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5 episodes with Denmark Street
6 episodes with Denmark Street
5 episodes with Denmark Street
2 episodes with Denmark Street
3 episodes with Denmark Street
2 episodes with Denmark Street
2 episodes with Denmark Street
2 episodes with Denmark Street
Hello dear listener, This week, Matt and I are taking a look at two new Duo Fuzz options from the legendary Rose Morris, Denmark Street brand, SHAFTSBURY! Designed by the wonderful Adrian Thorpe of Thorpy FX, these two classic velco fuzzes are absolute sonic wonder-machines! And to top it all off, you can get 10% off either of the Shaftsbury Duo Fuzzes with discount code NERDS10 when purchased directly from the Rose Morris webstore! Hosted on Acast. See acast.com/privacy for more information.
I denne serie skal vi stifte bekendtskab med en af de mest berømte seriemordere i historien. Han hedder Dennis Andrew Nilsen – eller DES, som han bliver kaldt i England. Han er også kendt som "The Kindly Killer" eller "The Muswell Hill Murderer". I denne serie har jeg valgt at kalde ham den venlige morder. Dennis opererer, som så mange andre af de mest berygtede seriemordere, i seriemordernes guldalder – altså i slutningen af 1970'erne og begyndelsen af 1980'erne. Men han kommer ikke fra USA, som så mange andre seriemordere, men derimod fra Storbritannien – nærmere bestemt Skotland. Dennis Nilsen menes at stå bag ikke færre end 15 drab, og hans gerninger har gjort ham til en af de mest berygtede mordere i Storbritanniens historie. I denne serie skal vi forsøge at afdække, hvad det er, der får den stille og venlige jobcentermedarbejder fra Denmark Street i London til at begå så mange mord.
In this episode, Danny Hurst is joined by Ronnie Golden, aka Tony De Meur, of the post-punk pub rock band The Fabulous Poodles. They had several hits and appeared regularly on TV and radio. The Fabulous Poodles supported many bands including The Ramones and Tom Petty & The Heartbreakers. Later, Ronnie transitioned into stand-up, comedy, acting and song-writing. He worked with Rik Mayall, Adrian Edmondson, Dawn French and Jennifer Saunders and was in The Young Ones, The Fourth Protocol and more. Later, he collaborated with comedy legends such as Arthur Smith, Rich Hall and, until his death, Barry Cryer, with whom he performed regularly as a double-act. Ronnie shares some fascinating stories about his career, the people he has worked with and his influences. He also explains how he learned maths through music and how the Comedy Store and The Comic Strip Presents… changed British comedy. If you can´t get enough of these podcasts, head to https://www.patreon.com/DannyHurst to access my exclusive, member-only, fun-filled and fact-packed history-related videos. KEY TAKEAWAYS Despite writing a lot of music Ronnie, like many other musicians, cannot read music. Ronnie learned maths through music, he explains how during the episode. Never turn down the chance to do something new. Repeatedly, Ronnie took on projects despite not having 100% of the skills required. He simply learned what he needed to know. All performers have bad days, including Bob Dylan. Ronnie shares what it was like to see Eric Clapton, Fleetwood Mac, John Lee Hooker, Jimi Hendrix and more perform in small London venues. A lot of the comedy of the 80s came out of people being sick of the Tories. In the 60s, going up west and to Denmark Street was a buzz. Today, London has become so corporate that it has lost much of its character. BEST MOMENTS “From doing comedy songs, I developed repartee, and it became a mix of stand-up and music.” “I recognised the mathematics in music, and I connected with it. 12 bar blues and that kind of stuff.” “I bought myself a harmonica, and I didn't take it out of my mouth for about a week until I learned it.” “You´ve got to trust yourself.” “That´s the way Dylan works – he likes to surprise himself.” “In the 60s, it was a complete buzz.” “I see less of places that I used to love going to and everything’s changed.” EPISODE RESOURCES https://x.com/ronniegolden1 https://en.wikipedia.org/wiki/Ronnie_Golden HOST BIO Historian, performer, and mentor Danny Hurst has been engaging audiences for many years, whether as a lecturer, stand-up comic or intervention teacher with young offenders and excluded secondary students. Having worked with some of the most difficult people in the UK, he is a natural storyteller and entertainer, whilst purveying the most fascinating information that you didn't know you didn't know. A writer and host of pub quizzes across London, he has travelled extensively and speaks several languages. He has been a consultant for exhibitions at the Imperial War Museum and Natural History Museum in London as well as presenting accelerated learning seminars across the UK. With a wide range of knowledge ranging from motor mechanics to opera to breeding carnivorous plants, he believes learning is the most effective when it's fun. Uniquely delivered, this is history without the boring bits, told the way only Danny Hurst can. CONTACT AND SOCIALS https://instagram.com/dannyjhurstfacebook.com/danny.hurst.9638 https://twitter.com/dannyhurst https://www.linkedin.com/in/danny-hurst-19574720
Richard Bellia in conversation with David Eastaugh https://richardbellia.com/ Photographer Richard Bellia was there when it mattered carrying his trusted camera to capture moments in music's vast cannon of historical importance, some which now forms his own tapestry of work in Un œil sur la musique 1980-2016 i.e. An eye on music 1980-2016. The intro to the book says ‘'a thousand photos: breathe the same air as the musicians, feel the bass, the riffs and the silences, sixtieth of a second per sixtieth of a second.'' With this in mind its hard not to get stuck straight in with the mammoth heavyweight volume of photos infront of you. The first striking images come from prime Punk era via Denmark Street, John Lydon looking grimacingly at the camera in the studio and on stage with PiL, Joe Strummer looking cool as holding his guitar towards the camera, Topper Headon, Mick Jones and leather clad Paul Simonon all looking equally stunning in separate shots.
The original Tin Pan Alley was in Fifth and Sixth Avenue in Manhattan, New York, where music publishers set up shop in the late 19th century, attracting songwriters and coming to dominate American popular music. Since then Tin Pan Alley has come to mean a quarter where there are music shops and where musicians gather. Cities all over the globe have Tin Pan Alleys of their own. For instance, if you wanted to buy a bass guitar in London, you'd head to the UK's Tin Pan Alley, Denmark Street. In this week's series of the Essay BBC correspondents from Madrid to Tokyo explore the Tin Pan Alleys of their towns, talking to musicians trying out the instruments before they buy, and to the shopkeepers selling them. They explore the state of the musical culture, and culture more generally, of the countries they are reporting from.The series begins in Beijing where Stephen McDonell visits Xinjiekou Street, where the shops sell Chinese traditional instruments: the erhu, a two string fiddle; the pipa, a pear shaped lute; the guzheng, a zither...and several others. He discovers that there is renewed enthusiasm for them and their music, and meets some musicians playing in a tunnel, not for the acoustic but because, in an odd reversal of the norm, if they play in the street young people object to the noise and shop them to the cops. Presenter: Stephen McDonell Producer: Julian May
My guest for this pilot episode is Gale Paridjanian of (the magnificent) Turin Brakes.If you listen to the song Underdog (Save me) by Turin Brakes, it will tell you a lot about how Gale plays and what he brings to a song with his guitar playing. Gale is an underrated and understated guitar god - as all Turin Brakes fans know. Olly Knights, singer in Turin Brakes describes Gales playing as “the real deal since the very beginning", and also “band cheat code” which Gale & I explore further in this conversation. Gale's choice of guitar is a Charvel electric-acoustic model from his days working in the acoustic department of one of the music shops in London's famous Denmark Street, for which he paid something like £469 (roughly £1,200 in today's money). “It's got my sound in it. If you plug it in it just sounds like The Optimist and that's our sound. It's a battle to play but there's something about how it sounds when it's recorded. It sounds like me”. An inexpensive one-off model, in Gales hands, the Charvel became the signature sound for Turin Brakes - Gales says “it feels more honest the more acoustic we are” - and it's true - the band were pioneers of the acoustic-led pop that followed, paving the way for singer-songwriters like Newton Faulkner, even Ed Sheeran. But Gale and the band are on fire, still. His own influences include The Stones, Chuck Berry, Chris Whitley and Derek Trucks. Gale plays some of his own and Turin Brakes fans' favourite pieces - a lot from the band's debut LP The Optimist - and tells stories of the band, his own life as a guitar player and the Charvel he holds dear, even if it is falling apart. Let's hope he gets it serviced soon. Support the showGet more related content at: https://www.songsommelier.com/
Ian Hunter – an image so familiar you'd recognise his silhouette - now lives in Connecticut and he's just released expanded versions of two of his best-selling solo albums, You're Never Alone With A Schizophrenic and Short Back N' Sides. He's 85, born before any of the Beatles. We talk to him here about life growing up in the ‘40s and ‘50s when your father's a copper and “music wasn't allowed in the house”, and touch upon … … the debt he owes Freddie ‘Fingers' Lee. … café jukeboxes full of Little Richard, Chuck Berry and Fats Domino. … beating 165 acts at a talent contest at Butlins. … the record that made the Beatles (which they didn't write). … “a two-piece corduroy suit, open-toed sandals, overweight …”: the Mott the Hoople audition. … Bowie playing All The Young Dudes – “a monster” – cross-legged on the floor in Denmark Street after they'd turned down Suffragette City. … why Hendrix was thrown out of Regent Sound studios. … playing the Reeperbahn in 1963. … recording ‘Schizophrenic' with three members of the E Street Band. … “Do you want a cuddle?” The Mick Ronson recording method. … the good thing about Covid. … watching punk bands with Mick Jones. … plus a ‘dyed-black' Ford Anglia and the Greatest Record Ever Made. Order Ian's re-released albums here:Buy link: https://ianhunter.lnk.to/sbnsFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Ian Hunter – an image so familiar you'd recognise his silhouette - now lives in Connecticut and he's just released expanded versions of two of his best-selling solo albums, You're Never Alone With A Schizophrenic and Short Back N' Sides. He's 85, born before any of the Beatles. We talk to him here about life growing up in the ‘40s and ‘50s when your father's a copper and “music wasn't allowed in the house”, and touch upon … … the debt he owes Freddie ‘Fingers' Lee. … café jukeboxes full of Little Richard, Chuck Berry and Fats Domino. … beating 165 acts at a talent contest at Butlins. … the record that made the Beatles (which they didn't write). … “a two-piece corduroy suit, open-toed sandals, overweight …”: the Mott the Hoople audition. … Bowie playing All The Young Dudes – “a monster” – cross-legged on the floor in Denmark Street after they'd turned down Suffragette City. … why Hendrix was thrown out of Regent Sound studios. … playing the Reeperbahn in 1963. … recording ‘Schizophrenic' with three members of the E Street Band. … “Do you want a cuddle?” The Mick Ronson recording method. … the good thing about Covid. … watching punk bands with Mick Jones. … plus a ‘dyed-black' Ford Anglia and the Greatest Record Ever Made. Order Ian's re-released albums here:Buy link: https://ianhunter.lnk.to/sbnsFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Ian Hunter – an image so familiar you'd recognise his silhouette - now lives in Connecticut and he's just released expanded versions of two of his best-selling solo albums, You're Never Alone With A Schizophrenic and Short Back N' Sides. He's 85, born before any of the Beatles. We talk to him here about life growing up in the ‘40s and ‘50s when your father's a copper and “music wasn't allowed in the house”, and touch upon … … the debt he owes Freddie ‘Fingers' Lee. … café jukeboxes full of Little Richard, Chuck Berry and Fats Domino. … beating 165 acts at a talent contest at Butlins. … the record that made the Beatles (which they didn't write). … “a two-piece corduroy suit, open-toed sandals, overweight …”: the Mott the Hoople audition. … Bowie playing All The Young Dudes – “a monster” – cross-legged on the floor in Denmark Street after they'd turned down Suffragette City. … why Hendrix was thrown out of Regent Sound studios. … playing the Reeperbahn in 1963. … recording ‘Schizophrenic' with three members of the E Street Band. … “Do you want a cuddle?” The Mick Ronson recording method. … the good thing about Covid. … watching punk bands with Mick Jones. … plus a ‘dyed-black' Ford Anglia and the Greatest Record Ever Made. Order Ian's re-released albums here:Buy link: https://ianhunter.lnk.to/sbnsFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Many Polish people chose to come to live and work in Ireland in the years since the European Union expansion. In Limerick, St Michael's Church on Denmark Street is known locally as the Polish Church.
Paul Cook's post-Pistols band the Professionals were once, rather surprisingly, on the cover of Smash Hits - “the pinnacle of our success!” – and they're including the 100 Club on their upcoming tour, the location of another career highlight. He talks to us here about how the first time he played live was also the Pistols' first appearance (Saint Martin's College of Art - “utter chaos”), how their old Denmark Street rehearsal room is now an AirBnB (Rotten's cartoons still on the wall), old punks in the audience, Danny Boyle's TV series and the very slim chance of a reunion (“never say never”). But much of this is about climbing through back windows to see bands in the early ‘70s, Stevie Wonder, the Four Tops, Queen and Mott the Hoople among them. And seeing Alex Harvey on the day the whole of Scotland descended on London for the match against England at Wembley. The Professionals are playing four UK dates (and often chuck in a couple of Pistols' tunes):https://www.ents24.com/uk/tour-dates/the-professionals-1-1Subscribe to Word In Your Ear on Patreon for early - and ad-free - access to all of our content, plus a whole load more: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Paul Cook's post-Pistols band the Professionals were once, rather surprisingly, on the cover of Smash Hits - “the pinnacle of our success!” – and they're including the 100 Club on their upcoming tour, the location of another career highlight. He talks to us here about how the first time he played live was also the Pistols' first appearance (Saint Martin's College of Art - “utter chaos”), how their old Denmark Street rehearsal room is now an AirBnB (Rotten's cartoons still on the wall), old punks in the audience, Danny Boyle's TV series and the very slim chance of a reunion (“never say never”). But much of this is about climbing through back windows to see bands in the early ‘70s, Stevie Wonder, the Four Tops, Queen and Mott the Hoople among them. And seeing Alex Harvey on the day the whole of Scotland descended on London for the match against England at Wembley. The Professionals are playing four UK dates (and often chuck in a couple of Pistols' tunes):https://www.ents24.com/uk/tour-dates/the-professionals-1-1Subscribe to Word In Your Ear on Patreon for early - and ad-free - access to all of our content, plus a whole load more: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Paul Cook's post-Pistols band the Professionals were once, rather surprisingly, on the cover of Smash Hits - “the pinnacle of our success!” – and they're including the 100 Club on their upcoming tour, the location of another career highlight. He talks to us here about how the first time he played live was also the Pistols' first appearance (Saint Martin's College of Art - “utter chaos”), how their old Denmark Street rehearsal room is now an AirBnB (Rotten's cartoons still on the wall), old punks in the audience, Danny Boyle's TV series and the very slim chance of a reunion (“never say never”). But much of this is about climbing through back windows to see bands in the early ‘70s, Stevie Wonder, the Four Tops, Queen and Mott the Hoople among them. And seeing Alex Harvey on the day the whole of Scotland descended on London for the match against England at Wembley. The Professionals are playing four UK dates (and often chuck in a couple of Pistols' tunes):https://www.ents24.com/uk/tour-dates/the-professionals-1-1Subscribe to Word In Your Ear on Patreon for early - and ad-free - access to all of our content, plus a whole load more: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Britain's own Tin Pan Alley, Denmark Street was once alive with the sound of hammered pianos, and sung melodies and choruses. Its songwriters knocked out tunes on the fly and rushed to the street to sell them to pay for the next round of drinks. In the '60s, The Beatles, The Rolling Stones and The Kinks came here, so did Donovan and Jimmy Page, Eric Clapton and Elton John, Jimi Hendrix and Jeff Beck. A popular rendezvous was La Gioconda, an Italian cafe which most visited at some point or other – David Bowie was said to practically live there. Later when Malcolm McLaren was looking for a rehearsal space for The Sex Pistols, he was delighted to find room in Denmark Street, installing his upstarts in the heart of the traditional music industry - like Greek soldiers inside the Trojan Horse. Journalist Pete Watts returns to The Bureau to tell us tales of this lost street of dreams - and at least of one nightmare. Pete's wonderful book on Denmark Street is HERE #hipgnosis #pink floyd #london #pop music #london #musichistory #counterculture #soho #musicpublishing #music #1960s #jimihendrix #thesexpistols #davidbowie #the kinks #the beatles #DenmarkStreet #tinpanalley
Denmark Street, Britain's Tin Pan Alley, played a pivotal role in the music industry. Peter Watts takes us The post Denmark Street appeared first on The Strange Brew .
Glen Matlock came to our live podcast recording at London's 21Soho at the end of November and lit up the audience with tales from his new memoir ‘Triggers', stories of his early life in the late ‘50s and ‘60s, his brief and riotous shift in the Sex Pistols and his colourful adventures since. The full cast list includes Jeff “Skunk” Baxter, the DJ Mike Raven, Gary Glitter, John Peel, Kenneth Horne, Malcolm McLaren, Nick Kent, Ian McLagan, Ronnie Lane, Midge Ure, Wally Nightingale, Blondie and Bill Grundy. You get a real sense of the fabric of London around Ted Carroll's record stall in Ladbroke Grove and around Denmark Street when the Pistols lived and rehearsed there. And look out for the night they played a Conservative Club to a crowd of six, the time McLaren begged him to return as “it wasn't working out with Sid”, the Filthy Lucre reunion and his luminous account of Johnny Rotten's audition backed by a jukebox playing Alice Cooper. Glen Matlock came to our live podcast recording at London's 21Soho at the end of November and lit up the audience with tales from his new memoir ‘Triggers', stories of his early life in the late ‘50s and ‘60s, his brief and riotous shift in the Sex Pistols and his colourful adventures since. The full cast list includes Jeff “Skunk” Baxter, the DJ Mike Raven, Gary Glitter, John Peel, Kenneth Horne, Malcolm McLaren, Nick Kent, Ian McLagan, Ronnie Lane, Midge Ure, Wally Nightingale, Blondie and Bill Grundy. You get a real sense of the fabric of London around Ted Carroll's record stall in Ladbroke Grove and around Denmark Street when the Pistols lived and rehearsed there. And look out for the night they played a Conservative Club to a crowd of six, the time McLaren begged him to return as “it wasn't working out with Sid”, the Filthy Lucre reunion and his luminous account of Johnny Rotten's audition backed by a jukebox playing Alice Cooper. Glen's tour dates are here: http://www.glenmatlock.co.uk/ And you can order ‘Triggers' here: https://www.waterstones.com/book/triggers/glen-matlock/9781788709446Subscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Glen Matlock came to our live podcast recording at London's 21Soho at the end of November and lit up the audience with tales from his new memoir ‘Triggers', stories of his early life in the late ‘50s and ‘60s, his brief and riotous shift in the Sex Pistols and his colourful adventures since. The full cast list includes Jeff “Skunk” Baxter, the DJ Mike Raven, Gary Glitter, John Peel, Kenneth Horne, Malcolm McLaren, Nick Kent, Ian McLagan, Ronnie Lane, Midge Ure, Wally Nightingale, Blondie and Bill Grundy. You get a real sense of the fabric of London around Ted Carroll's record stall in Ladbroke Grove and around Denmark Street when the Pistols lived and rehearsed there. And look out for the night they played a Conservative Club to a crowd of six, the time McLaren begged him to return as “it wasn't working out with Sid”, the Filthy Lucre reunion and his luminous account of Johnny Rotten's audition backed by a jukebox playing Alice Cooper. Glen Matlock came to our live podcast recording at London's 21Soho at the end of November and lit up the audience with tales from his new memoir ‘Triggers', stories of his early life in the late ‘50s and ‘60s, his brief and riotous shift in the Sex Pistols and his colourful adventures since. The full cast list includes Jeff “Skunk” Baxter, the DJ Mike Raven, Gary Glitter, John Peel, Kenneth Horne, Malcolm McLaren, Nick Kent, Ian McLagan, Ronnie Lane, Midge Ure, Wally Nightingale, Blondie and Bill Grundy. You get a real sense of the fabric of London around Ted Carroll's record stall in Ladbroke Grove and around Denmark Street when the Pistols lived and rehearsed there. And look out for the night they played a Conservative Club to a crowd of six, the time McLaren begged him to return as “it wasn't working out with Sid”, the Filthy Lucre reunion and his luminous account of Johnny Rotten's audition backed by a jukebox playing Alice Cooper.Recorded in front of a live audience at 21Soho, London, on November 27th 2023. Glen's tour dates are here: http://www.glenmatlock.co.uk/ And you can order ‘Triggers' here: https://www.waterstones.com/book/triggers/glen-matlock/9781788709446Subscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Glen Matlock came to our live podcast recording at London's 21Soho at the end of November and lit up the audience with tales from his new memoir ‘Triggers', stories of his early life in the late ‘50s and ‘60s, his brief and riotous shift in the Sex Pistols and his colourful adventures since. The full cast list includes Jeff “Skunk” Baxter, the DJ Mike Raven, Gary Glitter, John Peel, Kenneth Horne, Malcolm McLaren, Nick Kent, Ian McLagan, Ronnie Lane, Midge Ure, Wally Nightingale, Blondie and Bill Grundy. You get a real sense of the fabric of London around Ted Carroll's record stall in Ladbroke Grove and around Denmark Street when the Pistols lived and rehearsed there. And look out for the night they played a Conservative Club to a crowd of six, the time McLaren begged him to return as “it wasn't working out with Sid”, the Filthy Lucre reunion and his luminous account of Johnny Rotten's audition backed by a jukebox playing Alice Cooper. Glen Matlock came to our live podcast recording at London's 21Soho at the end of November and lit up the audience with tales from his new memoir ‘Triggers', stories of his early life in the late ‘50s and ‘60s, his brief and riotous shift in the Sex Pistols and his colourful adventures since. The full cast list includes Jeff “Skunk” Baxter, the DJ Mike Raven, Gary Glitter, John Peel, Kenneth Horne, Malcolm McLaren, Nick Kent, Ian McLagan, Ronnie Lane, Midge Ure, Wally Nightingale, Blondie and Bill Grundy. You get a real sense of the fabric of London around Ted Carroll's record stall in Ladbroke Grove and around Denmark Street when the Pistols lived and rehearsed there. And look out for the night they played a Conservative Club to a crowd of six, the time McLaren begged him to return as “it wasn't working out with Sid”, the Filthy Lucre reunion and his luminous account of Johnny Rotten's audition backed by a jukebox playing Alice Cooper.Recorded in front of a live audience at 21Soho, London, on November 27th 2023. Glen's tour dates are here: http://www.glenmatlock.co.uk/ And you can order ‘Triggers' here: https://www.waterstones.com/book/triggers/glen-matlock/9781788709446Subscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
As it emerges from the upheaval of Cross Rail, music historian Peter Watts looks at this densely-packed thoroughfare between Charing Cross Road and Covent Garden, which started off selling sheet music, grew into the place where many writers sold their tunes for a few quid while a wise minority hung on and made fortunes, a street that continues to provide a home for music businesses to this day. Includes.......the Victorian "rookeries" of St Giles...how a coal mining accident made the street's first big hit...the true meaning of the Old Grey Whistle Test...when every office boy played the piano...how the Beatles changed music publishing ...how the Rolling Stones made their first (and best ?) album...how the Sex Pistols and the Stones made their first music yards from each other...what exactly are they doing with Denmark Street today?Buy Denmark Street - London's Street Of Sound here: https://www.paradiseroad.co.uk/denmark-street-londons-street-of-soundTickets for Word In Your Ear live at 21 Soho on Oct 30th here: https://www.tickettext.co.uk/ysY3FvyFaeSubscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content here: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
As it emerges from the upheaval of Cross Rail, music historian Peter Watts looks at this densely-packed thoroughfare between Charing Cross Road and Covent Garden, which started off selling sheet music, grew into the place where many writers sold their tunes for a few quid while a wise minority hung on and made fortunes, a street that continues to provide a home for music businesses to this day. Includes.......the Victorian "rookeries" of St Giles...how a coal mining accident made the street's first big hit...the true meaning of the Old Grey Whistle Test...when every office boy played the piano...how the Beatles changed music publishing ...how the Rolling Stones made their first (and best ?) album...how the Sex Pistols and the Stones made their first music yards from each other...what exactly are they doing with Denmark Street today?Buy Denmark Street - London's Street Of Sound here: https://www.paradiseroad.co.uk/denmark-street-londons-street-of-soundTickets for Word In Your Ear live at 21 Soho on Oct 30th here: https://www.tickettext.co.uk/ysY3FvyFaeSubscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content here: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
As it emerges from the upheaval of Cross Rail, music historian Peter Watts looks at this densely-packed thoroughfare between Charing Cross Road and Covent Garden, which started off selling sheet music, grew into the place where many writers sold their tunes for a few quid while a wise minority hung on and made fortunes, a street that continues to provide a home for music businesses to this day. Includes.......the Victorian "rookeries" of St Giles...how a coal mining accident made the street's first big hit...the true meaning of the Old Grey Whistle Test...when every office boy played the piano...how the Beatles changed music publishing ...how the Rolling Stones made their first (and best ?) album...how the Sex Pistols and the Stones made their first music yards from each other...what exactly are they doing with Denmark Street today?Buy Denmark Street - London's Street Of Sound here: https://www.paradiseroad.co.uk/denmark-street-londons-street-of-soundTickets for Word In Your Ear live at 21 Soho on Oct 30th here: https://www.tickettext.co.uk/ysY3FvyFaeSubscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content here: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Hello dear listener,Welcome back! This week, Matt and I are talking in depth about the evolution of digital gear throughout the ages, and these brand new digital delay super computers from BOSS. We're also discussing Dave Grohl's cool new Epiphone, my Guild Bisonic loaded Warwick, and my trip to Hanks and Wunjo on Denmark Street. Hosted on Acast. See acast.com/privacy for more information.
087 - Rhys Lewis and Chase Mitchell HGWT episode 87 has host James Patrick Regan speaking with singer/songwriters Rhys Lewis and Chase Mitchell. Rhys grew up in England and studied at the London Center of Contemporary Music. He talks about touring and performing as a solo artist and with a band. One of his favorite places is Denmark Street, where he loves gazing at old guitars like his '68 Gibson ES-150. Chase is a native of West Virginia and joined a band when he was nine years old. He “retired” from band life at 13 to launch a solo career. A fan of cool old guitars, he looks forward to one day scoring a '68 Pink Paisley Telecaster. Please like, comment, and share this podcast! Download Link
Andrew Lauder started the Radar, F-Beat and Demon labels, worked at Liberty, Stiff and United Artists and signed (or licensed) and helped shape the careers of countess acts we've loved over the years, among them the Bonzos, Hawkwind, Captain Beefheart, JJ Cale, Nick Lowe, Creedence Clearwater, Elvis Costello, Can, Dr Feelgood, Stranglers and the Stone Roses. He was one of the main architects of the whole world of independent labels. Mick Houghton has written his memoir – Happy Trails – and talked to us here about … … the Denmark Street days when the music business was just a village. … the complete list of journalists on Brinsley Schwarz's famously catastrophic press trip to the Fillmore East in 1970. … why ‘the Beat Merchants' album was the UK Nuggets. … the old world of the ‘70s rock and roll when the record industry was part of the packaged goods business and gigs got stopped for 20 minutes because of a power cut. … the golden age of rock samplers – Gutbucket, Greasy Truckers Party etc. … and the LIBERTY WANTS TALENT! ad that brought us the Bonzos, the Idle Race, Family and Elton John & Bernie Taupin. Order Happy Trails here …https://www.amazon.co.uk/All-Good-Clean-Mick-Houghton/dp/147462359XSubscribe to Word In Your Ear on Patreon for early and ad-free access to all of our content!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Andrew Lauder started the Radar, F-Beat and Demon labels, worked at Liberty, Stiff and United Artists and signed (or licensed) and helped shape the careers of countess acts we've loved over the years, among them the Bonzos, Hawkwind, Captain Beefheart, JJ Cale, Nick Lowe, Creedence Clearwater, Elvis Costello, Can, Dr Feelgood, Stranglers and the Stone Roses. He was one of the main architects of the whole world of independent labels. Mick Houghton has written his memoir – Happy Trails – and talked to us here about … … the Denmark Street days when the music business was just a village. … the complete list of journalists on Brinsley Schwarz's famously catastrophic press trip to the Fillmore East in 1970. … why ‘the Beat Merchants' album was the UK Nuggets. … the old world of the ‘70s rock and roll when the record industry was part of the packaged goods business and gigs got stopped for 20 minutes because of a power cut. … the golden age of rock samplers – Gutbucket, Greasy Truckers Party etc. … and the LIBERTY WANTS TALENT! ad that brought us the Bonzos, the Idle Race, Family and Elton John & Bernie Taupin. Order Happy Trails here …https://www.amazon.co.uk/All-Good-Clean-Mick-Houghton/dp/147462359XSubscribe to Word In Your Ear on Patreon for early and ad-free access to all of our content!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Andrew Lauder started the Radar, F-Beat and Demon labels, worked at Liberty, Stiff and United Artists and signed (or licensed) and helped shape the careers of countess acts we've loved over the years, among them the Bonzos, Hawkwind, Captain Beefheart, JJ Cale, Nick Lowe, Creedence Clearwater, Elvis Costello, Can, Dr Feelgood, Stranglers and the Stone Roses. He was one of the main architects of the whole world of independent labels. Mick Houghton has written his memoir – Happy Trails – and talked to us here about … … the Denmark Street days when the music business was just a village. … the complete list of journalists on Brinsley Schwarz's famously catastrophic press trip to the Fillmore East in 1970. … why ‘the Beat Merchants' album was the UK Nuggets. … the old world of the ‘70s rock and roll when the record industry was part of the packaged goods business and gigs got stopped for 20 minutes because of a power cut. … the golden age of rock samplers – Gutbucket, Greasy Truckers Party etc. … and the LIBERTY WANTS TALENT! ad that brought us the Bonzos, the Idle Race, Family and Elton John & Bernie Taupin. Order Happy Trails here …https://www.amazon.co.uk/All-Good-Clean-Mick-Houghton/dp/147462359XSubscribe to Word In Your Ear on Patreon for early and ad-free access to all of our content!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
The 16:9 PODCAST IS SPONSORED BY SCREENFEED – DIGITAL SIGNAGE CONTENT I spent a few days in London, UK ahead of Integrated Systems Europe - in part to break up the trip and flights, but much more so to meet with several companies and see some projects that I'd only been able to see in photos and videos. The one I particularly wanted to see was Outernet London, a very ambitious, multi-faceted development in the city's center that has, as its visual centerpiece, a huge set of wall and ceiling LED screens that are fully open to the public and positioned in such a way that they can't be missed as people flow from a main exit of the busy Tottenham Court Road Underground station. I assumed, wrongly, that this exists primarily to run Digital Out Of Home advertising and compete with big screens like those in nearby Leicester Square and Piccadilly Circus. But there is much more to Outernet, as I learned walking and talking with the developments Chief Commercial Officer, Ben Maher. The audio may be a bit hit and miss, as we did this on the go and in the crowds that were there even on a chilly January afternoon. Subscribe to this podcast: iTunes * Google Play * RSS TRANSCRIPT Ben Maher: We have this incredibly famous set of assets on this side of the district, which is Denmark Street. So as a business, we've been a landlord on Denmark Street for over 25 years looking after the music stores and we've made, as we said, a huge number of acquisitions, meaning that we own nearly all of the property there by Parcel two or three, and we run a baker for Baker Policy. So if we lose a music store, we replace it with music because we wanna maintain it, sorry, I don't know how familiar you're with Denmark Street, but as an asset, we wanna maintain this as one of the nice, iconic music streets in the world. The first music store opened in 1911, Charlie Chaplin wrote the song, Smile here in 1926. The Melody Maker was founded here in 1954. The Enemy was found here. The owner of the Enemy went around the street with a ledger of all of the music that was sold, and that became the first-ever music chart, which was compiled on this street. Elton John had his first job as a runner here, and it was the home of the labels, the writers, it was the home of the lawyers, and the management, so people would hang out here in the hope of being discovered. But importantly, talent would wanna be discovered and they'd hang out in the cafe here, this was called the Gioconda Cafe and you'll see Tim Hannaly, the home of British music. But importantly it would be people like Marc Bolan, it would be Jimmy Hendrick, and David Bowie moved and converted an ambulance onto the street and lived here. So it really was an incredible, authentic crucible for music. We've maintained the music stores. We put in a 55-room luxury hotel residence, so you stay in the rooms where Frankie Fraser, the Richardson, the Gangland fame, their bar, which was called the Pannaly Bar. Number six Here, out the back is the News House that Malcolm McLaren rented for the Sex Pistols. So you can now stay in that, that's the Anarchy Suite. It's complete with their original graffiti. Did big pressure wash it down? Ben Maher: No. For better or worse, it's there and it's good. It has a great two listings on it now, but again, in a building like this, incredible history, and Hypnosis were based here. They were the world leading album cover designers. So they created album covers for the likes of Led Zeppelin and Pink Floyd, Dark Side of the Moon was created in that room. When you stay in the rooms, they have names. Like Hypnotized for that room, and then Kiss the Sky is the name of the room where Hendrick used to jam. This is the store where Bob Marley bought his most famous guitar, which was destined for a dustbin for a car mechanic from Essex. This is where the Stones did some of their first-ever recordings and people recorded here all the way through to the likes of the Brit Brats, Adele, and other incredible artists. So all of this is part of the district, and as I said, we've not tried to Disney-fy this area. We've tried to preserve it. The area dates back all the way to about the 7th century when the church was created to support the Hospital. But once you build infrastructure, communities develop, so this became one of the first slums in London. It was home to 3000 residencies, and over 500 distilleries and this is where Hogarth depicted the Gin riots. So when you see things like that's where that occurred, and this is where it's depicted. You have elements like Dickens who live down the road in Bloomsbury, wrote Oliver Twist here, and Robert Stevenson. There's incredible history to the area. That is all really important when you're creating platforms and telling stories so that you understand the context within which you exist, not just the recent history. I'll come to some of the other music venues. So now we're going to enter the district. Importantly, we have 30,000 square feet of offices, we have 18 retail units, we have popups. We have 13 bars and restaurants and we obviously have screen-enabled spaces. So this first space is the arcade, The Now Arcade. As you can see, it's a full-screen enabled, three-mill pixel-pitched laden environment. All are equipped with acoustic audio. So we have venue-quality audio in all our spaces. And the audio is on the bars down below? Ben Maher: The district as a whole, through all the spaces, is made up of 230 million pixels. It has 192 kilometers of CAT6 table enabling this and I think it is really important, we have positioned this as a canvas. We've positioned this as a storytelling platform, and that's really important to start with content first so that you can establish the context and the interest of the audience to allow you to tell better brand stories and deliver brand messages. So that has always been the ethos of what we're doing. We don't stand with one editorial voice or polarizing thought around what we say. We try to democratize access to the platform. So we try to provide as many different interest groups and users to create for the platform because, in all honesty, screens are relatively cheap against the cost of actually feeding them, and creating environments that remain interesting all the time is the biggest challenge we have. So again, one of the things we want to do by using multi-sensory environments is to hand back some of that control to the audiences, not only to create for the platform but also to control their experiences. So although we start with audio-visual, we're on a sort of a technical journey on a path to bleed out new technologies and ensure that people can then interact and control generative experiences for themselves. All of the spaces have cameras in them, for example, which will allow for interactivity. So you can come into this space, you might receive a standing ovation or trigger a Mexican wave. The joy of technology as it stands at the moment, and you won't hear talk of Covid. But the reality is people now understand better the reasons to be utilizing QR codes. So these screens can become a launchpad or anything: to commerce, obviously AR experiences, or anything else that we wanna leave. It makes data exchange a much cleaner and more natural sort of methodology. So really important for us to be able to control all of those elements. As we head down, this provides a queuing function for our venue as well, we have a 1500-person capacity music venue underground, which is the largest new music venue built in central London in the 1940s. This is load in, load out, for the venue. So again, we've configured the streets so that we can have a clean, easy ecological load in, and load out so vehicles can come and jack power straight from the main rather than running their engines and things like that, which is smart. As we come into the district now, you'll see that we have what was a very traditional maze of News Street. So this was Denmark Place, and we've got here the ability to gate and control the environment so we can create all sorts of experiences and fields and allow people to have events or dress a district in any interesting manner. So five different egress and ingress points across the district. On this side, we've got 14 more hotel rooms because the residences are based in 16 different buildings. So a really different unique point for the hotel. Here we have what will be the Denmark Street Recording Studio which will be a pro bono recording studio, again, adding to the ecosystem that we have, bringing people and rewarding talent, just as Denmark Street always did. This is the more historical and music side of the district. This is the more modern screen-enabled place. On the rooftop here. We have an 8000-square-foot modern Chinese restaurant called Tattoo. We have another restaurant on the fourth floor, which will open later this quarter that's called Cavo. They have a rooftop garden here which is joined by a glass bridge, which leads over to the fourth-floor restaurant. So what you'll see here is we have 2600 LEDs across the runway here. So when we create a red carpet leading to the venue, we can light it up through LED color hues so that we can control those environments. So you've got show control, so you can orchestrate the whole thing? Ben Maher: Brand colors, mood, you name it. We've obviously lifted up causes such as Holocaust Memorial and also for the Ukraine crisis and things like that, that's really important. We understand our environment, we understand the mood. If you think of the context of certainly out-of-home and. storytelling, smart cities, and IoT play a big part in city planning now, and our environment should be able to adjust to those needs and requirements. We shouldn't just be screaming at audiences. We should be creating dialogue and also understanding the context within which we sit. So for example, or within GDPR, if somebody comes in, I know if they're looking for WiFi, where their SIM card originates. I know what their default language is. I don't need to invade their privacy. But I can assume when the 50th Dutch person or the 200th Canadian crosses the threshold, I might play the national anthem and change the color of the district. So that creates incredible surprise and delight. And that would be data triggered? Ben Maher: Completely. We can utilize a custom stack, which controls all of the programs for the district, and that proprietary technology allows us to configure different environments, to configure the different spaces, either in unison or alternatively to have them operate autonomously. And I think it's really important, our point of difference is having that versatility of space. It doesn't just do one thing. We do four core things. We can hold events in our spaces, so that could be a private or public events. We have 32s spots in our spaces, which is, essentially a standard TVC, monetization. We can do sponsorship. BMW has been a sponsor of our art program. We've presented our wellness program in association with Panadol and importantly, this new stage is gonna be about branded content, telling stories in a slightly longer form in an audiovisual sense in the public domain, and I think it was one of the most incredible moments I've had since being here, reaffirming that we've got an environment that has that versatility and what we wanna do is bring that longer storytelling moment to the form because brands are doing things with brand advocates, with talent. They're doing things based on purpose or the craft that they create. So we've had driving stories. We've had the launch of the Beatle's actual master Revolver album, the videos that went with that, and again, that creates a different environment. It creates a different context. We've done interactive games, so again, as I said, what you don't wanna be in any environment is a terrible magician. If you do your best trick on the first day, or second day, it's diminishing returns. You're not doing anything innovative or different. That's a mistake made over and over again? Ben Maher: Yeah, and I think it's also quite been quite cathartic knowing that we don't know everything about this space because no one's ever done this anywhere in the world. So to say that we don't fully understand how the public reacts to work, we have to embrace versatility. So knowing, for example, on the left here we have popup two. On the back corner of the building, we have another popup, which is about twice the size. These spaces are fully screen-enabled and audio enabled as you see here. If they're not being used for an event, they'll be programmed with our content so that they're relevant. TMP, for example, Take More Photos is a grassroots creative collective. They release briefs on social media and people can submit their photographs and then it curates an exhibition based on the brief. So they do one on Welcome to London. So this one's Welcome to Love in London. They'll do one for International Women's Month, or they'll do one for Black History Month. They did one for the World Cup, for example. Now these are organizations that don't have budgets typically. So this is pro bono stuff, right? Ben Maher: Very much, but again, it exactly comes down to what I said before, which is we want to give access to the platform. We wanna hear different voices to be representative and inclusive of our communities. Was that part of the pitch as well to Westminster Town Council or something like that? Look, we're building, but it's going to have all sorts of community involvement? Ben Maher: Good question. So importantly, when we were talking before, when I showed you everything in front of us, that's Westminster, the road here literally the line down the middle is Camden. So Camden has a very different approach to Westminster. They're just different borrows and it's what you expect, different councils. So we were applying to Camden for our licenses. This area historically had a number of late licenses and bar licenses for the different premises that were here previously and have historically been a musical district. So again, it's quite an entertainment-based space. Yeah, I was gonna say they'd be in the mindset anyways for this. Ben Maher: Importantly, they have embraced what we're doing, but they have also gone on the journey of understanding what we're doing. Because it's very new. So that is always a challenge. The building and its main purpose of it though is an interesting public space. So if we had created a new private, totally private and shut environment, I don't think we would've been received in the same manner. If you've got a second, you might want to stop for a second only because we're gonna watch the Summer Palace and it's about two and a half minutes long and you'll want to see this, but this is a good example of our house content. Something we commissioned to play in the public domain, which allows brands to sit alongside incredible experiences, and as you can see, people naturally get their phones out to record. I'll tell you the story about how it began. So we ran a camp home for Italian Airways before Christmas, they were one of the first brands to use the space for a commercial message, and they made us nervous. We didn't know what was gonna come cause no one had we've got best practice guides. We've got creative specs, and they created an experience where planes fly over the head of amazing landmarks in Italy and people applauded. For somebody who's worked for 25 years in advertising, yeah, that's an incredible thing to be able to say, quite a lovely experience. But this was part of the commission that we did or RFP that we did for people to create for the space, and it's an ethereal journey through space-time. But interesting it uses the ceiling as the main communication plan. I'm a big fan of these kinds of environments where you look at it and there will be any number of people here who will assume that that's real. Ben Maher: Oh yeah, and the joy is we're using a 3mm pixel pitch so you can create that depth of illusion. The total resolution size here is about 6k, so it's not without its challenges, and we have found it unforgiving for things like raw photo footage because it's just so unforgiving on talent so then we can use templating and things like that to accommodate lower resolution assets, but still have them looking credible in the space. The use of negative space. So not always trying to fill every pixel is also incredibly powerful, so we're trying to utilize that as well. For this, I used to present this in VR, so people are presenting on teams and zoom in VR during the lockdown, trying to explain what we're doing because it's one. It's one thing explaining a new ad format, but it's a different thing explaining a new environment altogether. Yeah, I'm somebody who's been around this medium, if you wanna call it the technology for 20+ years now and not seen something like this before, particularly the way it's stitched together with everything else, quite honestly, not just, here's this big screen. Be excited! Ben Maher: Yes, and I think we have to create, as I said, multipurpose and interesting use environments because cities deserve them. You've got, as I said, as many on the weekends as 350,000 people coming through this area and it is becoming an attraction. You, we have six to eight hours of free art programming in this building on a Sunday. And people email and go, can I see this? When is this happening? And that I think is a good testament to doing things the right way. It's new. We are learning. When we first opened the now trending space, which is the smallest of the spaces, that silver Line proved an incredibly challenging threshold for some people. Because it was like an anthropological experiment. They didn't know whether they could step in. They didn't know what the transaction was. Because they'd never seen a free public entertainment space like that, and as you'd expect children and people who'd had a drink were the first ones to cross the threshold. But then interestingly put seating in there and people act completely differently. So the psychology of the spaces is also important. Another thing that may be of interest is that this hero screen here on the south wall and the east wall here is permanent deployments, as you can see the slight lines between the wall here, these screens on the north and west are on rails and they can completely retract ah, and the building can open up. So it's one of the first buildings in the world with kinetic staging built in. You do have doors too, so you can close the area off for private events? Ben Maher: You can see better with the white there. You can see the slacks between how they work. So we'll be bringing new appointments to view to city centers where you'll come with a real-time of day to actually see something happen. You can see, in fact, these ones are usually completely closed and they've been open today for windows. The small area here can operate as a retail unit. It's been a trainer store for Puma. It was a classroom for Mercedes F1 MG with Toto Wolff. It was a studio for the photographer ranking. It was a red carpet zone for Sky. It's been a party for Apple, and NBCU. So again, having addressable spaces that can do a lot, this pixel pitch at 3mm is akin to what they use in the Unreal Engine SFX studios. So that's essentially the backdrop that they shoot. White, shiny floor shows content. The resolution there, as I say, is 3mm-5mm pitch on the outside here because up higher which is still the highest resolution out of in Europe currently certainly at that scale. Yeah, I've heard a few 6mm in New York, but not 5mm. Ben Maher: So we're really pleased with it. But at that resolution, it's interesting. We do need higher-quality content. Because of that pitch, it can be unforgiving. You'll see Netflix is doing an incredible job. They're a very frequent client of ours, but the animation on here will always look incredible cause it obviously scales infinitely almost. But they produce beautiful output and the resolution is incredible. That space, is it also leasable for if BMW wanted to launch a new electric vehicle or something, you could block off this? Ben Maher: Absolutely. So we held the launch of the new FIFA 23 there and did the FIFA Women's Summit. We've done live boxing with DAZN and Matchroom, so we've held boxing there. We've done events for UNICEF. We've done events for Mothers of Gucci, which is a Gala event. So yeah, we can do private things, but the best way we like the district is having the public in because the more spaces that you privatize, the less inviting the world is, and we want people to come in, experience things free, be entertained, and create moments that ultimately they wanna share and create a destination In the cities we're in. What would you do if there was a big England football match and I remember Lester Square got kinda destroyed, would you just close this off? Ben Maher: So we face the challenges that any public destination would face, and we have to manage the environment. So we do risk assessments on anything. We have a really good security team and we do all of the listening and monitoring of those feeds to know what's happening. We get advice from our partners like TFL, which are local. We've got Camden, and then we liaise with the greater London authorities and also the Emergency response services. So we got a good understanding of what's happening. But yes, we'll make a call based on what's going on to decide how we manage the district because we wanna keep people safe. How many people work on this, setting aside security and all that, working with the canvas, and everything else? Ben Maher: So the Outernet team as a whole is around 80 people. So that'll divide up between everything from the scheduling to the sales teams to the data and center people, creative teams, et cetera. When did it open? Ben Maher: Officially, the arcade and the trending spaces opened around late August, and what they're now building came online from midday each day in November. So it's not been open for long, we're still very much in our infancy but it's nice as I said, to see the behavior of the public and have been here just over four years, to see it come to fruition is very rewarding. Did it go through a lot of revisions? Ben Maher: Yes, in terms of what you were good at? I think there were about 11 years of planning before I was even anywhere near this, and then once the planning is in place, you have to then reinterpret it as an experience as a platform, both for how stories are told, how stories are configured, how content is rendered out, how content is served and then how it can be taken to market for brands, storytellers, creators, you name it. So yes, a lot of revisions, and we're still revising. There's a number of businesses, operating hotels, everything else. Is this element of it or its own business unit with its own P&L? Ben Maher: Outernet is a media business, and we control the screen-enabled spaces that you see above ground here. I'm gonna assume that you're not plugged into programmatic or anything like that because it's a very distinct kinda canvas. Ben Maher: That is correct. We're not plugged into programmatic. It's not to say that we would never do it, but the reality is the way that the content needs to be served today, it is very unique. As I said, it's a proprietary stack. It uses lots of familiar techs but it's more programmed like a channel like a traditional broadcast channel as opposed to a media. There's a little bit of rendering that's required, let's just say. I assume you know who was the LED supplier? Ben Maher: The screens are from AOTO. We went and did an analysis globally of the best screen providers and for what we needed AOTO had a great product, and this is certainly the biggest one of the first in, certainly the biggest deployment that they've done of this product. We're running one triple GPS and are now building a load. We did go as far as doing a sort of quality assessment. We visited factories. We even went as far as looking at where raw materials were mined, because of the importance of having single-batch silicon on a canvas of this scale to ensure that you didn't get that different, particularly obviously on the reds within this car, within this canvas was really important. Another important thing about the LEDs, we degrade panels at the same pace that they are running, so that if we need to replace them, we're replacing them either from our own environments or right into the environment. So again, they're in the same life stage of the panels to ensure high quality. You have a pretty big spares pool, I would imagine? Ben Maher: We try our best, it's a revolving. If you look at this, this is a drone shoot done by one of the Wrigley Scott Associate directors that we met, and he shot it on an Icelandic beach and it is a music video. But if you look at how some of the B rolls so creating doesn't need all new assets, it can come from existing architecture. The supplier of this kind of creativity told you, here's what we would like you to do with it, or do they give you a license to say, look we'd like to do an edit, this is how it's gonna look? Ben Maher: It depends on the creator, and it depends on where they are with them. If they're shooting for us, then we'd say, this is the brand kit and this is what you need to produce and this is how you need to play it out. We're always updating our learnings. We get new challenges and new opportunities and we learn from those. But as we see these mega canvases across the world. These sorts of fantastic pieces become more relevant because they'll play out across networks. Across other major cities. I think one of the questions you posed was, is London a model for elsewhere? It is, and we're in discussions in New York, LA, the Middle East, and Asia, at launching these networks and then sharing experiences, interestingly, might always be this exact look and feel. This was put together over 26 years across a horizontal plane. If you go to Manhattan, you're probably gonna have to use a vertical plane, and so it becomes a completely different onboarding process and journey. So it's gonna be interesting how we take our learnings and then we utilize those in other environments. If you're gonna take this to other locations, does it have to be multifaceted in the same way, and that there's a retail component, there's a hospitality component, there's a restaurant component? Ben Maher: Every case is different. So if you look at environments creating a campus or a district in other cities, particularly New York, or more challenging real estate payment tables or even the planning commissions. So we have to look at them in each case often partnering with other established institutions is wise. We're lucky enough to have a huge foot here. In places like Manhattan, you have those big footfalls. In the other cities, you don't necessarily have this natural footfall. So you have to create a different style of destination or with another key destination to ensure the right sort of, so yeah each case on its own and understanding the needs and nuances of those cities and audiences as well. Yeah, because there are a lot of immersive attractions popping up now. They're almost all projection, but they're very much ticketed locations and it's programmed and it starts at this time and you're there for 45 minutes and exit through the gift shop. Ben Maher: We're very happy to have you exit through the gift shop here as well. And don't get me wrong, there is some incredible projection technology out there. We've looked at it in our venues and in other places. We have other locations with theaters and other things and, we would certainly consider projection there, but for the kinda canvas and certainly some of the gaming engines and things and future-proofing, we wanted to do this pixel pitch to create a very unique and beautiful canvas that to be fair, I don't think we could have achieved in the same way with projection. Yeah, it's very interesting. I've written about it and but it's so much more interesting to see it in person, but I think more than anything else, to kinda understand the macro idea as opposed to, oh look, a very big set of screens. Ben Maher: What are these guys doing? Why did they do that? Ben Maher: Which again, isn't a difficult question always, and I think just seeing the way the public interacts with it has been enough of a validation that cities deserve these interesting cultural spaces and they deserve to be free and in the public domain. We're early in our journey. We need more brands coming and telling their stories as well, but telling them in a way that will ingratiate themselves to the public and, out-of-home has done an incredible job at providing public utility forever, in major cities. If we can this model out, certainly for multisensory spaces delivering that as well, I think it sets a good precedent for other cities and other developers across world. Are you affected at all by energy conservation requirements or requests? Ben Maher: Yes, of course. We are obviously subject to the rising costs of energy as anyone naturally would be, but we have developed the most energy-efficient product that was available on the market. So the sort of coolness and the control of the environment, importantly, isn't prohibitive to doing this. We're not creating a huge carbon footprint that we cannot manage. We have all the relevant ESG scorecards. We're working with the ISO qualifications for energy and for our social corporate responsibilities. But it's also this sort of magnet or those people who are concerned about all the voice energy on these things, do they really need them versus other stuff that's drawing way more energy, but it's not anything you think about? Ben Maher: I think the fact that we're providing a storytelling platform and we're not just screaming at people in the public domain. We're supporting arts and culture everywhere. We have a charitable foundation that donates time, and money for different projects. So we've done projects around sustainability with Unger. We're doing things around social mobility. We've done things for AIDS charities, so we work with lots of different interest groups to provide them with platforms. We even audit the popups so that when we're looking at the brands we're working with, we're not just working with the same generic brands that you get on every high street in the world, right? We wanna ensure that these spaces are different and unique. So whether it's non-white owned businesses, whether it's LGBTQ+ owned business, female-owned, sustainable business, so again, being a conscious member of society, we don't just wanna be a bastian for people who want a big ass billboard. So I think we've gone around things in a very different way. There is some incredible landmark out home structures in the UK and across Europe. But I do think we have good USPs and we do complement what is already in the market but with enough points of difference, yeah. We wanna attract people to this space and not cannibalize out-of-home budgets by sticking the same offering up. So if we can get more AV budget and that encourages people to do better and more in out-of-home, then that's a fantastic thing. That's very impressive. Obviously, people like it. Ben Maher: We're getting there. There's a piece called Heaven's Gate that is the new art exhibition and it is on Sunday and it was absolutely crackers in here, it was just crazy to see how people enjoyed it and it just says conceiving something and then seeing it come to fruition is such a unique and pleasurable thing to be able to do. So we're very proud of what we've done here.
W odc. #44 Pick Please kontynuujemy naszą muzyczną opowieść o mecce dla fanów starych gitar elektrycznych oraz brytyjskiego rock and rolla. Opowiemy o pracowniku biurowym, który zgodnie z przepowiednią swojego szefa, mógł zostać nikim lub milionerem, wybierając na szczęście to drugie, o nietypowych domownikach lokalu numer 6, którzy zdefiniowali Punk Rocka w Anglii oraz historii efektu gitarowego, który powstał na tyłach jednego ze sklepów muzycznych na Denmark Street, wywołując totalną rewolucję brzmienia brytyjskiego rocka lat 60-ych. muzyka: Łukasz WojciechowskiLINKOWNIA:Historia Denmark Street (stare sklepy muzyczne, Cliff Cooper) - linkAbsolutnie kozacki artykuł o muzycznej historii ulicy (guitar.com) -link Dzisiejsze problemy i sytuacja Denmark Street - linkTales from Tin Pan Alley (IMDB) - linkSklepy muzyczne (kiedyś istniejące):Kilka zdjęć i słów o starych sklepach - link, Sklep Jennings (VOX) - link, Sklep Selmera - linkSklepy muzyczne obecnie:O Hanks i Wunjo - link, Macaris - linkFB Sklepów muzycznych na Denmark Street:Macaris (obecnie w Sussex) - link , Sixty Six Sounds - link, Hanks - link, No Tom Guitars - link, Regent Sounds - link, Wunjo Guitars - linkPŁYTY:Elton John - Captain Fantastic and the Brown Dirt Cowboy (1975) - linkLed Zeppellin - Led Zeppelin (I) (1969) - linkUTWORY:The Spencer Davis Group - Keep on running (Jackie Edwards cover) (1965)The Yardbirds - Heart full of soul (1965)The Beatles - Think for yourself (1965)Bananarama - Venus (1986) Shocking Blue - Venus (oryginał) (1969)Elton John - Bitter fingers (1975)VIDEO:Yngwie Malmsteen kupuje Stratocastera na Denmark S. - LO Sklepie Macaris opowiada Anthony Macari (od 2:32)Wywiad z właścicielem Hanks - linkO sklepach gitarowych w Londynie - linkAnthony Macari mówi o “wyprowadzce” z Denmark Street do Sussex - linkHistoria sklepu Macari i Tone Bendera - link , Historia Sola Sound i Tone Bendera,Historia Tone Bendera (That Pedal Show) - link, Tone Bender (demo i próbki brzmieniowe) - link, Krótka rozmowa z Gary Hurst`em (twórcą Tone Bendera) - linkJeff Beck pokazujący Tone Bendera - “podbicie” głośności swojej gitary - linkPS. Sprostowanie dot. sklepu Jenningsa. Wujek Anthonego był tam menedżerem zarządzającym. Właścicielem sklepu był Walter Jennings - nie był członkiem rodziny Macarich. Ps2. Łukasz mówiąc gita lub wiosło ma na myśli gitary.
Georgie Fame, born Clive Powell in Leigh, Lancashire, June 1943 is one of British R&B music's founding fathers. Fame is the only British star to have scored three number one hits with his only Top 10 chart entries – ‘Yeh Yeh' in 1964, ‘Get Away' in 1966 and ‘Ballad of Bonnie and Clyde' in 1967. But it's more important to acknowledge his cultural influence. Fame popularized and educated in equal measure. The black music he championed with his band The Blue Flames brought new sounds to Swinging London and bossed venues like the Flamingo Club and the Marquee where he turned the English mod movement on to a whole bag of soul and authentic US urban and country sounds and also the ska and early reggae he heard in the Jamaican cafes and clubs in the Ladbroke Grove area of London. Like his great friend and collaborator Van Morrison, Georgie Fame found himself raised on jazz and blues with a penchant for Mose Allison and Willie Mabon and of course Ray Charles, not to overlook a grounding in the sophisticated rock and rollers like Chuck Berry who defied categorization.With Latin pop also part of his skill set, Fame can turn his hand to just about anything and since his piano and Hammond organ keyboard brilliance – he is also a fine guitarist – is matched to a gorgeously relaxed vocal style he takes audiences on a melodic journey that combines the sweetest nostalgia with the most up to date interpretations of great songs and songbooks. As a sideman, he has recorded with many artists, including Gene Vincent, Prince Buster, Muddy Waters, Eric Clapton, Joan Armatrading, Andy Fairweather-Low, Bill Wyman and Van Morrison. Ever on the road, Georgie Fame continues to perform his unique blend of jazz/rhythm and blues for live audiences at clubs and music festivals throughout Europe. He is revered in Scandinavia and Germany and even took a local version of the Blue Flames to Australia where he escaped the English winter and built a rapport with fellow players from another hemisphere.Having taken piano lessons at an early age the man born Clive Powell in the cotton weaving area of Leigh, Lancashire became a professional musician in the 1950s playing at holiday camps before departing to London aged 16 to seek his fortune. He touted his talents up and down the legendary Tin Pan Alley area of Denmark Street just off Soho where he was spotted by impresarios Lionel Bart and Larry Parnes who christened him Georgie Fame – somewhat against his will. Working with touring rock and rollers like Joe Brown, Gene Vincent and Eddie Cochran young Fame became battle-hardened and was snapped up by Billy Fury in 1961 to lead his backing band The Blue Flames for whom he arranged and sang. The Blue Flames and Fury parted company and so Georgie took over and secured a three-year residency at the Flamingo Club. The debut Rhythm and Blues at the Flamingo came out in 1963 and was engineered by Glyn Johns and produced by Cliff Richard's console maestro Ian Samwell. After promoting himself via the offshore pirate radio stations Fame struck gold with his version of “Yeh, Yeh”, a tune first recorded by Mongo Santamaria in the Cuban style. The next significant hit, “Get Away”: was another #1 in 1966 with production from Denny Cordell and a Clive Powell writing credit. The perfect sound for the emerging summer of love
Outernet is an all-inclusive entertainment district in London, reimagining the musically iconic Denmark Street – where acts such as David Bowie and the Sex Pistols kicked off their careers – bringing together music, art, film, gaming and retail. Using advanced screen technology, Outernet offers a new way for creatives and leading brands to produce and experience content, partnering with the likes of Ridley Scott and the Royal College of Art.Philip began his career learning the technical aspects of broadcasting, becoming Senior Vice President of Global Digital Media for MTV Networks in 2007, and then Executive Vice President and Managing Director of its parent company Viacom a year later. He explores how his extensive knowledge of tech led to his team launching the first music video on a mobile phone – and explains what the metaverse really is for the uninitiated.
Niegdyś miejsce szalenie niebezpieczne, dziś relikt historii Londynu, który tętnił muzycznym życiem w latach 60-ych i 70-ych. Denmark Street, o którym dziś opowiadamy, to ponad 120 lat muzycznej historii powstawania dźwięków i narodzin kapel, bez których nie byłoby rock and rolla w Anglii….i nie tylko
E137 - We catch up over Christmas break while Joelle's in Idaho & Julianne's in San Diego editing our documentary. Hear about snowy plans, Poway bandits, Red Riders & Home Alone. We made this year's https://www.AwkwardFamilyPhotos.com calendar, talk crappy kids in photos & Mouse finally gives her London recap. See tourist recommendations from a Brit Pod Scene podcast below & hear Number One Rerun's deep thoughts on Harry Potter. We discuss when to scrub social media for work, & then get right into Weens' viral banana video & Hairy Pants song! Speaking of clickable, listen to Julianne's stories about the real personalities of Jack Black, Michael Shannon & Keanu Reeves. Do they have Brad Pitt's face blindness? Do you forget how you know people like Mouse does? We jump into the gutter for a while to discuss monorchidism & the female body part that rhymes with Horace, chorus & taurus. And finally we discuss Elon Musk's comedy career, finding out what politics, the Rachel Maddow Ultra & BagMan podcasts, & cat-sitting have to do with each other. We bring around the episode talking boobs, mammograms, & gallows humor. Then Weens redefines social work, throws out some gross words & ends questioning her solitude and dislike of crowds these days. Who relates? Write in! mouseandweens@gmail.com or DM any socials @mouseandweens https://facebook.com/mouseandweens is a good spot too! Watch this episode on youtube.com/channel/UCgeuFSExQ2EaHYSG-s4sgZw ►Thank you to our patrons - our family! Join the fun, get free swag & bonus content - like deleted scenes from this ep! https://www.patreon.com/mouseandweens ►Credits: "Mouse and Weens" theme song, "Hairy Pants", "Love of My Friends" by Julianne Eggold https://www.julianneeggold.com Voice actor: Matt Thompson ►Our network: Podfix https://podfixnetwork.com ►Sponsor: Dream Dinners! Quickly make homemade meals stress-free. More QT for you & your family! Dream Dinners is nationwide. If within 25 mi of Poway or San Marcos MOUSEANDWEENS99 for $99 off 1st order! Link on https://www.mouseandweens.com ►Please follow, subscribe, talk: Socials @mouseandweens | https://linktr.ee/mouseandweens | mouseandweens@gmail.com | 858-319-1089 ►Number One Rerun Podcast: https://NumberOneRerun.podbean.com and their London tourist guide based on Joelle's teenagers: "We reckon places they may like to visit: Junkyard Golf, Flight Club (go to Shoreditch one as Junkyard Golf is there too), London Eye, Sky Garden, Tower Bridge (walk over glass floor). If you want to get the tube to North Greenwich you can see the O2 - has outlet shopping, restaurants, etc & Toca Social (a virtual football/soccer place). Cable cars there too so nice views & if you want to be mega adventurous you can walk up the O2 as well. Shopping: start at Marble Arch & walk up to Oxford Circus & turn off into Carnaby Street (you can come back out & head past Tottenham Court Road towards Leicester Square (also cool & near Piccadilly Circus) to see Denmark Street on the way if into music (though not hip hop!) For restaurants/cool shopping - Covent Garden or Borough Market (you can see the Shard near there too). Good coffee chains Oree/Joe & The Juice/Ole & Steen/Peyton & Byrne). There's Harry bloody Potter things everywhere so you won't miss that little sod. Plus obviously for you see Buckingham Palace, go on a London bus, etc - lovely." Links Mentioned: ►Buy an Awkward Family Photo daily desk calendar - https://www.amazon.com/Awkward-Family-Photos-2023-Calendar/dp/1524873586 ►Michael Shannon doing comedy - https://youtu.be/IdeFYWX5nuk ►Face Blindness - https://www.gq-magazine.co.uk/culture/article/brad-pitt-interview-2022 ►Salon's "The Onion" article - https://www.salon.com/2013/10/22/were_the_onions_anti_semitic_slurs_fair_game ►Rachel Maddow's podcasts: https://msnbc.com/rachel-maddow-presents-ultra and https://msnbc.com/bagman
The full and extraordinary story of “the Zelig-like” Cutler – poet, performer, broadcaster, playwright, surrealist, humorist – is mapped out in Bruce Lindsay's exceptional new book, ‘Ivor Cutler: A Life Outside the Living Room'. Most of us discovered him through the patronage of fans like John Peel – or first saw him as part of the Magical Mystery Tour cast – but this fascinating conversation covers the early years too, his time as a progressive schoolteacher, the formative influence of Kafka and the Goons, his big break into TV via Ned Sherrin and his immediate adoption by the counter-culture. Has there ever been anyone remotely like him before or since? At one point Bruce reads a section of Life In A Scotch Sitting Room - with its echoes of Under Milk Wood and Sir Henry At Rawlinson End - and there are tales of gruts for tea, his fear of noise, the time he left an overheated hotel room to sleep on a station platform and a Denmark Street agent weeing in a sink. Order Bruce's book here …https://www.amazon.co.uk/Ivor-Cutler-Outside-Sitting-Popular/dp/180050294X/ref=sr_1_6?qid=1671698453&refinements=p_27%3ABruce+Lindsay&s=books&sr=1-6 @bruce956Subscribe to Word In Your Ear on Patreon for a whole world of extra and exclusive content, benefits and rewards!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
The full and extraordinary story of “the Zelig-like” Cutler – poet, performer, broadcaster, playwright, surrealist, humorist – is mapped out in Bruce Lindsay's exceptional new book, ‘Ivor Cutler: A Life Outside the Living Room'. Most of us discovered him through the patronage of fans like John Peel – or first saw him as part of the Magical Mystery Tour cast – but this fascinating conversation covers the early years too, his time as a progressive schoolteacher, the formative influence of Kafka and the Goons, his big break into TV via Ned Sherrin and his immediate adoption by the counter-culture. Has there ever been anyone remotely like him before or since? At one point Bruce reads a section of Life In A Scotch Sitting Room - with its echoes of Under Milk Wood and Sir Henry At Rawlinson End - and there are tales of gruts for tea, his fear of noise, the time he left an overheated hotel room to sleep on a station platform and a Denmark Street agent weeing in a sink. Order Bruce's book here …https://www.amazon.co.uk/Ivor-Cutler-Outside-Sitting-Popular/dp/180050294X/ref=sr_1_6?qid=1671698453&refinements=p_27%3ABruce+Lindsay&s=books&sr=1-6 @bruce956Subscribe to Word In Your Ear on Patreon for a whole world of extra and exclusive content, benefits and rewards!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
The full and extraordinary story of “the Zelig-like” Cutler – poet, performer, broadcaster, playwright, surrealist, humorist – is mapped out in Bruce Lindsay's exceptional new book, ‘Ivor Cutler: A Life Outside the Living Room'. Most of us discovered him through the patronage of fans like John Peel – or first saw him as part of the Magical Mystery Tour cast – but this fascinating conversation covers the early years too, his time as a progressive schoolteacher, the formative influence of Kafka and the Goons, his big break into TV via Ned Sherrin and his immediate adoption by the counter-culture. Has there ever been anyone remotely like him before or since? At one point Bruce reads a section of Life In A Scotch Sitting Room - with its echoes of Under Milk Wood and Sir Henry At Rawlinson End - and there are tales of gruts for tea, his fear of noise, the time he left an overheated hotel room to sleep on a station platform and a Denmark Street agent weeing in a sink. Order Bruce's book here …https://www.amazon.co.uk/Ivor-Cutler-Outside-Sitting-Popular/dp/180050294X/ref=sr_1_6?qid=1671698453&refinements=p_27%3ABruce+Lindsay&s=books&sr=1-6 @bruce956Subscribe to Word In Your Ear on Patreon for a whole world of extra and exclusive content, benefits and rewards!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Episode one hundred and fifty-five of A History of Rock Music in Five Hundred Songs looks at “Waterloo Sunset” by the Kinks, and the self-inflicted damage the group did to their career between 1965 and 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a nineteen-minute bonus episode available, on "Excerpt From a Teenage Opera" by Keith West. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week, as there are too many Kinks songs. I've used several resources for this and future episodes on the Kinks, most notably Ray Davies: A Complicated Life by Johnny Rogan and You Really Got Me by Nick Hasted. X-Ray by Ray Davies is a remarkable autobiography with a framing story set in a dystopian science-fiction future, while Kink by Dave Davies is more revealing but less well-written. The Anthology 1964-1971 is a great box set that covers the Kinks' Pye years, which overlap almost exactly with their period of greatest creativity. For those who don't want a full box set, this two-CD set covers all the big hits. And this is the interview with Rasa I discuss in the episode. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, this episode has some mentions of racism and homophobia, several discussions of physical violence, one mention of domestic violence, and some discussion of mental illness. I've tried to discuss these things with a reasonable amount of sensitivity, but there's a tabloid element to some of my sources which inevitably percolates through, so be warned if you find those things upsetting. One of the promises I made right at the start of this project was that I would not be doing the thing that almost all podcasts do of making huge chunks of the episodes be about myself -- if I've had to update people about something in my life that affects the podcast, I've done it in separate admin episodes, so the episodes themselves will not be taken up with stuff about me. The podcast is not about me. I am making a very slight exception in this episode, for reasons that will become clear -- there's no way for me to tell this particular story the way I need to without bringing myself into it at least a little. So I wanted to state upfront that this is a one-off thing. The podcast is not suddenly going to change. But one question that I get asked a lot -- far more than I'd expect -- is "do the people you talk about in the podcast ever get in touch with you about what you've said?" Now that has actually happened twice, both times involving people leaving comments on relatively early episodes. The first time is probably the single thing I'm proudest of achieving with this series, and it was a comment left on the episode on "Goodnight My Love" a couple of years back: [Excerpt: Jesse Belvin, "Goodnight My Love"] That comment was from Debra Frazier and read “Jesse Belvin is my Beloved Uncle, my mother's brother. I've been waiting all my life for him to be recognized in this manner. I must say the content in this podcast is 100% correct!Joann and Jesse practically raised me. Can't express how grateful I am. Just so glad someone got it right. I still miss them dearly to this day. My world was forever changed Feb. 6th 1960. I can remember him writing most of those songs right there in my grandmother's living room. I think I'm his last living closest relative, that knows everything in this podcast is true." That comment by itself would have justified me doing this whole podcast. The other such comment actually came a couple of weeks ago, and was on the episode on "Only You": [Excerpt: The Platters, "Only You"] That was a longer comment, from Gayle Schrieber, an associate of Buck Ram, and started "Well, you got some of it right. Your smart-assed sarcasm and know-it-all attitude is irritating since I Do know it all from the business side but what the heck. You did better than most people – with the exception of Marv Goldberg." Given that Marv Goldberg is the single biggest expert on 1950s vocal groups in the world, I'll take that as at least a backhanded compliment. So those are the only two people who I've talked about in the podcast who've commented, but before the podcast I had a blog, and at various times people whose work I wrote about would comment -- John Cowsill of the Cowsills still remembers a blog post where I said nice things about him fourteen years ago, for example. And there was one comment on a blog post I made four or five years ago which confirmed something I'd suspected for a while… When we left the Kinks, at the end of 1964, they had just recorded their first album. That album was not very good, but did go to number three in the UK album charts, which is a much better result than it sounds. Freddie "Boom Boom" Cannon got to number one in 1960, but otherwise the only rock acts to make number one on the album charts from the start of the sixties through the end of 1967 were Elvis, Cliff Richard, the Shadows, the Beatles, the Rolling Stones, Bob Dylan and the Monkees. In the first few years of the sixties they were interspersed with the 101 Strings, trad jazz, the soundtrack to West Side Story, and a blackface minstrel group, The George Mitchell Singers. From mid-1963 through to the end of 1967, though, literally the only things to get to number one on the album charts were the Beatles, the Rolling Stones, Bob Dylan, the Monkees, and the soundtrack to The Sound of Music. That tiny cabal was eventually broken at the end of 1967 by Val Doonican Rocks… But Gently, and from 1968 on the top of the album charts becomes something like what we would expect today, with a whole variety of different acts, I make this point to point out two things The first is that number three on the album charts is an extremely good position for the Kinks to be in -- when they reached that point the Rolling Stones' second album had just entered at number one, and Beatles For Sale had dropped to number two after eight weeks at the top -- and the second is that for most rock artists and record labels, the album market was simply not big enough or competitive enough until 1968 for it to really matter. What did matter was the singles chart. And "You Really Got Me" had been a genuinely revolutionary hit record. According to Ray Davies it had caused particular consternation to both the Rolling Stones and the Yardbirds, both of whom had thought they would be the first to get to number one with a dirty, distorted, R&B-influenced guitar-riff song. And so three weeks after the release of the album came the group's second single. Originally, the plan had been to release a track Ray had been working on called "Tired of Waiting", but that was a slower track, and it was decided that the best thing to do would be to try to replicate the sound of their first hit. So instead, they released "All Day And All Of The Night": [Excerpt: The Kinks, "All Day And All Of The Night"] That track was recorded by the same team as had recorded "You Really Got Me", except with Perry Ford replacing Arthur Greenslade on piano. Once again, Bobby Graham was on drums rather than Mick Avory, and when Ray Davies suggested that he might want to play a different drum pattern, Graham just asked him witheringly "Who do you think you are?" "All Day and All of the Night" went to number two -- a very impressive result for a soundalike follow-up -- and was kept off the number one spot first by "Baby Love" by the Supremes and then by "Little Red Rooster" by the Rolling Stones. The group quickly followed it up with an EP, Kinksize Session, consisting of three mediocre originals plus the group's version of "Louie Louie". By February 1965 that had hit number one on the EP charts, knocking the Rolling Stones off. Things were going as well as possible for the group. Ray and his girlfriend Rasa got married towards the end of 1964 -- they had to, as Rasa was pregnant and from a very religious Catholic family. By contrast, Dave was leading the kind of life that can only really be led by a seventeen-year-old pop star -- he moved out of the family home and in with Mick Avory after his mother caught him in bed with five women, and once out of her watchful gaze he also started having affairs with men, which was still illegal in 1964. (And which indeed would still be illegal for seventeen-year-olds until 2001). In January, they released their third hit single, "Tired of Waiting for You". The track was a ballad rather than a rocker, but still essentially another variant on the theme of "You Really Got Me" -- a song based around a few repeated phrases of lyric, and with a chorus with two major chords a tone apart. "You Really Got Me"'s chorus has the change going up: [Plays "You Really Got Me" chorus chords] While "Tired Of Waiting For You"'s chorus has the change going down: [Plays "Tired of Waiting For You" chorus chords] But it's trivially easy to switch between the two if you play them in the same key: [Demonstrates] Ray has talked about how "Tired of Waiting for You" was partly inspired by how he felt tired of waiting for the fame that the Kinks deserved, and the music was written even before "You Really Got Me". But when they went into the studio to record it, the only lyrics he had were the chorus. Once they'd recorded the backing track, he worked on the lyrics at home, before coming back into the studio to record his vocals, with Rasa adding backing vocals on the softer middle eight: [Excerpt: The Kinks, "Tired of Waiting For You"] After that track was recorded, the group went on a tour of Australia, New Zealand, and Hong Kong. The flight out to Australia was thirty-four hours, and also required a number of stops. One stop to refuel in Moscow saw the group forced back onto the plane at gunpoint after Pete Quaife unwisely made a joke about the recently-deposed Russian Premier Nikita Khruschev. They also had a stop of a couple of days in Mumbai, where Ray was woken up by the sounds of fishermen chanting at the riverside, and enchanted by both the sound and the image. In Adelaide, Ray and Dave met up for the first time in years with their sister Rose and her husband Arthur. Ray was impressed by their comparative wealth, but disliked the slick modernity of their new suburban home. Dave became so emotional about seeing his big sister again that he talked about not leaving her house, not going to the show that night, and just staying in Australia so they could all be a family again. Rose sadly told him that he knew he couldn't do that, and he eventually agreed. But the tour wasn't all touching family reunions. They also got into a friendly rivalry with Manfred Mann, who were also on the tour and were competing with the Kinks to be the third-biggest group in the UK behind the Beatles and the Stones, and at one point both bands ended up on the same floor of the same hotel as the Stones, who were on their own Australian tour. The hotel manager came up in the night after a complaint about the noise, saw the damage that the combined partying of the three groups had caused, and barricaded them into that floor, locking the doors and the lift shafts, so that the damage could be contained to one floor. "Tired of Waiting" hit number one in the UK while the group were on tour, and it also became their biggest hit in the US, reaching number six, so on the way home they stopped off in the US for a quick promotional appearance on Hullabaloo. According to Ray's accounts, they were asked to do a dance like Freddie and the Dreamers, he and Mick decided to waltz together instead, and the cameras cut away horrified at the implied homosexuality. In fact, examining the footage shows the cameras staying on the group as Mick approaches Ray, arms extended, apparently offering to waltz, while Ray backs off nervous and confused, unsure what's going on. Meanwhile Dave and Pete on the other side of the stage are being gloriously camp with their arms around each other's shoulders. When they finally got back to the UK, they were shocked to hear this on the radio: [Excerpt: The Who, "I Can't Explain"] Ray was horrified that someone had apparently stolen the group's sound, especially when he found out it was the Who, who as the High Numbers had had a bit of a rivalry with the group. He said later "Dave thought it was us! It was produced by Shel Talmy, like we were. They used the same session singers as us, and Perry Ford played piano, like he did on ‘All Day And All Of The Night'. I felt a bit appalled by that. I think that was worse than stealing a song – they were actually stealing our whole style!” Pete Townshend later admitted as much, saying that he had deliberately demoed "I Can't Explain" to sound as much like the Kinks as possible so that Talmy would see its potential. But the Kinks were still, for the moment, doing far better than the Who. In March, shortly after returning from their foreign tour, they released their second album, Kinda Kinks. Like their first album, it was a very patchy effort, but it made number two on the charts, behind the Rolling Stones. But Ray Davies was starting to get unhappy. He was dissatisfied with everything about his life. He would talk later about looking at his wife lying in bed sleeping and thinking "What's she doing here?", and he was increasingly wondering if the celebrity pop star life was right for him, simultaneously resenting and craving the limelight, and doing things like phoning the music papers to deny rumours that he was leaving the Kinks -- rumours which didn't exist until he made those phone calls. As he thought the Who had stolen the Kinks' style, Ray decided to go in a different direction for the next Kinks single, and recorded "Everybody's Gonna Be Happy", which was apparently intended to sound like Motown, though to my ears it bears no resemblance: [Excerpt: The Kinks, "Everybody's Gonna Be Happy"] That only went to number nineteen -- still a hit, but a worry for a band who had had three massive hits in a row. Several of the band started to worry seriously that they were going to end up with no career at all. It didn't help that on the tour after recording that, Ray came down with pneumonia. Then Dave came down with bronchitis. Then Pete Quaife hit his head and had to be hospitalised with severe bleeding and concussion. According to Quaife, he fainted in a public toilet and hit his head on the bowl on the way down, but other band members have suggested that Quaife -- who had a reputation for telling tall stories, even in a band whose members are all known for rewriting history -- was ashamed after getting into a fight. In April they played the NME Poll-Winners' Party, on the same bill as the Beatles, the Rolling Stones, the Animals, the Moody Blues, the Searchers, Freddie And The Dreamers, Herman's Hermits, Wayne Fontana & The Mindbenders, the Rockin' Berries, the Seekers, the Ivy League, Them, the Bachelors, Georgie Fame & The Blue Flames, Cilla Black, Dusty Springfield, Twinkle, Tom Jones, Donovan, and Sounds Incorporated. Because they got there late they ended up headlining, going on after the Beatles, even though they hadn't won an award, only come second in best new group, coming far behind the Stones but just ahead of Manfred Mann and the Animals. The next single, "Set Me Free", was a conscious attempt to correct course after "Everybody's Gonna Be Happy" had been less successful: [Excerpt: The Kinks, "Set Me Free"] The song is once again repetitive, and once again based on a riff, structured similarly to "Tired of Waiting" but faster and more upbeat, and with a Beatles-style falsetto in the chorus. It worked -- it returned the group to the top ten -- but Ray wasn't happy at writing to order. He said in August of that year “I'm ashamed of that song. I can stand to hear and even sing most of the songs I've written, but not that one. It's built around pure idiot harmonies that have been used in a thousand songs.” More recently he's talked about how the lyric was an expression of him wanting to be set free from the constraint of having to write a hit song in the style he felt he was outgrowing. By the time the single was released, though, it looked like the group might not even be together any longer. There had always been tensions in the band. Ray and Dave had a relationship that made the Everly Brothers look like the model of family amity, and while Pete Quaife stayed out of the arguments for the most part, Mick Avory couldn't. The core of the group had always been the Davies brothers, and Quaife had known them for years, but Avory was a relative newcomer and hadn't grown up with them, and they also regarded him as a bit less intelligent than the rest of the group. He became the butt of jokes on a fairly constant basis. That would have been OK, except that Avory was also an essentially passive person, who didn't want to take sides in conflicts, while Dave Davies thought that as he and Avory were flatmates they should be on the same side, and resented when Avory didn't take his side in arguments with Ray. As Dave remembered it, the trigger came when he wanted to change the setlist and Mick didn't support him against Ray. In others' recollection, it came when the rest of the band tried to get Dave away from a party and he got violent with them. Both may be true. Either way, Dave got drunk and threw a suitcase at the back of a departing Mick, who was normally a fairly placid person but had had enough, and so he turned round, furious, grabbed Dave, got him in a headlock and just started punching, blackening both his eyes. According to some reports, Avory was so infuriated with Dave that he knocked him out, and Dave was so drunk and angry that when he came to he went for Avory again, and got knocked out again. The next day, the group were driven to their show in separate cars -- the Davies brothers in one, the rhythm section in the other -- they had separate dressing rooms, and made their entrance from separate directions. They got through the first song OK, and then Dave Davies insulted Avory's drumming, spat at him, and kicked his drums so they scattered all over the stage. At this point, a lot of the audience were still thinking this was part of the act, but Avory saw red again and picked up his hi-hat cymbal and smashed it down edge-first onto Dave's head. Everyone involved says that if his aim had been very slightly different he would have actually killed Dave. As it is, Dave collapsed, unconscious, bleeding everywhere. Ray screamed "My brother! He's killed my little brother!" and Mick, convinced he was a murderer, ran out of the theatre, still wearing his stage outfit of a hunting jacket and frilly shirt. He was running away for his life -- and that was literal, as Britain still technically had the death penalty at this point; while the last executions in Britain took place in 1964, capital punishment for murder wasn't abolished until late 1965 -- but at the same time a gang of screaming girls outside who didn't know what was going on were chasing him because he was a pop star. He managed to get back to London, where he found that the police had been looking for him but that Dave was alive and didn't want to press charges. However, he obviously couldn't go back to their shared home, and they had to cancel gigs because Dave had been hospitalised. It looked like the group were finished for good. Four days after that, Ray and Rasa's daughter Louisa was born, and shortly after that Ray was in the studio again, recording demos: [Excerpt: Ray Davies, "I Go to Sleep (demo)"] That song was part of a project that Larry Page, the group's co-manager, and Eddie Kassner, their publisher, had of making Ray's songwriting a bigger income source, and getting his songs recorded by other artists. Ray had been asked to write it for Peggy Lee, who soon recorded her own version: [Excerpt: Peggy Lee, "I Go to Sleep"] Several of the other tracks on that demo session featured Mitch Mitchell on drums. At the time, Mitchell was playing with another band that Page managed, and there seems to have been some thought of him possibly replacing Avory in the group. But instead, Larry Page cut the Gordian knot. He invited each band member to a meeting, just the two of them -- and didn't tell them that he'd scheduled all these meetings at the same time. When they got there, they found that they'd been tricked into having a full band meeting, at which point Page just talked to them about arrangements for their forthcoming American tour, and didn't let them get a word in until he'd finished. At the end he asked if they had any questions, and Mick Avory said he'd need some new cymbals because he'd broken his old ones on Dave's head. Before going on tour, the group recorded a song that Ray had written inspired by that droning chanting he'd heard in Mumbai. The song was variously titled "See My Friend" and "See My Friends" -- it has been released under both titles, and Ray seems to sing both words at different times -- and Ray told Maureen Cleave "The song is about homosexuality… It's like a football team and the way they're always kissing each other.” (We will be talking about Ray Davies' attitudes towards sexuality and gender in a future episode, but suffice to say that like much of Davies' worldview, he has a weird mixture of very progressive and very reactionary views, and he is also prone to observe behaviours in other people's private lives and make them part of his own public persona). The guitar part was recorded on a bad twelve-string guitar that fed back in the studio, creating a drone sound, which Shel Talmy picked up on and heavily compressed, creating a sound that bore more than a little resemblance to a sitar: [Excerpt: The Kinks, "See My Friend"] If that had been released at the time, it would have made the Kinks into trend-setters. Instead it was left in the can for nearly three months, and in the meantime the Yardbirds released the similar-sounding "Heart Full of Soul", making the Kinks look like bandwagon-jumpers when their own record came out, and reinforcing a paranoid belief that Ray had started to develop that his competitors were stealing his ideas. The track taking so long to come out was down to repercussions from the group's American tour, which changed the course of their whole career in ways they could not possibly have predicted. This was still the era when the musicians' unions of the US and UK had a restrictive one-in, one-out policy for musicians, and you couldn't get a visa to play in the US without the musicians' union's agreement -- and the AFM were not very keen on the British invasion, which they saw as taking jobs away from their members. There are countless stories from this period of bands like the Moody Blues getting to the US only to find that the arrangements have fallen through and they can't perform. Around this time, Wayne Fontana and the Mindbenders were told they weren't notable enough to get permission to play more than one gig, even though they were at number one on the charts in the US at the time. So it took a great deal of effort to get the Kinks' first US tour arranged, and they had to make a good impression. Unfortunately, while the Beatles and Stones knew how to play the game and give irreverent, cheeky answers that still left the interviewers amused and satisfied, the Kinks were just flat-out confusing and rude: [Excerpt: The Kinks Interview with Clay Cole] The whole tour went badly. They were booked into unsuitable venues, and there were a series of events like the group being booked on the same bill as the Dave Clark Five, and both groups having in their contract that they would be the headliner. Promoters started to complain about them to their management and the unions, and Ray was behaving worse and worse. By the time the tour hit LA, Ray was being truly obnoxious. According to Larry Page he refused to play one TV show because there was a Black drummer on the same show. Page said that it was not about personal prejudice -- though it's hard to see how it could not be, at least in part -- but just picking something arbitrary to complain about to show he had the power to mess things up. While shooting a spot for the show Where The Action Is, Ray got into a physical fight with one of the other cast members over nothing. What Ray didn't realise was that the person in question was a representative for AFTRA, the screen performers' union, and was already unhappy because Dave had earlier refused to join the union. Their behaviour got reported up the chain. The day after the fight was supposed to be the highlight of the tour, but Ray was missing his wife. In the mid-sixties, the Beach Boys would put on a big Summer Spectacular at the Hollywood Bowl every year, and the Kinks were due to play it, on a bill which as well as the Beach Boys also featured the Byrds, the Righteous Brothers, Dino, Desi & Billy, and Sonny and Cher. But Ray said he wasn't going on unless Rasa was there. And he didn't tell Larry Page, who was there, that. Instead, he told a journalist at the Daily Mirror in London, and the first Page heard about it was when the journalist phoned him to confirm that Ray wouldn't be playing. Now, they had already been working to try to get Rasa there for the show, because Ray had been complaining for a while. But Rasa didn't have a passport. Not only that, but she was an immigrant and her family were from Lithuania, and the US State Department weren't exactly keen on people from the Eastern Bloc flying to the US. And it was a long flight. I don't know exactly how long a flight from London to LA took then, but it takes eleven and a half hours now, and it will have been around that length. Somehow, working a miracle, Larry Page co-ordinated with his co-managers Robert Wace and Grenville Collins back in London -- difficult in itself as Wace and Collins and Page and his business partner Eddie Kassner were by now in two different factions, because Ray had been manipulating them and playing them off against each other for months. But the three of them worked together and somehow got Rasa to LA in time for Ray to go on stage. Page waited around long enough to see that Ray had got on stage at the Hollywood Bowl, then flew back to London. He had had enough of Ray's nonsense, and didn't really see any need to be there anyway, because they had a road manager, their publisher, their agent, and plenty of support staff. He felt that he was only there to be someone for Ray Davies to annoy and take his frustrations out on. And indeed, once Page flew back to the UK, Ray calmed down, though how much of that was the presence of Rasa it's hard to say. Their road manager at the time though said "If Larry wasn't there, Ray couldn't make problems because there was nobody there to make them to. He couldn't make problems for me because I just ignored them. For example, in Hawaii, the shirts got stolen. Ray said, ‘No way am I going onstage without my shirt.' So I turned around and said to him, ‘Great, don't go on!' Of course, they went on.” They did miss the gig the next night in San Francisco, with more or less the same lineup as the Hollywood Bowl show -- they'd had problems with the promoter of that show at an earlier gig in Reno, and so Ray said they weren't going to play unless they got paid in cash upfront. When the promoter refused, the group just walked on stage, waved, and walked off. But other than that, the rest of the tour went OK. What they didn't realise until later was that they had made so many enemies on that tour that it would be impossible for them to return to the US for another four years. They weren't blacklisted, as such, they just didn't get the special treatment that was necessary to make it possible for them to visit there. From that point on they would still have a few hits in the US, but nothing like the sustained massive success they had in the UK in the same period. Ray felt abandoned by Page, and started to side more and more with Wace and Collins. Page though was still trying to promote Ray's songwriting. Some of this, like the album "Kinky Music" by the Larry Page Orchestra, released during the tour, was possibly not the kind of promotion that anyone wanted, though some of it has a certain kitsch charm: [Excerpt: The Larry Page Orchestra, "All Day And All Of The Night"] Incidentally, the guitarist on that album was Jimmy Page, who had previously played rhythm guitar on a few Kinks album tracks. But other stuff that Larry Page was doing would be genuinely helpful. For example, on the tour he had become friendly with Stone and Greene, the managers who we heard about in the Buffalo Springfield episode. At this point they were managing Sonny and Cher, and when they came over to the UK, Page took the opportunity to get Cher into the studio to cut a version of Ray's "I Go to Sleep": [Excerpt: Cher, "I Go to Sleep"] Most songwriters, when told that the biggest new star of the year was cutting a cover version of one of their tracks for her next album, would be delighted. Ray Davies, on the other hand, went to the session and confronted Page, screaming about how Page was stealing his ideas. And it was Page being marginalised that caused "See My Friend" to be delayed, because while they were in the US, Page had produced the group in Gold Star Studios, recording a version of Ray's song "Ring the Bells", and Page wanted that as the next single, but the group had a contract with Shel Talmy which said he would be their producer. They couldn't release anything Talmy hadn't produced, but Page, who had control over the group's publishing with his business partner Kassner, wouldn't let them release "See My Friend". Eventually, Talmy won out, and "See My Friend" became the group's next single. It made the top ten on the Record Retailer chart, the one that's now the official UK chart cited in most sources, but only number fifteen on the NME chart which more people paid attention to at the time, and only spent a few weeks on the charts. Ray spent the summer complaining in the music papers about how the track -- "the only one I've really liked", as he said at the time -- wasn't selling as much as it deserved, and also insulting Larry Page and boasting about his own abilities, saying he was a better singer than Andy Williams and Tony Bennett. The group sacked Larry Page as their co-manager, and legal battles between Page and Kassner on one side and Collins and Wace on the other would continue for years, tying up much of the group's money. Page went on to produce a new band he was managing, making records that sounded very like the Kinks' early hits: [Excerpt: The Troggs, "Wild Thing"] The Kinks, meanwhile, decided to go in a different direction for their new EP, Kwyet Kinks, an EP of mostly softer, folk- and country-inspired songs. The most interesting thing on Kwyet Kinks was "Well-Respected Man", which saw Ray's songwriting go in a completely different direction as he started to write gentle social satires with more complex lyrics, rather than the repetitive riff-based songs he'd been doing before. That track was released as a single in the US, which didn't have much of an EP market, and made the top twenty there, despite its use of a word that in England at the time had a double meaning -- either a cigarette or a younger boy at a public school who has to be the servant of an older boy -- but in America was only used as a slur for gay people: [Excerpt: The Kinks, "Well Respected Man"] The group's next album, The Kink Kontroversy, was mostly written in a single week, and is another quickie knockoff album. It had the hit single "Til the End of the Day", another attempt at getting back to their old style of riffy rockers, and one which made the top ten. It also had a rerecorded version of "Ring the Bells", the song Larry Page had wanted to release as a single: [Excerpt: The Kinks, "Ring the Bells"] I'm sure that when Ray Davies heard "Ruby Tuesday" a little over a year later he didn't feel any better about the possibility that people were stealing his ideas. The Kink Kontroversy was a transitional album for the group in many ways. It was the first album to prominently feature Nicky Hopkins, who would be an integral part of the band's sound for the next three years, and the last one to feature a session drummer (Clem Cattini, rather than Avory, played on most of the tracks). From this point on there would essentially be a six-person group of studio Kinks who would make the records -- the four Kinks themselves, Rasa Davies on backing vocals, and Nicky Hopkins on piano. At the end of 1965 the group were flailing, mired in lawsuits, and had gone from being the third biggest group in the country at the start of the year to maybe the tenth or twentieth by the end of it. Something had to change. And it did with the group's next single, which in both its sound and its satirical subject matter was very much a return to the style of "Well Respected Man". "Dedicated Follower of Fashion" was inspired by anger. Ray was never a particularly sociable person, and he was not the kind to do the rounds of all the fashionable clubs like the other pop stars, including his brother, would. But he did feel a need to make some kind of effort and would occasionally host parties at his home for members of the fashionable set. But Davies didn't keep up with fashion the way they did, and some of them would mock him for the way he dressed. At one such party he got into a fistfight with someone who was making fun of his slightly flared trousers, kicked all the guests out, and then went to a typewriter and banged out a lyric mocking the guest and everyone like him: [Excerpt: The Kinks, "Dedicated Follower of Fashion"] The song wasn't popular with Ray's bandmates -- Dave thought it was too soft and wimpy, while Quaife got annoyed at the time Ray spent in the studio trying to make the opening guitar part sound a bit like a ukulele. But they couldn't argue with the results -- it went to number five on the charts, their biggest success since "Tired of Waiting for You" more than a year earlier, and more importantly in some ways it became part of the culture in a way their more recent singles hadn't. "Til The End of the Day" had made the top ten, but it wasn't a record that stuck in people's minds. But "Dedicated Follower of Fashion" was so popular that Ray soon got sick of people coming up to him in the street and singing "Oh yes he is!" at him. But then, Ray was getting sick of everything. In early 1966 he had a full-scale breakdown, brought on by the flu but really just down to pure exhaustion. Friends from this time say that Ray was an introverted control freak, always neurotic and trying to get control and success, but sabotaging it as soon as he attained it so that he didn't have to deal with the public. Just before a tour of Belgium, Rasa gave him an ultimatum -- either he sought medical help or she would leave him. He picked up their phone and slammed it into her face, blacking her eye -- the only time he was ever physically violent to her, she would later emphasise -- at which point it became imperative to get medical help for his mental condition. Ray stayed at home while the rest of the band went to Belgium -- they got in a substitute rhythm player, and Dave took the lead vocals -- though the tour didn't make them any new friends. Their co-manager Grenville Collins went along and with the tact and diplomacy for which the British upper classes are renowned the world over, would say things like “I understand every bloody word you're saying but I won't speak your filthy language. De Gaulle won't speak English, why should I speak French?” At home, Ray was doing worse and worse. When some pre-recorded footage of the Kinks singing "Dedicated Follower of Fashion" came on the TV, he unplugged it and stuck it in the oven. He said later "I was completely out of my mind. I went to sleep and I woke up a week later with a beard. I don't know what happened to me. I'd run into the West End with my money stuffed in my socks, I'd tried to punch my press agent, I was chased down Denmark Street by the police, hustled into a taxi by a psychiatrist and driven off somewhere. And I didn't know. I woke up and I said, ‘What's happening? When do we leave for Belgium?' And they said, ‘Ray it's all right. You had a collapse. Don't worry. You'll get better.'” He did get better, though for a long time he found himself unable to listen to any contemporary rock music other than Bob Dylan -- electric guitars made him think of the pop world that had made him ill -- and so he spent his time listening to classical and jazz records. He didn't want to be a pop star any more, and convinced himself he could quit the band if he went out on top by writing a number one single. And so he did: [Excerpt: The Kinks, "Sunny Afternoon"] Or at least, I say it's a single he wrote, but it's here that I finally get to a point I've been dancing round since the beginning of the episode. The chorus line, "In the summertime", was Rasa's suggestion, and in one of the only two interviews I've ever come across with her, for Johnny Rogan's biography of Ray, she calls the song "the only one where I wrote some words". But there's evidence, including another interview with her I'll talk about in a bit, that suggests that's not quite the case. For years, I thought it was an interesting coincidence that Ray Davies' songwriting ability follows a curve that almost precisely matches that of his relationship with Rasa. At the start, he's clearly talented -- "You Really Got Me" is a great track -- but he's an unformed writer and most of his work is pretty poor stuff. Then he marries Rasa, and his writing starts to become more interesting. Rasa starts to regularly contribute in the studio, and he becomes one of the great songwriters of his generation. For a five-year period in the mid-to-late-sixties, the period when their marriage is at its strongest, Ray writes a string of classic songs that are the equal of any catalogue in popular music. Then around 1970 Rasa stops coming to the studio, and their marriage is under strain. The records become patchier -- still plenty of classic tracks, but a lot more misses. And then in 1973, she left him, and his songwriting fell off a cliff. If you look at a typical Ray Davies concert setlist from 2017, the last time he toured, he did twenty songs, of which two were from his new album, one was the Kinks' one-off hit "Come Dancing" from 1983, and every other song was from the period when he and Rasa were married. Now, for a long time I just thought that was interesting, but likely a coincidence. After all, most rock songwriters do their most important work in their twenties, divorces have a way of messing people's mental health up, musical fashions change… there are a myriad reasons why these things could be like that. But… the circumstantial evidence just kept piling up. Ray's paranoia about people stealing his ideas meant that he became a lot more paranoid and secretive in his songwriting process, and would often not tell his bandmates the titles of the songs, the lyrics, or the vocal melody, until after they'd recorded the backing tracks -- they would record the tracks knowing the chord changes and tempo, but not what the actual song was. Increasingly he would be dictating parts to Quaife and Nicky Hopkins in the studio from the piano, telling them exactly what to play. But while Pete Quaife thought that Ray was being dictatorial in the studio and resented it, he resented something else more. As late as 1999 he was complaining about, in his words, "the silly little bint from Bradford virtually running the damn studio", telling him what to do, and feeling unable to argue back even though he regarded her as "a jumped-up groupie". Dave, on the other hand, valued Rasa's musical intuition and felt that Ray was the same. And she was apparently actually more up-to-date with the music in the charts than any of the band -- while they were out on the road, she would stay at home and listen to the radio and make note of what was charting and why. All this started to seem like a lot of circumstantial evidence that Rasa was possibly far more involved in the creation of the music than she gets credit for -- and given that she was never credited for her vocal parts on any Kinks records, was it too unbelievable that she might have contributed to the songwriting without credit? But then I found the other interview with Rasa I'm aware of, a short sidebar piece I'll link in the liner notes, and I'm going to quote that here: "Rasa, however, would sometimes take a very active role during the writing of the songs, many of which were written in the family home, even on occasion adding to the lyrics. She suggested the words “In the summertime” to ‘Sunny Afternoon', it is claimed. She now says, “I would make suggestions for a backing melody, sing along while Ray was playing the song(s) on the piano; at times I would add a lyric line or word(s). It was rewarding for me and was a major part of our life.” That was enough for me to become convinced that Rasa was a proper collaborator with Ray. I laid all this out in a blog post, being very careful how I phrased what I thought -- that while Ray Davies was probably the principal author of the songs credited to him (and to be clear, that is definitely what I think -- there's a stylistic continuity throughout his work that makes it very clear that the same man did the bulk of the work on all of it), the songs were the work of a writing partnership. As I said in that post "But even if Rasa only contributed ten percent, that seems likely to me to have been the ten percent that pulled those songs up to greatness. Even if all she did was pull Ray back from his more excessive instincts, perhaps cause him to show a little more compassion in his more satirical works (and the thing that's most notable about his post-Rasa songwriting is how much less compassionate it is), suggest a melodic line should go up instead of down at the end of a verse, that kind of thing… the cumulative effect of those sorts of suggestions can be enormous." I was just laying out my opinion, not stating anything as a certainty, though I was morally sure that Rasa deserved at least that much credit. And then Rasa commented on the post, saying "Dear Andrew. Your article was so informative and certainly not mischaracterised. Thank you for the 'history' of my input working with Ray. As I said previously, that time was magical and joyous." I think that's as close a statement as we're likely to get that the Kinks' biggest hits were actually the result of the songwriting team of Davies and Davies, and not of Ray alone, since nobody seems interested at all in a woman who sang on -- and likely co-wrote -- some of the biggest hit records of the sixties. Rasa gets mentioned in two sentences in the band's Wikipedia page, and as far as I can tell has only been interviewed twice -- an extensive interview by Johnny Rogan for his biography of Ray, in which he sadly doesn't seem to have pressed her on her songwriting contributions, and the sidebar above. I will probably continue to refer to Ray writing songs in this and the next episode on the Kinks, because I don't know for sure who wrote what, and he is the one who is legally credited as the sole writer. But… just bear that in mind. And bear it in mind whenever I or anyone else talk about the wives and girlfriends of other rock stars, because I'm sure she's not the only one. "Sunny Afternoon" knocked "Paperback Writer" off the number one spot, but by the time it did, Pete Quaife was out of the band. He'd fallen out with the Davies brothers so badly that he'd insisted on travelling separately from them, and he'd been in a car crash that had hospitalised him for six weeks. They'd quickly hired a temporary replacement, John Dalton, who had previously played with The Mark Four, the group that had evolved into The Creation. They needed him to mime for a TV appearance pretty much straight away, so they asked him "can you play a descending D minor scale?" and when he said yes he was hired -- because the opening of "Sunny Afternoon" used a trick Ray was very fond of, of holding a chord in the guitars while the bass descends in a scale, only changing chord when the notes would clash too badly, and then changing to the closest possible chord: [Excerpt: The Kinks, "Sunny Afternoon"] Around this time, the group also successfully renegotiated their contract with Pye Records, with the help of a new lawyer they had been advised to get in touch with -- Allen Klein. As well as helping renegotiate their contracts, Klein also passed on a demo of one of Ray's new songs to Herman's Hermits. “Dandy” was going to be on the Kinks' next album, but the Hermits released it as a single in the US and took it into the top ten: [Excerpt: Herman's Hermits, “Dandy”] In September, Pete Quaife formally quit the band -- he hadn't played with them in months after his accident -- and the next month the album Face To Face, recorded while Quaife was still in the group, was released. Face to Face was the group's first really solid album, and much of the album was in the same vein as "Sunny Afternoon" -- satirical songs that turned on the songwriter as much as on the people they were ostensibly about. It didn't do as well as the previous albums, but did still make the top twenty on the album chart. The group continued work, recording a new single, "Dead End Street", a song which is musically very similar to "Sunny Afternoon", but is lyrically astonishingly bleak, dealing with poverty and depression rather than more normal topics for a pop song. The group produced a promotional film for it, but the film was banned by the BBC as being in bad taste, as it showed the group as undertakers. But the single happened to be released two days after the broadcast of "Cathy Come Home", the seminal drama about homelessness, which suddenly brought homelessness onto the political agenda. While "Dead End Street" wasn't technically about homelessness, it was close enough that when the TV programme Panorama did a piece on the subject, they used "Dead End Street" to soundtrack it. The song made the top five, an astonishing achievement for something so dark: [Excerpt: The Kinks, "Dead End Street"] But the track also showed the next possible breach in the Kinks' hitmaking team -- when it was originally recorded, Shel Talmy had produced it, and had a French horn playing, but after he left the session, the band brought in a trombone player to replace the French horn, and rerecorded it without him. They would continue working with him for a little while, recording some of the tracks for their next album, but by the time the next single came out, Talmy would be out of the picture for good. But Pete Quaife, on the other hand, was nowhere near as out of the group as he had seemed. While he'd quit the band in September, Ray persuaded him to rejoin the band four days before "Dead End Street" came out, and John Dalton was back to working in his day job as a builder, though we'll be hearing more from him. The group put out a single in Europe, "Mr. Pleasant", a return to the style of "Well Respected Man" and "Dedicated Follower of Fashion": [Excerpt: The Kinks, “Mr. Pleasant”] That was a big hit in the Netherlands, but it wasn't released in the UK. They were working on something rather different. Ray had had the idea of writing a song called "Liverpool Sunset", about Liverpool, and about the decline of the Merseybeat bands who had been at the top of the profession when the Kinks had been starting out. But then the Beatles had released "Strawberry Fields Forever" and "Penny Lane", and Ray hadn't wanted to release anything about Liverpool's geography and look like he had stolen from them, given his attitudes to plagiarism. He said later "I sensed that the Beatles weren't going to be around long. When they moved to London, and ended up in Knightsbridge or wherever, I was still in Muswell Hill. I was loyal to my origins. Maybe I felt when they left it was all over for Merseybeat.” So instead, he -- or he and Rasa -- came up with a song about London, and about loneliness, and about a couple, Terry and Julie -- Terry was named after his nephew Terry who lived in Australia, while Julie's name came from Julie Christie, as she was then starring in a film with a Terry, Terrence Stamp: [Excerpt: The Kinks, "Waterloo Sunset"] It's interesting to look at the musical inspirations for the song. Many people at the time pointed out the song's similarity to "Winchester Cathedral" by the New Vaudeville Band, which had come out six months earlier with a similar melody and was also named after a place: [Excerpt: The New Vaudeville Band, "Winchester Cathedral"] And indeed Spike Milligan had parodied that song and replaced the lyrics with something more London-centric: [Excerpt: Spike Milligan, "Tower Bridge"] But it seems likely that Ray had taken inspiration from an older piece of music. We've talked before about Ferd Grofe in several episodes -- he was the one who orchestrated the original version of "Rhapsody in Blue", who wrote the piece of music that inspired Don Everly to write "Cathy's Clown", and who wrote the first music for the Novachord, the prototype synthesiser from the 1930s. As we saw earlier, Ray was listening to a lot of classical and jazz music rather than rock at this point, and one has to wonder if, at some point during his illness the previous year, he had come across Metropolis: A Blue Fantasy, which Grofe had written for Paul Whiteman's band in 1928, very much in the style of "Rhapsody in Blue", and this section, eight and a half minutes in, in particular: [Excerpt: Paul Whiteman, "Metropolis: A Blue Fantasy" ] "Waterloo Sunset" took three weeks to record. They started out, as usual, with a backing track recorded without the rest of the group knowing anything about the song they were recording -- though the group members did contribute some ideas to the arrangement, which was unusual by this point. Pete Quaife contributed to the bass part, while Dave Davies suggested the slapback echo on the guitar: [Excerpt: The Kinks, "Waterloo Sunset, Instrumental Take 2"] Only weeks later did they add the vocals. Ray had an ear infection, so rather than use headphones he sang to a playback through a speaker, which meant he had to sing more gently, giving the vocal a different tone from his normal singing style: [Excerpt: The Kinks, "Waterloo Sunset"] And in one of the few contributions Rasa made that has been generally acknowledged, she came up with the "Sha la la" vocals in the middle eight: [Excerpt: The Kinks, "Waterloo Sunset"] And the idea of having the track fade out on cascading, round-like vocals: [Excerpt: The Kinks, "Waterloo Sunset"] Once again the Kinks were at a turning point. A few weeks after "Waterloo Sunset" came out, the Monterey Pop Festival finally broke the Who in America -- a festival the Kinks were invited to play, but had to turn down because of their visa problems. It felt like the group were being passed by -- Ray has talked about how "Waterloo Sunset" would have been another good point for him to quit the group as he kept threatening to, or at least to stay home and just make the records, like Brian Wilson, while letting the band tour with Dave on lead vocals. He decided against it, though, as he would for decades to come. That attitude, of simultaneously wanting to be part of something and be a distanced, dispassionate observer of it, is what made "Waterloo Sunset" so special. As Ray has said, in words that seem almost to invoke the story of Moses: "it's a culmination of all my desires and hopes – it's a song about people going to a better world, but somehow I stayed where I was and became the observer in the song rather than the person who is proactive . . . I did not cross the river. They did and had a good life apparently." Ray stayed with the group, and we'll be picking up on what he and they did next in about a year's time. "Waterloo Sunset" went to number two on the charts, and has since become the most beloved song in the Kinks' whole catalogue. It's been called "the most beautiful song in the English language", and "the most beautiful song of the rock 'n' roll era", though Ray Davies, ever self-critical when he's not being self-aggrandising, thinks it could be improved upon. But most of the rest of us disagree. As the song itself says, "Waterloo Sunset's fine".
Come with me on my journey through the heavy side of Italian horror and the craziness of soundtrack collecting. My journey has been long and exciting and it all started it the 70's when i visited Dark They Where And Golden Eyed to the original Forbidden Planet in Denmark Street. Exciting journeys into film madness with my brother. Horror movies have always been part of my life and heavy metal and heavy themes are always linked from the crazy Video nasties to the weird and wacky and nasty Italian exploitation cinema.https://www.facebook.com/HeavyMetalTonesTAKE A LOOK AT THESE GUYS THE BEST HORROR REVIEWS ON THE WEBhttps://www.youtube.com/c/TheHorrorGeekhttps://www.youtube.com/c/DarkCornersReviewsPlus Hosted on Acast. See acast.com/privacy for more information.
Hello dear listener,Welcome back to another episode of Guitar Nerds. Apologies for Matt's audio this week! This week, Matt and I are talking all about Matt's visit to the new Roland Store on Denmark Street in London, my hunt for vintage Boss effects, and a brief look at what cool old EHX pedals are currently available on Reverb!Don't forget, you get 30% off ALL Neural DSP plugins with discount code: GUITARNERDS - just visit nerualdsp.com to check out their wonderful range of amps and effects.AND you get 10% off ALL Izotope suites and plugins with discount code: NERDS10 - visit izotope.com to check out their massive range of mixing, mastering, instruments and effects plugins. See acast.com/privacy for privacy and opt-out information.
In this interview, Liam talks to Alan Miller – a well-known hospitality entrepreneur, who set up the Night Time Industries Association in 2015, serving as its first Chairman. A proud Londoner, Alan has a long track-record in business, having founded the Old Truman Brewery in Brick Lane, in the heart of the capital's East End, in the early 1990s. His drive and creativity helped to attract a range of tenants to the 10-acre site, transform the locality. Prior to that, Alan ran a promotions company in Soho's Denmark Street and Club events across the UK, which also branched into live music and fashion. Highly respected for his night-time industries expertise, Alan has worked with local councils and advised mayors in various cities in the UK and abroad. Alan is now working full time with the Together Association, which he cofounded in response to what he has described as the government's draconian lockdown policies. Hosted on Acast. See acast.com/privacy for more information.
This episode is part of Pledge Week 2022. Every day this week, I'll be posting old Patreon bonus episodes of the podcast which will have this short intro. These are short, ten- to twenty-minute bonus podcasts which get posted to Patreon for my paying backers every time I post a new main episode -- there are well over a hundred of these in the archive now. If you like the sound of these episodes, then go to patreon.com/andrewhickey and subscribe for as little as a dollar a month or ten dollars a year to get access to all those bonus episodes, plus new ones as they appear. Click below for the transcript Transcript A few episodes back, we took a look at the Who's early records, and in passing we talked about the Ivy League, the studio group who sang backing vocals on their first single under that name. In this bonus episode, we're going to look at one of the biggest hits any of the members of the Ivy League were involved in -- a record that became a massive hit, won a Grammy, and changed the career direction of one of the most important comedy bands in Britain. We're going to look at "Winchester Cathedral" by the New Vaudeville Band: [Excerpt: The New Vaudeville Band, "Winchester Cathedral"] In his book Revolution in the Head, Ian MacDonald makes the point that the quintessential line in British psychedelia is from George Harrison's "It's All Too Much", where Harrison sings "Show me that I'm everywhere, and get me home for tea". Whereas American psychedelia is often angry and rebellious -- understandably, since it was often being made by people who were scared of being drafted to fight in a senseless war, and who were living through a time of great instability more generally -- British psychedelia was tinged with nostalgia, both for childhood and for a lost past of the Empire that had now ended. Now, we're going to get into that in much, much, greater detail when we look at the records the Beatles, the Kinks, the Who and others made in this period, but suffice to say that *one* of the several streams of thought that shaped the youth culture of Britain in the 1960s was a nationalistic one, partly in reaction to a perceived dominance by American culture and a belief that there were things about British culture that deserved celebrating too. And part and parcel of that was a celebration of the popular culture of the 1920s and thirties, the height of Britain's influence in the world. This nationalism, incidentally, was *not* necessarily an entirely regressive or reactionary thing, though it certainly had those elements -- there was a strong progressive element to it, and we'll be unpacking the tensions in it in future episodes. For the moment, just take it that we're not talking about the sort of flag-waving xenophobia that has tainted much of modern politics, but something more complicated. This complex relationship with the past had been evident as early as the very early 1960s, with acts like the Alberts and the Temperance Seven reviving 1920s novelty songs in what would now be considered a postmodern style: [Excerpt: The Temperance Seven, "You're Driving Me Crazy "] That had temporarily gone into abeyance with the rise of the Beatles and the bands that followed in their wake, making guitar music inspired by American Black musicians the new popular thing in British culture. But that stream of the culture was definitely there, and it was only a matter of time before music business professionals would notice it again and start to try to capitalise on it. And Geoff Stephens did just that. Stephens was an odd character, who had entered the music business at a relatively late age. Until the age of thirty he worked in a variety of jobs, including as a teacher and an air traffic controller, but he was also involved in amateur theatrics, putting on revues with friends for which he co-wrote songs and sketches. He then went on to write satirical sketches for radio comedy, writing for a programme hosted by Basil Boothroyd, the editor of Punch, and started submitting songs to Denmark Street publishers. Through his submissions, he got a job as a song plugger with a publishing company, and from there moved into writing songs professionally himself. His first hit, co-written as many of his songs were with Les Reed, was "Tell Me When", the debut single for the Applejacks, which made the top ten: [Excerpt: The Applejacks, "Tell Me When"] Many hits as a writer and producer soon followed, including writing "The Crying Game" for Dave Berry: [Excerpt: Dave Berry, "The Crying Game"] And signing Donovan and co-producing his first two albums and earliest hit singles: [Excerpt: Donovan, "Catch the Wind"] Stephens had been making hits for a couple of years when he conceived the novelty record "Winchester Cathedral", which he recorded with John Carter of the Ivy League on lead vocals, imitating the style of Rudy Vallee, one of the most popular singers of the 1920s, who sang through a megaphone -- he became popular before electronic amplification was a big thing. The record was made by session players, and released under the name "The New Vaudeville Band": [Excerpt: The New Vaudeville Band, "Winchester Cathedral"] The record immediately began to sell. It became a massive, massive, worldwide hit, selling three million copies and inspiring a cover version by Rudy Vallee himself: [Excerpt: Rudy Vallee, "Winchester Cathedral"] Oddly, this wasn't the last time in the sixties that a major hit would be inspired by the sound of Rudy Vallee... But Stephens had a problem. People wanted the New Vaudeville Band to tour, and he didn't actually have a touring act. So he turned to the next best thing. The Bonzo Dog Doo-Dah Band were a band of dadaist comedy performers who had a wonderful stage act, which among other things involved their lead singer Vivian Stanshall wearing a gold lame Elvis suit, their drummer Sam Spoons playing spoons and washboard, and comedy moments like band members holding up speech bubbles, so for example when someone took a solo, one of the other members might hold up a cardboard speech bubble saying "Wow! I'm really expressing myself!" Their repertoire largely consisted of novelty tunes -- some from the fifties, but mostly songs they'd learned from old 78s from the 1920s, like their first single: [Excerpt: The Bonzo Dog Doo-Dah Band, "My Brother Makes the Noises for the Talkies"] As Bonzos guitarist Neil Innes always told the story, Geoff Stephens was friends with the band's trumpet player Bob Kerr, and called him up asking if the Bonzo Dog Doo-Dah Band wanted to be the touring New Vaudeville Band. Kerr was excited -- his band would get to be proper pop stars! But when he went to talk to the rest of the group, they were dismissive. They were conceptual artists and creative people, and didn't want to be a manufactured pop band. Bob Kerr, on the other hand, thought that being paid vastly more money to do exactly the same stuff he was doing for next to nothing sounded like a great idea, and quit the band. The next thing the rest of his bandmates knew, they were watching him on Top of the Pops, performing with a band with a spoons player, a lead singer who wore a gold lame suit, and band members holding up cardboard speech bubbles. Kerr had taken the group's entire act, and they had to reinvent themselves, turning from 1920s pastiche to modern rock music -- and the chances are very good that we'll be following them up in the future. But of course, as well as an act, the new group needed a singer, and for that Stephens turned to Alan Klein. Now, this is not the Allen Klein who we've mentioned in the main podcast, and who will be coming up again in future episodes. This Alan Klein was someone who had been on the margins of the music industry as a writer and performer for some time. He'd made records with Joe Meek: [Excerpt: Alan Klein, "Striped Purple Shirt"] and he'd co-written the musical What A Crazy World, which had been made into a film which featured his songs being sung by Joe Brown, Marty Wilde, Freddie and the Dreamers, and...Harry H Corbett: [Excerpt: Harry H Corbett: "Things We Never Had"] He'd also made a single solo album, "Well, At Least it's British", which took a satirical look at British life in the 1960s that was hugely influential on Britpop in the 1990s, though the record sold almost nothing at the time: [Excerpt: Alan Klein, "Twentieth-Century Englishman"] With Klein as the new lead singer, the New Vaudeville Band were a real band. And indeed, they had three more top forty hits in the UK, though their most successful song after "Winchester Cathedral" was a song that Stephens and Les Reed wrote for them which wasn't a hit for them: [Excerpt: The New Vaudeville Band, "There's a Kind of Hush"] That *did*, though, become a big hit for Herman's Hermits: [Excerpt: Herman's Hermits, "There's a Kind of Hush"] The New Vaudeville Band were shortlived -- they only had a handful of hits, and Bob Kerr soon left the group after falling out with their manager, Peter Grant -- another figure who we'll definitely be hearing a lot more from in future episodes of the main podcast. Kerr formed Bob Kerr's Whoopee Band with Sam Spoons and Vernon Dudley Bohay-Nowell, two other former members of the Bonzo Dog Doo Dah Band, and they had a quietly successful career doing the same act that the early Bonzos had -- all three men also joined in Bonzo Dog Doo Dah Band reunion tours in 2006 and 2016. A revived version of the New Vaudeville Band, featuring only the drummer from the touring lineup, performed in the 70s and 80s to little success. But the group's biggest legacy remained their first hit, which actually won the Grammy for Best Contemporary (Rock & Roll) Recording in 1967, beating out a shortlist of "Eleanor Rigby", "Monday Monday", "Cherish", "Good Vibrations", and "Last Train to Clarksville". You can decide for yourselves if "Winchester Cathedral" was, in hindsight, a better record than those. But whether it was or not, it was a fun record that made a lot of people happy. Geoff Stephens, its creator, is unlikely to feature further in this podcast. He wrote many more hit records, but they were almost exclusively for artists like Dana, Tom Jones, Wayne Newton, Ken Dodd, and Mary Hopkin, whose careers lie largely outside the scope of a history of rock music, however broadly defined. He had a long and successful career, but died last Christmas Eve, aged eighty-six, from pneumonia, having been weakened by an earlier bout of covid. So as we enter a second Covid Christmas, I'd just like to say I hope you're all vaccinated, boosted, and otherwise safe. I'm hoping to get one more episode and bonus out before Xmas Eve, and I hope to see you all still here in the New Year. Vo-de-o-do [Excerpt: The New Vaudeville Band, “Winchester Cathedral”]
Så er det igen blevet tid til en compilation, og denne gang hopper vi ind i vores DMC Delorean og rejser tilbage i tiden til de farvestrålende 80'ere. Vi tager os nemlig kærligt af den fantastiske 80'er-opsamling Just Can't Get Enough som udkom i midten af 90'erne, og som byder på nogle af de største hits fra dette herlige årti. Vi starter med CD 1 og her bliver det til glimrende genlyt med bl.a. Tears For Fears, New Order, Soft Cell, Kraftwerk, Wham, Spandau Ballet og Depeche Mode som selvfølgelig også har givet navn til opsamlingen. Derudover afslører vi, at en af jeres værter har et lidt anstrengt forhold til Heaven 17, vi diskuterer om George Michael var en god rapper, vi overvejer om det ville smart at åbne en butik kun med lilletrommer på Denmark Street i London, og så prøver vi at finde ud af om Andy Tennant havde ble på, da han lyttede til Fiction Factory tilbage i 1984. Afsnittet hvor vi gennemgår CD 2 udkommer allerede i morgen lørdag, og der lancerer vi desuden en konkurrence hvor der er en superfed 80'er-inspireret præmie.
We're back this week for a brand new season of The Strike and Ellacott Files, starting our reread of The Cuckoo's Calling! In this episode, we'll be covering prologue and chapters 1-3 of part 1. We meet our heroes for the first time, get introduced to the case that frames the novel, and spend most of the episode laughing about the sheer dramatic irony of it all. Our next episode will cover chapters 4-7 from part 1. Links referenced: https://owlcation.com/humanities/Analysis-of-a-Poem-About-Untimely-Death-The-Dirge-by-Christina-Rossetti https://t.co/Jv1wvRadVw (the Rowling Library article referencing the real life Lula Landry case) https://www.greekmythology.com/Other_Gods/Minor_Gods/Anteros/anteros.html https://www.biography.com/musician/ludwig-van-beethoven https://www.surnamedb.com/Surname/Strike#:~:text=Last%20name%3A%20Strike&text=This%20unusual%20and%20very%20interesting,grain%20and%20removing%20any%20excess
Nobody can blend vaudeville and rock or homage and indictment quite like Ray Davies and on Denmark Street, The Kinks hit all of those points effortlessly. Help support Kinks and Beats with a one time or recurring contribution of $5. Every contribution helps ensure that this podcast can continue to be produced until we run out of songs to talk about. Please visit Hero Habit for more details.★ Support this podcast ★
We're back this week for an episode covering the another set of chapters you all have been waiting for...the final chapters of Troubled Blood, 72 and 73. We're also joined by our lovely friend Clara of the Denmark Street Deep Dive podcast as we discuss the implications of the discussion of perfume in Liberty, the meaning behind the Anna Karenina reference in the closing lines, as well as much, much more! Following this episode, we will have a book 6 predictions episode where we will read and discuss some of our favorite theories for the next Strike book, as well as a blooper episode containing outtakes that didn't make the final cut of this season's episodes, all released on our normal schedule. We will then begin our reread of The Cuckoo's Calling in January. Thank you so much to all of our listeners for supporting us! Links: www.twitter.com/thesefilespod www.twitter.com/clarastrike
Delighted to welcome Music Producer Andy Brook as my guest on Series 3, Episode 001. Andy has produced, engineered and toured with the likes of Status Quo, Bonnie Tyler, Ginger Wildheart, Uriah Heep, Francis Rossi, Mel Gaynor, Greg Jackman, Del-Amitri, Travis, Tiger Lillie's, Towers of London, Hayseed Dixie, Million Dead, Breed 77 as well as Universal, Sony & WMG. He is also involved in film and TV, location and media post production and is a registered member of PRS, APRS, PPL, MU and the MPG as well as being a 2020 member class of the Recording Academy as a full voting member for the Grammys. Andy studied acoustic composition and composition with electronics at the University of Hertfordshire, graduating with a BA(hons) in Electronic Music in 2001. Whilst professionally active he gained an advanced C&G in Music Technology with distinction at the City of Westminster College and an MA in Audio Production from the University of Westminster. He established himself as a producer building Studio Sonic in Wallington, Surrey in 2002 before relocating to larger premises in London's Denmark Street from 2004 – 2009, where he also produced live sessions for Total Rock Radio. He then became the resident producer at Scream Studios, Croydon 2009-2011 before building Strummers Recording Studio, Holloway 2012-2013 and then moving onto his current studio at The Brook in Wallington in 2014. Andy currently freelances as a producer, mix engineer and recording engineer. After some years teaching BTEC Diploma in Music Technology Levels 2, 3, 4 & 5 he is now a visiting assessor for JAMES. Current live projects he is involved in include playing for The Middlenight Men, Rich Ragany & The Digressions, Shush, Scott McFarnon, Toccata Music Group and he also runs a local community choir. Hope you enjoy the Episode. https://www.andybrook.com --- Send in a voice message: https://anchor.fm/stephen-connor2/message
Hi, Joe from Guitar Nerds here. On this week's episode, Matt, Jay and I talk all about the legendary Denmark Street and all the cool gear we saw there when we headed up for my Ashdown party last week!Don't forget to check out the incredible GUITAR ESSENTIALS deal over on PLUGIN BOUTIQUE and get hold of Izotope and Softube Amp Room plugins for an incredibly reduced price!To get involved in the discussion join The Guitar Nerds Group on Facebook and follow Guitar Nerds on Instagram. See acast.com/privacy for privacy and opt-out information.
We're back this week for another episode, this time covering chapters 57-59 of Troubled Blood with our dear friend Clara, of the Denmark Street Deep Dive podcast! In this episode, we cover the events leading up to the biggest advancement in Strike and Robin's relationship thus far, all while shaking our collective fists at Barclay and cheering at Morris's firing. Links: Our Twitter: www.twitter.com/thesefilespod Clara's Twitter: www.twitter.com/clarastrike Interview with Graham Norton: https://www.youtube.com/watch?v=QpgO49n3qD4&ab_channel=TheRowlingLibrary
Hey guys, welcome to the new episode of the Time Tunnel, love bubble of auditory joy I call The Good man’s radio Show. Here for the last covid lock-down edition (maybe). I have had good feedback so far from previous shows, so I guess I’m getting something right. Please let me know one way or the other and keep the suggestions coming. Staying with the formular then, I have kept it a healthy mix of Psych, Garage, Rock, Pop, Soul, Ska, and folk, slightly out there eclectically, I hope. I do hope you enjoy listening to it as much as I do putting the show together…. Tracklist 1. Go on leave – Red Beard & The Pirates 2. I need you – The Bassmen. 3. Kicks – The Wheels 4. Livin’ ain’t easy – The Tuesday Blues 5. The fox has gone to ground – Bamboo Shoot 6. A friend – Captain Marryat 7. Love song with flute – Caravan 8. Daybreak – Eloy 9. Hollywood Nites – Kim Fowley 10. Hey Willy – The Hollies 11. My Son’s alive – Crushed Butler 12. Kissing my love – Bill Withers 13. Theme from Cleopatra Jones – Joe Simon 14. Loving on borrowed time – Half Pint & The Fifths 15. In the not-too-distant future – The Ivy league 16. The quiet explosion – The Uglys 17. Don’t be a Rude Boy – The Rulers 18. Music like dirt (intensified ’68) – Desmond Dekker & The Aces 19. Phallus C – Osibisa 20. We’ve got a thing that’s in the groove – The Capitols. 21. I just wanna make love to you – Alex Harvey and His Soul Band 22. Taxman – The Loose Ends 23. Young woman – Them 24. Talkin’ Denmark Street – John Cassidie 25. Night comes down – Jon Mark. 26. The Letter – The Government 27. Hair (from the Hair Rave-Up) – Alex Harvey, Hair Rave-Up 28. Fantastic fair – The Guards 29. Peacock dress – Sun Dragon 30. That’s what I want – The Smoke. 31. Under the silent tree – Honeybus 32. Just let me be – The Outsiders 33. Again – The People 34. Bang Bang – The Government
Bash the cymbals and crash those drums, we are heading to Soho for a bit of rock music history. Denmark street is the centre of all the excitement, and we are going to take a look at what makes this street in London quite so special. Plus we find out who won the Podcast Pedestal and Emily gets her sweaty hands on the wheel again for another chance to see where we will get to chat about next week. Let us know what you think on Instagram, or on our websites. Instagram @ladieswholondonpodcast Email ladieswholondon@gmail.com Websites www.guideemily.com and www.alexlacey.com/links where you can also book for our virtual and real life walking tours. Thanks to Susie Riddell for our voiceover jingles www.susieriddell.com and our jinglemeister Ben Morales Frost, can be found on www.benfrostmusic.com
Clara Strike joins Kenz and Lindsay once more for yet another episode of The Strike and Ellacott Files. In this episode, we cover chapters 25-30 of Troubled Blood, discussing (among other things) the Shaggable You perfume debacle, important clues pointing towards the killer, and how awful Morris is. **CW: Mention of the snuff film** Locations/link mentioned: http://strikefans.com/hamleys/ https://www.rollingstone.com/music/music-album-reviews/review-joni-mitchell-strikes-a-delicate-balance-on-court-and-spark-194402/ https://twitter.com/clarastrike https://twitter.com/TheSEFilesPod
Kenz and Lindsay discuss chapters 20 through 24 with our friend Clara Strike, the host of fellow Strike podcast Denmark Street Deep Dive. Together we delve into some beautiful parallels, Clara's feelings on mushy peas, and, of course, The Fart. Links mentioned: http://twitter.com/clarastrike http://strikefans.com/circus-street-greenwich/ http://strikefans.com/the-trafalgar-tavern/ http://strikefans.com/fortnum-mason/
In this bonus clip from EP08 of Can't Find My Way Home, I was joined by Mark Mulholland. Mark shares his Top 5 which includes Billie Eilish, Emde, Sarah Bethe Nelson and the Weeknd. He recalls playing at the 12 Bar in Denmark Street, not getting Lowfi folk some of the time, and we share some of our Rolling Stones stories. And stay tuned for the Michael Jackson connection... You can hear Mark's full episode on this page, on Spotify, and wherever you get your podcasts from. You can also find us on Youtube if that's your thing... Follow Mark on www.markmulholland.net facebook.com/markmulhollandmusic Can't Find My Way Home https://linktr.ee/cantfindmywayhome --- Send in a voice message: https://anchor.fm/craig-branch/message
Mike Ridgewell is a Brit living in the USA, and the founder of Denmark Street Marketing, a data driven brand marketing agency. Mike discusses his career including a long stint with Disney, cross-culture challenges, Covid and Trump, with insights into key marketing principles and the importance of networking. With advice for young and old alike, listen to an enthusiastic and passionate entrepreneur. To learn more about his company and its services visit denmarkstreetmarketing.com; or connect with Mike via LinkedIn: https://www.linkedin.com/in/mikeridgewell/ Originally broadcast 26th January on Open4Business on NLive Radio
Paula chats to Spizz of punk band Spizzenergi about touring with Siouxsie and the Banshees, being the first band to top of the indie chart and getting praise from John Peel! They have a new single out 'Christmas in Denmark Street'
UPDATE: During Covid 19 Lockdown Im re publishing some of the most popular episodes. Good friend of the show Phil Ryan is a top man and as he cant tour right now he has taken his live music into the street where he lives to entertain the locals who are loving it. Check out this chat we had a while back before all the madness started to find out what makes Phil tick..... Phil Ryan has been a passionate campaigner – from helping the homeless to be self-sufficient, to saving his beloved Denmark Street from the voracious appetite of London’s property owning developers. His astonishing musical career has sent Phil across the world over the last forty years—a highlight being when he fronted the Animals in Moscow’s Red Square in front of 100,000 fans. He’s a singer-song writer as well as an entrepreneur who is never afraid to try something bold and new. This could be anything from setting up London’s iconic 12 Bar Club, to the numerous novels he’s written, and scoring the stage version of Silas Marner. Over a Victoria sponge cake at Region’s Park Café, he shared his passionate views with me over some tea for you to eavesdrop on. “So having a mad father who used to jump out of windows on fire for a living means your childhood is going to be pretty unusual, and it was.” 2:15 As you might gather from the above quote, Phil had a very interesting father, and perhaps more importantly, a father that pushed him headlong into a creative life. Phil had many books impressed upon him and became a voracious reader at an early age. This upbringing would push him to become a writer in his later years. But first came music. Phil’s first instrument was the ukulele, which he then graduated from to a banjo—and then around the age of 12 (when girls started to become more appealing to him) he moved on to the guitar. 6:10 Phil’s musical career advanced quickly, catching a few breaks here and there, managing to share the stage with Johnny Cash as just an 18 year-old with a 12 string guitar. There is a song that Phil will play from time to time that will choke him up—it has a line in it that goes “In five minutes your whole life can change”. This sums up his entire life, one filled with bizarre encounters and chance meetings that have taken him down roads he never knew were there. “I talk about my life as a ‘Portfolio Career,’ which is actually immaturity masquerading as sense of purpose and plan.” 12:14 John Bird and Phil came together to start The Big Issue, where they tackled starting a magazine with a purpose. They both took on as many hats as they could to get the magazine up and running, and Phil is proud to say the rules he originally set in place are still used in the Big Issue. The magazine is a social enterprise—not a charity. It urges people to get up, take action, and start taking steps towards financial security and a sustainable lifestyle with The Big Issue’s help. As of now, The Big Issue is in 72 countries and has impacted millions of lives. 21:16 The Big Issue has spawned Big Invest –they managed to get millions and supporting hundreds of social enterprise business, things that directly influence the communities they service. And Phil is all about preserving communities and the beauty that holds them together, which for him is the magic of music—an art that he wishes London embraced more by supporting its local musicians. Links www.philryanmusic.co.uk www.aswegrowold.com (http://www.aswegrowold.com) ---- Phil's beautiful new song and video www.silasmarner.co.uk (http://www.silasmarner.co.uk) ---- Full stage musical pitch for Silas Marner Spotify: https://spoti.fi/2GLk0Cm (https://spoti.fi/2GLk0Cm) https://www.youtube.com/watch?v=HrTuJlDWR64 (https://www.youtube.com/watch?v=HrTuJlDWR64%0d) PhilRyanMusic.co.uk (http://www.philryanmusic.co.uk/) Support this podcast
This episode is about Soho places that have changed beyond recognition. Henry Scott Irvine talks about his documentary, Tales From Tin Pan Alley, which charts the sad decline of Denmark Street and Dr Adrian Smith gives us his take on the 1966 Sexploitation curio, Secrets of Windmill Girl. CLICK HERE FOR SHOW NOTES
Welcome back to a Bev with Stev! Check out a hugely insightful music episode direct from Denmark Street.. the famous ‘Tim Pan Alley' in London.. Guest is super singer-songwriter and cultural compadre Dan Raza! Together we discuss our favourite live music venues, the legendary 12 Bar Club, the history of Denmark street, what it means to musicians and the future of it.. as well our best and worst gigs and road experiences.. What songs got Dan into music? What's his recording process and the lowdown with his 2 albums, his radio podcast? What about accents in singing? Looking the audience in the eye? What's in an Indian Roast Dinner? Music from Dan, Laine Hines, Oasis, The Kinks, Humble Pie, Ronnie Lane & Slim Chance, Stagg and Trent Miller Subscribe and tell your friends! X Check out the music Mahoney & The Moment: https://open.spotify.com/artist/3CYHwXYkHNSY2yn9IMjLDG Steve Mahoney & The Milkshakes: https://open.spotify.com/artist/0CcMVf1ffagHQkNabCAbh8 Next Gig: Nov 20th - The Monarch, London, UK
Phil Ryan has been a passionate campaigner – from helping the homeless to be self-sufficient, to saving his beloved Denmark Street from the voracious appetite of London’s property owning developers. His astonishing musical career has sent Phil across the world over the last forty years—a highlight being when he fronted The Animals in Moscow’s Red Square in front of 100,000 fans. He’s a singer-song writer as well as an entrepreneur who is never afraid to try something bold and new. This could be anything from setting up London’s iconic 12 Bar Club, to the numerous novels he’s written, and scoring the stage version of Silas Marner. Over a Victoria sponge cake and tea at Region’s Park Café, he shared his passionate views with for you to eavesdrop on. “So having a mad father who used to jump out of windows on fire for a living means your childhood is going to be pretty unusual, and it was.” [2:15] As you might gather from the above quote, Phil had a very interesting father, and perhaps more importantly, a father that pushed him headlong into a creative life. Phil had many books impressed upon him and became a voracious reader at an early age. This upbringing would push him to become a writer in his later years. But first came music. Phil’s first instrument was the ukulele, which he then graduated from to a banjo—and then around the age of 12 (when girls started to become more appealing to him) he moved on to the guitar. [6:10] Phil’s musical career advanced quickly, catching a few breaks here and there, managing to share the stage with Johnny Cash as just an 18 year-old with a 12 string guitar. There is a song that Phil will play from time to time that will choke him up—it has a line in it that goes “In five minutes your whole life can change”. This sums up his entire life, one filled with bizarre encounters and chance meetings that have taken him down roads he never knew were there. “I talk about my life as a ‘Portfolio Career,’ which is actually immaturity masquerading as sense of purpose and plan.” [12:14] John Bird and Phil came together to start The Big Issue, where they tackled starting a magazine with a purpose. They both took on as many hats as they could to get the magazine up and running, and Phil is proud to say the rules he originally set in place are still used in the Big Issue. The magazine is a social enterprise—not a charity. It urges people to get up, take action, and start taking steps towards financial security and a sustainable lifestyle with The Big Issue’s help. As of now, The Big Issue is in 72 countries and has impacted millions of lives. [21:16] The Big Issue has spawned Big Invest –they managed to get millions and supporting hundreds of social enterprise business, things that directly influence the communities they service. And Phil is all about preserving communities and the beauty that holds them together, which for him is the magic of music—an art that he wishes London embraced more by supporting its local musicians. Links PhilRyanMusic.co.uk (http://www.philryanmusic.co.uk/) Support this podcast
Season Premieres:Claws (TNT)At the Nail Artisan of Manatee County salon in Central Florida, five diverse, hardworking manicurists try to make ends meet in a staid economy while managing perilous personal lives awash in drama. Amidst all the silk wraps, pedicures and polish treatments, salon owner Desna, who lives with and cares for her mentally ill twin brother, leads a staff that includes best friend Jennifer, now sober and raising two kids from a previous relationship; enigmatic Ann, who provides security for the salon; mild-mannered preppy and ex-convict Polly; and Virginia, who becomes easily bored and impatient with her job. Also hanging around the salon are shady redneck Roller; ambulance coach Bryce, Jennifer's husband who is also newly sober; and Uncle Daddy, a dangerous, deeply Catholic and actively bisexual crime boss.C.B. Strike (Cinemax)Based on the bestselling novels written by J.K. Rowling under the pseudonym Robert Galbraith, miniseries C.B.Strike follows a war veteran turned private detective, who operates out of a tiny office in London’s Denmark Street. Although wounded both physically and psychologically, his unique insight and background as a military police investigator prove crucial in solving complex crimes that have baffled the police.Reverie (NBC)Former hostage negotiator and human behavior expert Mara Kint becomes a college professor after experiencing an unimaginable personal tragedy. When an old friend hires her to work at his new cutting-edge company, she is given the opportunity to save ordinary people who have lost themselves in a highly advanced virtual reality program -- in which people can literally live their dreams. After a lot of hard work, Mara finds that, in saving others, she may actually have discovered a way to save herself. Season Finale:Killing Eve (BBC America)Eve's life as a spy is not adding up to what she had hoped it would be when she started. She is a bored, very smart, MI5 security officer who is very desk-bound. Villanelle is a very talented killer, mercurial in mood, who clings to the luxuries of her job. Eve and Villanelle go head to head in a fierce game of cat and mouse, each woman equally obsessed with the other as Eve is tasked with hunting down the psychopathic assassin. Sarah Barnett, BBCA president, says, " `Killing Eve' stands out in a sea of scripted stories as refreshingly entertaining and great fun."Series Finale:The Americans (FX)Philip and Elizabeth Jennings are two KGB spies in an arranged marriage who are posing as Americans in suburban Washington, D.C., shortly after Ronald Reagan is elected president. The couple have two children, teenager Paige and preteen Henry, who are unaware of their parents' true identities. The complex marriage becomes more passionate and genuine each day but is continually tested as the Cold War escalates. As Philip begins to warm up to America's values and way of life, his relationship with Elizabeth becomes more complicated. Further complicating things is the arrival of the Jennings' new neighbour, FBI agent Stan Beeman, who is part of a new division of the agency tasked with fighting foreign agents on U.S. soil. The drama series was created by former CIA agent-turned-author Joe Weisberg. See acast.com/privacy for privacy and opt-out information.
Today's episode involved me going from store to store in Denmark Street to talk to as many people as I could. Featured on this episode are all the people who were kind enough to say yes, so you will hear me talk to: David from Music Room Argents: -- https://www.musicroom.com/music-shops/london-argents/ -- Paul from Westside: -- https://www.westside-mi.com/ -- Sarah-Jane from Sixty Sixty Sounds: -- https://sixtysixtysounds.com/ -- and the band Dutch Mustard: -- https://www.facebook.com/DutchMustard/ -- Leon from Regent Sounds: -- https://www.regentsounds.com/ -- And lastly Kevin and Gary from Stairway To Kevin: -- https://en-gb.facebook.com/stairwaytokevinrepairs/ -- Thank you to everyone for talking to me, and thank you to Kevin and Gary for looking after my bass. Time for me to put it to use! Thanks for listening. You can find me in the usual places: Twitter: -- https://www.twitter.com/saddestnightout -- Instagram: -- https://www.instagram.com/saddestnightout -- Email: -- saddestnightout@gmail.com -- Patreon: -- https://patreon.com/saddestnightout -- iTunes: -- https://itunes.apple.com/us/podcast/saddestnightout/id1361554117?mt=2 -- TuneIn: -- https://tunein.com/podcasts/Music-Podcasts/SADDESTNIGHTOUT-p1118077/ -- Stitcher: -- https://www.stitcher.com/podcast/saddestnightout -- Soundcloud: -- https://www.soundcloud.com/saddestnightout --
My very old bass guitar is long overdue a repair, so this episode features Kevin and Gary of Stairway To Kevin: an instrument repair shop on Denmark Street. While I was there I recorded a quick chat with them about their history with this place, and just what it was that needed repairing on my bass. Thanks Kevin and Gary, and I guess I'll be seeing you again in about a week. I'm looking forward to it. My bank account is not. I also talk about a few things I've found on the internet that have piqued my interest. Mostly podcasts, as I am a podcast fiend. Here are the links to everything mentioned on this episode: Stairway To Kevin -- https://www.stairwaytokevin.com/ -- Sooo Many White Guys podcast episode with Sam Irby -- https://www.wnycstudios.org/story/32-phoebe-and-sam-irby-launch-lifestyle-brand -- Hashtag Authentic podcast episode with Kate Swodoba -- https://meandorla.co.uk/podcast43-2/ -- Bob Lefsetz podcast episode with Kendall Ostrow -- https://soundcloud.com/bob-lefsetz/kendall-ostrow-19 -- Rhiannon Davies twitter story about side hustles -- https://t.co/kEVm4p1zbF -- Thanks for listening. You can find me in the usual places: Twitter: -- https://www.twitter.com/saddestnightout -- Instagram: -- https://www.instagram.com/saddestnightout -- Email: -- saddestnightout@gmail.com -- Patreon: -- https://patreon.com/saddestnightout -- iTunes: -- https://itunes.apple.com/us/podcast/saddestnightout/id1361554117?mt=2 -- TuneIn: -- https://tunein.com/podcasts/Music-Podcasts/SADDESTNIGHTOUT-p1118077/ -- Stitcher: -- https://www.stitcher.com/podcast/saddestnightout -- Soundcloud: -- https://www.soundcloud.com/saddestnightout --
We went to the Relentless Number 5 on Denmark Street to celebrate the launch of Dotty’s new record – London Livin: A Collection Of Sounds – it’s just out now on Spotify, Tidal, iTunes and wherever you get your music. Dotty spoke to us back in episode 4 of the podcast and it was boss to catch up with him on the eve of the release and to see how he’s just continuing to grow and crack on, just like he told us when we first met him. We managed to catch him for a few words on the night – you’ll hear a clip from when he’s just come off stage. We always seem to come away from speaking to Dotty really mulling over some of the things he says, the way he talks even in normal conversation really resonates just in the same way his lyrics do. Find “London X Living: A Collection Of Sounds” on Spotify Tidal iTunes …and wherever you get your music basically This interview (plus other footage from the night) is available on our Youtube channel: https://www.youtube.com/channel/UCmWMCFPSkNyHFcko0G6g4QQ/videos Check out our Instagram too for more content from the night. Nice one! Anton
Steve from Retro Man Blog and Rock Photographer Paul Slattery present a bumper end of year episode packed full of our pick of the best in classic and contemporary Garage Rock, Psych, Punk, Mod, Power Pop, Soul and more! From classics, overlooked oldies and hidden gems to brand new releases, exclusives and unsigned acts. In Episode 17 we have an exclusive unreleased new track from The Fallen Leaves and new releases from The Medway's legendary Garage Rock icons Billy Childish & CTMF and Graham Day & The Forefathers. New Punk sounds from Buzzcocks, The Pukes and a live classic from The Outcasts. If you like your Mod and Psych then you will love The Most, Speakeasy and The Mynd Set. Some French Pop from Serge Gainsbourg and Brigitte Bardot and Les Kitschenette's. There's the new single from of Arrowe Hill, some stompin' Soul from Willie Kendrick and Dana Gillespie and 60's nuggets from The Vagrants and The Hardtimes. If that's not enough there's Sunset Drive and The Sound and a tribute to Ian McLagan and a truly classic Small Faces number. Plus the usual waffle, rambling, news and reviews including a special piece on the sad demise of The 12 Bar Club and the scandalous re-development of Denmark Street. Enjoy!
Simone Butler took to Denmark Street about the potential redevelopment of the street and the campaign to save 12 Bar from closure. Here, Virgil Howe of Little Barrie and Soho Radio recalls fond memories of the place.http://www.mixcloud.com/sohoradio/naked-lunch-with-simone-marie-291014/ See acast.com/privacy for privacy and opt-out information.
Colin Marshall sits down in Nakatsu, Osaka, Japan with guitarmaker Josh Parkin proprietor of Josh Parkin Guitars. They discuss how the intensity of Japanese enthusiasm extends to guitar-playing; how Japanese friends in London urged him not to set up shop in Tokyo, but in Osaka; his early life in Yorkshire, "the English Kansai," where he made his first attempts to build and modify guitars; the importance of finding the best handmade pickups and of learning to see the difference between .2 and .3 millimeters; the excellence of Japanese manufacturing, and its somewhat less impressive mastery of anthropometrics; his working life on Denmark Street, the center of London guitarmaking, and why he decided not to open his own business there; his travels through Asia before moving to Japan, which began in India and eventually found him homeless in Beijing; what it takes for a foreigner to open a business in Osaka (besides a few years off that foreigner's life); the impossibility of finding a decent banger in Japan; his dissatisfaction with the usual foreigner's job of teaching English, because it wasn't making guitars; his work with Tim Olive and experience of the Japanese noise scene, which seems to spring from within the culture rather than interpreting traditions outside it; the way everything in Japan gets easier after six months, except perhaps dealing with the ward office; Japanese-style obsessive drive as a necessity of guitarmaking, no matter where you do it; and his dream job of building a guitar according only to the player's musical style.
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