the easiest thing in the world to mix them up.) [Excerpt: Simon and Garfunkel, "Homeward Bound"] These tracks were all recorded in December 1965, and they featured the Wrecking Crew -- Bob Johnston wanted the best, and didn't rate the New York players that Wilson had used, and so they were recorded in LA with Glen Campbell, Joe South, Hal Blaine, Larry Knechtel, and Joe Osborne. I've also seen in some sources that there were sessions in Nashville with A-team players Fred Carter and Charlie McCoy. By January, "The Sound of Silence" had reached number one, knocking "We Can Work it Out" by the Beatles off the top spot for two weeks, before the Beatles record went back to the top. They'd achieved what they'd been trying for for nearly a decade, and I'll give the last word here to Paul Simon, who said of the achievement: "I had come back to New York, and I was staying in my old room at my parents' house. Artie was living at his parents' house, too. I remember Artie and I were sitting there in my car one night, parked on a street in Queens, and the announcer said, "Number one, Simon & Garfunkel." And Artie said to me, "That Simon & Garfunkel, they must be having a great time.""

Sonia Jones is one of the top backing vocalists and vocal coaches in the music industry. She sang the title track to Monty Python's Life of Brian when she was only sixteen years old, she was the lead in the Broadway Production Dreamtime and has performed in multiple other musicals plus the TV show Let's Rock. She has toured with The Who, Spandau Ballet, Mike Oldfield and James Last; she has recorded with The Rolling Stones, Van Morrison, Simple Minds, Peter Gabriel to name but a few, she has performed with the likes of Dave Gilmour, Annie Lennox and David Byrne. In this conversations Sonia talks about how she left Wales as a teenager determined to forge her career as a singer against her family's wishes and shares some of her top moments with the world's greatest musicians in a jam-packed conversation of music insights, adventures and laughter. Sign up to our newsletter and never miss a release! | Visit our website  Related Recommendations: Brian Song  Cerrone Harmony Tokyo Harbour 

Se cumplen 25 años de aquella cita histórica de la banda de los hermanos Gallagher. Y eso hay que celebrarlo. Fueron los días 10 y 11 de agosto de 1996 y casi 300.000 personas vieron a Oasis en acción. Los representantes respectivos de Noel y Liam se han puesto de acuerdo para darle vía al documental de aquel acontecimiento. Y sonó el tema del "Definitely maybe" con el que abrieron. Sigue la edición en vinilo de la discografía de PJ Harvey. Ahora le toca el turno a ese "White chalk" que saldrá el 25 de junio. Como en cada álbum la correspondiente ración de fetiches en forma de demos. Noticia del día es también el estreno del documental "Vivir en la Habana" con Blondie y sus conciertos de 2019 como argumento. Fueron invitados allá en un intercambio cultural y tocaron con músicos cubanos. Además, Razorlight se vuelven a reunir una década después para un livstream el mes que viene. Nueva canción (balada acústica minimalista) de Billie Eilish. Por su parte, Warpaint nos enseñan la suya cinco años después de la última y destinada a la serie "Made for love". Otro tema flamante es la colaboración de Cola Boyy con MGMT que define Matthew Urango como la culminación de una verdadera amistad. Y Cloves lo que exhibe es oscuridad que forma parte de sus pesadillas. Además el tándem Dave Gilmour y Peter Green gracias a la tecnología (lo de Green es del 69 y la guitarra del Pink Floyd es reciente) y documento para el libro sobre Fleetwood Mac que sale en octubre. Después de haber escuchado temas de su aportación para Birthday Party y Nick Cave & Bad Seeds volvimos a recordar a la malograda Anita Lane, esta vez con su trabajo en solitario. La cuota nacional la representaron los cuatro nombres que formarán parte del cartel de la fiesta casera de aniversario del programa de este viernes. Sonó música del disco de debut de Wide Valley y otras actuaciones (g.a.t.o.´s para la posteridad) de Alice Wonder (2017), Happy Losers (2018) y Rufus T Firefly (2017) Escuchar audio

You'll know Damon Hill as the Formula 1 World Champion and twice BBC Sports Personality of the Year and his wife Georgie from greeting him when he won that World title. How did Georgie Hill know that Damon was “the one” even before she met him? How did their Beatles obsessed son Ollie end up using Sir Paul McCartney as a human jukebox? And why was their son Ollie's teacher sceptical of his weekend adventures with Dave Gilmour of Pink Floyd and three of the Beatles?   Follow us on Twitter and Instagram and Subscribe to get a new episode every Wednesday. Tiggy Walker - Twitter Tiggy Walker - Instagram Johnnie Walker - Twitter    Music mentioned in this episode: The Beatles – The Long and Winding Road The Beatles – All You Need is Love Barwick Green (The Archers Theme) – Sidney Torch Paul McCartney – Maybe I'm Amazed Bob Dylan – Shelter from the Storm

He aquí un repertorio de música clásica en vivo. Canciones eternas que nos salvaron, nos salvan y nos salvarán. Artistas en el Olimpo: Carole King, Sprinsteen, Knopfler, Eagles, Jackson Browne, James Taylor, The Doobie Brothers, Late Bush, Sting, Phil Collins, Dave Gilmour, Amy Winehouse… Rock & Soul. DISCO 1 MARK KNOPFLER & CHET ATKINS Imagine (THE SECRET POLICEMAN III - 9)  DISCO 2 STING Roxanne (THE SECRET POLICEMAN - Cara 1 Corte 1) DISCO 3 KATE BUSH & DAVID GILMOUR Running Up That Hill (THE SECRET POLICEMAN III - 1) DISCO 4 PHIL COLLINS In The Air Tonight (THE SECRET POLICEMAN - Cara 2 Corte 1) DISCO 5 BRUCE SPRINGSTEEN & JACKSON BROWNE Stay (NO NUKES CD 2 - 8) DISCO 6 NICOLETTE LARSON & THE DOOBIE BROTHERS Lotta Love (NO NUKES - CD 1- 11) DISCO 7 THE DOOBIE BROS & JAMES TAYLOR Takin’ It To The Streets (NO NUKES CD 2 - 13) DISCO 8 EAGLES The Boys Of Summer (CD 2 - 5) DISCO 9 VINCE GILL & Albert lee & Jerry Douglas Tulsa Time (7) DISCO 10 LIANNE LA HAVAS I Say A Little Prayer(5) DISCO 12 AMY WINEHOUSE You Know I'm No Good (20) DISCO 13 CAROLE KING I Feel The Earth Move [Live] [12)  Escuchar audio

This week on Rockology Hour, I am joined by two special guests, two-time Grammy award-winning director/writer Bob Smeaton & producer/director Martin Smith to about their incredible 'Classic Albums' documentaries.Bob Smeaton is a double Grammy award winner, and three times Emmy nominated director of music and arts documentaries as well as an author. He has directed such works as "The Beatles Anthology", "Pink Floyd: Behind The Wall", "American Masters", "Classic Albums - Nirvana: Nevermind" & "Jimi Hendrix: Live In Woodstock" to name but a few or his works.Martin's a long-time producer/director who worked along side Bob on many of the "Classic Album" documentaries. He has also produced such works as "Jeff Beck: On The Run", "The Who: The Making Of Tommy" & "The Jam: About The Young Idea". Both gents were heavily involved in the creation of "Classic Album" documentary series. We discuss the process of making that documentary series, interviewing the likes of Nirvana & Pete Townshend and discuss the tumultuous dynamic between Roger Waters & Dave Gilmour.You can watch the 'Classic Albums' docs on Sky Arts and BBC4 or online. Please subscribe and share with a link-minded mate!Enjoy the show!www.rockologyhour.com@rockologyhourSupport the show (https://www.buymeacoffee.com/rockologyhour)

My Album Of The Week : Suite Of Dreams by Turdetans from Spain Also including music from : Dave Gilmour, Tim Bowness, Obsidian Dawn, Pain Of Salvation, Built For The Future, Doug Woods & Colin Powell ( The Instrumental Spot ), Pendragon ( The First 3 Feature ), Overhead ( Live ) & The Pineapple […]

The legendary bass player to the stars Guy Pratt joins us for a wonderful succession of amazing tales, rock and roll anecdotage, fashion advice, Floydian digressions and hot takes on Lodger in this second part of our megachat extravaganza! 1979's 'Lodger' is an often underrated album but upon further inspection, this blend of new wave, electrorock, globally-inspired music and esoteric experimentation stands the test of time. It's a shift away from the previous two 'Berlin' albums and probably the most Eno-esque of all Bowie's records, until 1995's '1. Outside'. The tough line up of Carlos Alomar, Dennis Davis and George Murray are on top form and our man Bowie sounds, in turn, edgy, expansive, impassioned and artful.  Joining me to discuss this superb moment in Bowie's career is the legendary boss of the bass, Guy Pratt who since the early 80s has been boosting the bottom end for Robert Palmer, Bryan Ferry, The Smiths, Icehouse, Coverdale/Page and in a relationship spanning over thirty years, various permutations of Pink Floyd. Today, he plays with Nick Mason's Saucerful of Secrets band, who bring the magical era of Syd era Floyd to the stage. His 2009 autobiography, 'My Bass And Other Animals' is one of the finest, funniest and most enjoyable accounts of a life out on the wilds of the rock scene at its most debauched and delightful best.  Guy has also been in the enviable position of having supported Bowie in 1983, as part of Australian art rockers Icehouse, in the midst of a fan scrum with him in Rotterdam and having Bowie meet his mum outside a caravan full of coke-deranged Australians. He also played bass on Bowie's last ever UK appearance, when he joined Dave Gilmour and band for 'Arnold Layne' and 'Comfortably Numb' in London's Royal Albert Hall in 2006.  This recording, done under lockdown via Zoom, picks up towards the end of side one of Lodger, and makes it to the end of side two via the scenic route. I hope you enjoy it as much as I enjoyed talking to Guy! There are occasional groans from my dachshund, the worst of these have been removed. Check out guypratt.com for news, info and updates on all things Guy Pratt and look up his Lockdown Licks on YouTube and get the inside scoop on how to play some of his best-loved licks and lines. 

1979's 'Lodger' is an often underrated album but upon further inspection, this blend of new wave, electrorock, globally-inspired music and esoteric experimentation stands the test of time. It's a shift away from the previous two 'Berlin' albums and probably the most Eno-esque of all Bowie's records, until 1995's '1. Outside'. The tough line up of Carlos Alomar, Dennis Davis and George Murray are on top form and our man Bowie sounds, in turn, edgy, expansive, impassioned and artful.  Joining me to discuss this superb moment in Bowie's career is the legendary boss of the bass, Guy Pratt who since the early 80s has been boosting the bottom end with the likes of Bryan Ferry, The Smiths, Icehouse, Coverdale/Page and in a relationship spanning over thirty years, various permutations of Pink Floyd. Today, he plays with Nick Mason's Saucerful of Secrets band, who bring the magical era of Syd era Floyd to the stage. His 2009 autobiography, 'My Bass And Other Animals' is one of the finest, funniest and most enjoyable accounts of a life out on the wilds of the rock scene at its most debauched and delightful best.  Guy has also been in the enviable position of having supported Bowie in 1983, as part of Australian art rockers Icehouse, in the midst of a fan scrum with him in Rotterdam and having Bowie meet his mum outside a caravan full of coke-deranged Australians. He also played bass on Bowie's last ever UK appearance, when he joined Dave Gilmour and band for 'Arnold Layne' and 'Comfortably Numb' in London's Royal Albert Hall in 2006.  This recording, done under lockdown via Zoom, gets halfway through side one of Lodger, with many many digressions and much deviation on the way - and I hope you enjoy it as much as I enjoyed making it! Stay tuned for Part 2 imminently  Check out guypratt.com for news, info and updates on all things Guy Pratt https://www.amazon.co.uk/Bass-Other-Animals-Guy-Pratt-ebook/dp/B001NLKY5G/ref=sr_1_1?crid=FB2HVV7IX4UW&dchild=1&keywords=guy+pratt+my+bass+and+other+animals&qid=1587652109&sprefix=guy+Pratt%2Caps%2C133&sr=8-1

Martin, Andy, Callum and Darren discuss:What do you look for in a guitar playerYour top 3 guitarist in 10 secondsTop guitarists for different genresCoolest looking guitaristsHonorary mentions

Perm the hair, get out the skinny tie and fire up the little red corvette, it's back to the 80's we go as the boys get together over a few cold ones on the patio of Clint's AirBnB. You may ask yourself, what has happened to my beautiful podcast? This episode: Bill tries to go Judge Dredd style with Anthrax's "I am the Law", as Clint goes all SJW with "We are the world". While not explicitly stating that he is a living in a material world, Bill does buy in to the electro kraut-rock of Visage, gets his gear off to the New York gay anthem "Male Stripper", and steals your heart to the sounds of Ministry. He knows this is what you want, so this is what you get. Over at the Blue Light Disco, Clint shows why Bowie and Midnight Oil solved racism in Australia, flirts with INXS before getting his first kiss with Paul Kelly. No legal action against us was brought forward by either Rogers Waters or Dave Gilmour. *phew* Rounding out the decade, Cold Chisel get the band back together for the express purpose of showing that greed is still good, and Thurston Moore harks back to a simpler time where Sonic Youth were all that was right with the world.

BudgetPedalChap and Uli Pedabadadoo are joined by our very special guest and returning co-host, Mr Sean Pierce Johnson!!! We surf the waves of guitar news this week, mentioning our collectively busy schedules which include a butt-load of upcoming pedal reviews and a review of a guitar that may or may not contain a bottle opener, which is a bloody fantastic feature if you ask me. We get an in-depth with the new Boss 200 series pedals and draw some parallels with a previous range from the Boss line-up. This week, a rather impressive chap has decided to sell an even impressiver collection of the most impressivest guitars ever sold, including some rather old and sought-after Fender numbers. Yes, I’m talking about Dave Gilmour, who donated the impressive 21mil to a climate change charity. What a bloody legend. We also tackle the controversy surrounding the big G this week and fairly dispute each side of the debate as well as weigh in on what we think might be the ramifications of their actions. Since recording this episode, the European courts have ruled against Gibson on their trademark of the Flying V shape, which is a bit of a setback for Gibson’s crusade at very least. We will have to keep our collective ear to ground on this topic to see how it unfolds. Throw us a 5-star review on Itunes to help us soar up the ranks and sharing the cast helps us immensely also. Don't forget to have your online on the Fret Talk Podcast group on Facebook https://www.facebook.com/groups/690366661155328/?ref=bookmarkssay and join in with the live streams at the PBOD Group https://www.facebook.com/groups/64533347864/ Find your host at: BudgetPedalChap www.Facebook.com/budgetpedalchap www.Instagram.com/budgetpedalchap https://www.youtube.com/budgetpedalchap or search ‘budget pedal chap’ on YouTube Ollie www.Facebook.com/OllieMilesMusic Matt www.Facebook.com/SwitchIOM www.twitch.tv/heel_mattq www.twitter.com/heel_mattq Paul M www.Dontpanic.com www.Dontpanic.co.uk www.Facebook.com/dontpanicblackpool www.Instagram.com/showmaster87 Paul F www.Twitter.com/VitaminnP Chris www.Facebook.com/demolabstudio Moog www.Facebook.com/Rapscallionmusic Andrew ‘The Guitar Geek’ Ferris https://www.youtube.com/channel/UCI5i6aBbINMIEkYW3b6olHg www.Instagram.com/theguitargeekyt Ayrton https://www.facebook.com/TheSinCircus/ Sean youtube.com/SeanPierceJohnson @stompboxsaturday on IG @seanpiercejohnson on IG Band stuff: CockeyedOptimist.net facebook.com/CockeyedOptimistRock @cockeyedoptimist on IG Music available on iTunes https://itunes.apple.com/us/artist/cockeyed-optimist/441835940 and Spotify https://open.spotify.com/artist/7a0bFlRv1D2WFz4uAy5exL --- Send in a voice message: https://anchor.fm/fret-talk/message

Steve Cooper talks with drummer Simon Phillips. Simon is best known for being Toto's drummer from 1993 until 2009. He was the drummer for The Who during the band's American reunion tour in 1989 and played on Pete Townshend's Empty Glass album. To date he has toured and recorded with many bands and artists, including: Mick Jagger, Jeff Beck, Jack Bruce, Peter Gabriel, Joe Satriani, Tears for Fears, Judas Priest, Roxy Music, Michael Schenker, Nik Kershaw, Phd., Al DiMeola, 801, Russ Ballard, Robert Palmer, Stanley Clarke, The Pretenders, Jon Anderson, Whitesnake and Dave Gilmour... to name but a few.  

Some of the topics this week are: R. Kelly deciding to not take our advice, Some fresh new rock beef, Dave Gilmour selling a bunch of gear for charity, Alanis Morissette bringing her best work to Broadway, One of my predictions about Spotify coming to fruition, Mark Hoppus's plan for the future of Blink 182, and much much more…   This weeks album review: Maggie Rogers - Heard It In A Past Life This weeks Rig Rundown: James Williamson - The Stooges 2011 Buy His Rig: Gibson Les Paul Custom / Brian Michael Les Paul Custom Replica of 1969 Les Paul Custom / Lollar Raw Power Pickups / Fishman Powerbridge / Splitter Box / Fishman Aura / Budda Budwah / Durham Electronics Sexdrive OD / Voodoo Labs amp selector / Blackstar Artisan 30 2x12 combo / Blackstar Artisan 30 heads / Blackstar 4x12 / Andrew Burns Loomer Cable (wrap cable wrap around 4 guitar cables) / Evidence Audio Stereo Cable / D'Addario Medium Picks / D'Addarion 10-46 / G7 Capo Mid-Level Replacement Rig: Les Paul Custom (USED) / Lollar Raw Power Pickups / Fishman Powerbridge / Splitter Box / Fishman Aura 16 (Used) / Dunlop 535Q / Fulltone OCD / Blackstar Artisan 30 head / Blackstar 4x12 / Conquest Sound Stereo Guitar Cable / D'Addario Medium Picks / D'Addarion 10-46 / G7 Capo Entry-Level Replacement Rig: Epiphone Les Paul 100 / Mooer Acoustic Guitar Simulator pedal / Boss SD-1 Super Overdrive / Marshall MG30GFX-U 30 watt amp / D'Addario Medium Picks / D'Addarion 10-46 / G7 Capo   Cooking with Kdog / Graphic Design by Chris / Crazy X Band / DNA Amps / FretWorx   Facebook / Instagram / Twitter

It was destiny. The story of how Slimming's very own Chris Soulos ending up playing on The World Without by SJS. We chat with Stuart Stawman about creating the album, working with Talk Talk, Tina Turner and discovering that Robert Plant is 6'1" in height.

Beebs and Smith attempt there first double-ender from across the Pennines. They ask who are the guitar heroes of today? Debate the pros and cons of the UK grade exam system and how to balance teaching to them Vs musical life skills. The famous bassist Dave Gilmour and the Millenial Whoop come up too.

In guitar lesson 30, I go to Dan with three questions looking for his guidance. Dan picks up on some very important points about the big picture, maintaining enthusiasm, the importance of live work and how to push yourself towards being an advanced player. You will hear some jamming over a Danny Gatton style backing track, a blues shred idea and plenty of snippets from players as Dan shares the wisdom of his experience. Hopefully, you will be as inspired and motivated by this episode as I am. 02:22 - Introduction - I ask whether we can look at some questions around bringing your skills along 02:36 - Question 1: Advice on having the time to practice 02:55 - Question 2: What skills do you think you need to be moving along from intermediate to advanced guitar 03:14 - Question 3: What do you do to get you out of being in a rut? 05:34 - What causes the ruts? Sometimes caused by doing the same thing and sometimes caused by being on a plateau 07:34 - QUESTION 1: So how do you get out of a rut? 09:52 - Advice on how to gain motivation - get yourself a good teacher 11:12 - The Great Phil Hillborn 12:25 - Advice to find something which excites you - licks, riffs and styles 13:46 - Never forget that you're a student of guitar 13:50 - Never forget you can learn off anybody 14:32 - I mention my motivation being the challenge to see how far I can take it 15:54 - I talk about my 10 years of not playing guitar 16:27 - Advice on motivation - Guitar is therapeutic & a stabilising force 17:22 - The importance of live work and fun interactions with the crowd 18:34 - Losing your mojo and holding onto your childlike enthusiasm is not always easy 19:54 - 1) When you've not got a band to gig with, seek open mics 21:06 - 2) Sometimes buying a piece of kit can be invigorating 22:22 - 3) Trying another instrument 22:24 - 4) Get yourself a teacher 23:27 - 5) Changing things up - change where you are on the fretboard 23:44 - 6) Try a different style 24:09 - 7) Buy some techniques books 25:24 - 8) Go to a gig 27:57 - QUESTION 2 – what do you do if your practice time is limited? 28:55 - Big Jim Sullivan on styles and session work 31:50 - You have to immerse yourself in the style. 34:48 - Andy Wood flatpicking 43:44 - Quick jam over a Country backing track in the style of Danny Gatton 48:41 - Playing the country rhythm 52:06 - QUESTION 3: How do make the leap to advanced and how do you recognise that someone is an advanced player 52:24 - Is Dave Gilmour an advanced player? 54:43 - Dave Gilmour: on the turning away 56:29 - Gary Moore: The messiah will come again 59:21 - Dave Gilmour: Sorrow 60:21 - An advanced player is someone whose personality comes through and they're instantly recognisable 61:48 - Dream theatre John Petrucci 62:10 - Jeff Beck 64:56 - Learn how to accept your playing is your unique sound 67:56 - Dan's take on the blues and Marty Friedman mucking up normal playing for interest 69:55 - Explaining the lick: Blues mixed with sixes rhythms 70:49 - Change the sound on your guitar to get a new idea 71:48 – Final advice summary: Only work on one thing at a time and immerse yourself

Az őz és a szarvas közti különbségek taglalásával kezdjük hallgatói felvetésre. Pedig Shaquille O'Neal, Tyereskova és Dave Gilmour szülinapja is van. Tőzsdei összefoglaló után lapszemle. Utóbbit egyetlen téma uralja: ki utazik ma utazási irodával? Hitelkártya. A versenyhivatal vizsgálta, az OTP jól kommunikálta-e, hogy mikor és mi után kell kamatot fizetni a hitelkártya használata után? Homa Péter (bankkártya.hu) vonja le a tanulságokat. A hallgatók nagyvonalú és szőrszálhasogató bankokról ejtenek szót a téma kapcsán. Lakáspiac. Van-e fordulat? Túlfűtöttség? Horváth Áron (Eltinga Ingatlanpiaci Kutatóközpont) a stúdióban válaszol.

Chris interviews Mike Rowe in Paris, March 2015.  Mike discusses his life in music, collaborating as keyboardist for Stevie Nicks, Sheryl Crow, Dave Gilmour, Amorphous Androgynous and Oasis.  Chris speaks to Mike as the album he is touring sits at Number 1 in the UK Album Chart, his ambition to play with Johnny Greenwood and gives advice for young musicians entering the industry. #bass #music #musicpodcast #podcast #musicians #bassist #bassists #guitar #guitarist #guitars #guitarists #musiccommentary #drums #drummer #drummers #piano #oasis #noelgallagher #liamgallagher #noelgallaghershighflyingbirds #britpop #indie #rock

Dave Gilmour, Keith Richards, George Harrison e Dinosaur Jr.