Podcasts about Fender Stratocaster

Rockshow Episode 215 Rory GallagherRory Gallagher was an Irish blues and rock guitarist, singer, and songwriter, known for his fiery guitar playing, passionate performances, and dedication to authentic blues and rock. He was born on March 2, 1948, in Ballyshannon, County Donegal, Ireland, and raised in Cork. Gallagher gained fame in the late 1960s and 1970s, first with his power trio Taste, and later as a solo artist.

Full Rig Info: https://www.premierguitar.com/videos/rig-rundown/charlie-worshamSubscribe to PG's Channel: http://bit.ly/SubscribePGYouTubeThe country artist and session weapon packed a range of acoustics for some recent studio time.Charlie Worsham was just wrapping up some tracking down at Sony Studios in Nashville when PG's John Bohlinger caught up with him for a look at what tools he packs for a recording gig. Worsham had with him some of his most treasured acoustics, electrics, mandolins, banjos, and more, plus a collection of primo picks for all applications. Check out the highlights below.Shop Charlie Worsham's Gear:Gibson ES-335 - https://sweetwater.sjv.io/ZQJLaWMartin D-28 - https://sweetwater.sjv.io/092A9VD'Addario Bluegrass Strings .012-.056 - https://sweetwater.sjv.io/yqW9r2Fender '68 Custom Princeton Reverb - https://sweetwater.sjv.io/vNXN1AStrymon El Capistan - https://sweetwater.sjv.io/k0MG20Electro-Harmonix Canyon Delay & Looper - https://sweetwater.sjv.io/xLOQJ5Full Rig Info: https://www.premierguitar.com/videos/rig-rundown/charlie-worshamSubscribe to PG's Channel: http://bit.ly/SubscribePGYouTubeWin Guitar Gear: https://bit.ly/GiveawaysPGDon't Miss a Rundown: http://bit.ly/RIgRundownENLMerch & Magazines: https://shop.premierguitar.comPG's Facebook: https://facebook.com/premierguitarPG's Instagram: https://www.instagram.com/premierguitar/PG's Twitter: https://twitter.com/premierguitarPG's Threads: https://threads.net/@premierguitarPG's TikTok: https://www.tiktok.com/@premierguitar0:00 - Joe Glaser & D'Addario0:15 - Charlie Worsham Playing Intro1:09 - John Bohlinger Intro1:33 - 1963 Martin D-286:30 - Pedalboard12:54 - 1954 Gibson J-5013:43 - Guitar Picks18:11 - Live Rig vs Studio Gear20:18 - Recording Eric Church's "Like Jesus Does"24:53 - Recording Dierks Bentley's "High Note"26:04 - Recording Dierks Bentley's "Drunk on a Plane"28:32 - Rig Rundown & D'Addario29:04 - Parker Mandolin31:25 - Burkett Terz33:23 - Ome 5-String Banjo35:34 - 1960s Gibson EM-150 Mandolin41:17 - 1970s Fender Stratocaster & Recording Eric Church's "Keep On"45:33 - 1960 Gibson ES-335 Gifted from Vince Gill52:38 - Fender '68 Custom Princeton Reverb & Nashville Amp Works 5E354:09 - Nashville Session Guitarist55:04 - Importance of Rig Rundowns56:17 - D'Addario[Brought to you by D'Addario: https://ddar.io/wykyk-rr]© Copyright Gearhead Communications LLC, 2025#guitar #rigrundown #guitarist #guitarplayer #guitargear #charlieworsham #bluegrass

Fáilte ar ais chuig eagrán nua de Ar An Lá Seo ar an 31ú lá de mí an Mhárta, liomsa Lauren Ní Loingsigh. I 1989 bhuail Mr Ray Burke le daoine ó RTÉ agus dhiúltaigh sé chun seas siar ar na táillí conspóideach do raidió. I 2000 fuair fear darbh ainm Gerry Hutch, a raibh amhrasta den gadaíocht mhór I mBaile Átha Cliath, 500 míle punt ar a bille cánach. I 1998 tháinig an nuacht amach go mbeadh traidisiún a tharla ar feadh 60 bhliain bhreisithe leis an chomhoibriú de John Hanafin. Tháinig suíochán folamh nuair a fuair a aintín bás. I 2011 tháinig sé amach go mbeadh daoine ag cailliúint a bpost sa Tuaisceart an chontae. Dúirt siad nach mbeadh post ag 55 duine I gcúpla seachtain. Sin Madonna le Like A Prayer – an t-amhrán is mó ar an lá seo I 1989. Ag lean ar aghaidh le nuacht cheoil ar an lá seo I 1967, las Jimi Hendrix a Fender Stratocaster trí thine don chéad uair. Tharla sé I Londain don chéad uair agus rinne sé é cúpla uair tar éis é sin. I 1984 chuaigh Kenny Loggins chuig barr na cairteacha lena amhrán Footloose. Bhí sé ar barr na cairteacha do 3 seachtain. Agus an bhliain tar éis chuaigh sé chuig barr na cairteacha le Danger Zone. Agus ar deireadh breithlá daoine cáiliúla ar an lá seo rugadh aisteoir Ewan McGregor san Albain I 1971 agus rugadh aisteoir Christopher Walken I Meiriceá ar an lá seo I 1943 agus seo chuid de na rudaí a rinne sé. Beidh mé ar ais libh amárach le heagrán nua de Ar An Lá Seo.Fáilte ar ais chuig eagrán nua de Ar An Lá Seo ar an 31ú lá de mí an Mhárta, liomsa Lauren Ní Loingsigh. I 1989 bhuail Mr Ray Burke le daoine ó RTÉ agus dhiúltaigh sé chun seas siar ar na táillí conspóideach do raidió. I 2000 fuair fear darbh ainm Gerry Hutch, a raibh amhrasta den gadaíocht mhór I mBaile Átha Cliath, 500 míle punt ar a bille cánach. I 1998 tháinig an nuacht amach go mbeadh traidisiún a tharla ar feadh 60 bhliain bhreisithe leis an chomhoibriú de John Hanafin. Tháinig suíochán folamh nuair a fuair a aintín bás. I 2011 tháinig sé amach go mbeadh daoine ag cailliúint a bpost sa Tuaisceart an chontae. Dúirt siad nach mbeadh post ag 55 duine I gcúpla seachtain. Sin Madonna le Like A Prayer – an t-amhrán is mó ar an lá seo I 1989. Ag lean ar aghaidh le nuacht cheoil ar an lá seo I 1967, las Jimi Hendrix a Fender Stratocaster trí thine don chéad uair. Tharla sé I Londain don chéad uair agus rinne sé é cúpla uair tar éis é sin. I 1984 chuaigh Kenny Loggins chuig barr na cairteacha lena amhrán Footloose. Bhí sé ar barr na cairteacha do 3 seachtain. Agus an bhliain tar éis chuaigh sé chuig barr na cairteacha le Danger Zone. Agus ar deireadh breithlá daoine cáiliúla ar an lá seo rugadh aisteoir Ewan McGregor san Albain I 1971 agus rugadh aisteoir Christopher Walken I Meiriceá ar an lá seo I 1943 agus seo chuid de na rudaí a rinne sé. Beidh mé ar ais libh amárach le heagrán nua de Ar An Lá Seo.

Ce 31 mars, Marjorie Hache nous embarque dans Pop-Rock Station pour deux heures de rock alternatif, d'hommages et de pépites méconnues. L'émission s'ouvre avec l'anniversaire d'un moment culte, en 1967, Jimi Hendrix incendie pour la première fois sa Fender Stratocaster sur scène, à Londres. Tunde Adebimpe (TV On The Radio) revient en solo avec "God Knows", tandis que Horse Girl et Your New Favorite Tape, groupe français nourri de punk à roulettes, insufflent fraîcheur et énergie. L'album de la semaine est signé Perfume Genius avec "Glory", un disque introspectif sur l'anxiété et le deuil. On y découvre "It's A Mirror", sensible et agoraphobe. La reprise du jour vient de Franz Ferdinand, qui s'approprie "All My Friends" de LCD Soundsystem. Côté live, Aerosmith brille avec "Dream On" enregistré à Boston. Les classiques de The Who, The Specials, ou encore Pearl Jam et The Strokes ponctuent cette soirée riche, conclue avec Ladytron et leur "Playgirl". La playlist de l'émission : Linkin Park - Up From The Bottom Florence & The Machine - What The Water Gave Me Jimi Hendrix - Wild Thing Green Day - American Idiot Tunde Adebimpe - God Knows Black Sabbath - Paranoid Guns N' Roses - You Could Be Mine Perfume Genius - It's A Mirror Nancy Sinatra - These Boots Are Made For Walkin' Torn Boys - See Through My Eyes The Who - Who Are You Horsegirl - Switch Over Franz Ferdinand - All My Friends Placebo - Post Blue Mss Frnce - De Plein Fouet New Order - Blue Monday CSS - Let's Make Love And Listen To Death From Above Steven Tyler & Joe Perry - Dream On (Live - Boston Strong 2014) The Specials - Gangsters The Interrupters - Bad Guy Your New Favorite Tape - The Sun Will Rise The Undertones - Teenage Kicks The Strokes - Heart In A Cage Ladytron - Playgirl The Subways - Rock & Roll Queen The Limiñanas - Faded (Feat. Penny) The Horrors - Lotus Eater Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

On this episode, we fix our gaze on guitarist Robin Trower. Though he's not a household name today, he continues to be held in high regard by guitar aficionados. His time with Procol Harum and the formation of his own power trio laid the foundation for a sound that would captivate audiences and inspire countless guitarists. From Trower's use of the middle pickup on his Fender Stratocaster to the swirling effects of the Univibe pedal, we explore the sonic artistry behind “Day of the Eagle“, and the power of music across decades… from the days when guitars ruled the airwaves and heroes were measured by bend of a string. “Day Of The Eagle” – Robin Trower Copyright 1974 Chrysalis Music Ltd Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode, we fix our gaze on guitarist Robin Trower. Though he's not a household name today, he continues to be held in high regard by guitar aficionados. His time with Procol Harum and the formation of his own power trio laid the foundation for a sound that would captivate audiences and inspire countless guitarists. From Trower's use of the middle pickup on his Fender Stratocaster to the swirling effects of the Univibe pedal, we explore the sonic artistry behind "Day of the Eagle", and the power of music across decades... from the days when guitars ruled the airwaves and heroes were measured by bend of a string. "Day Of The Eagle" - Robin Trower Copyright 1974 Chrysalis Music Ltd Learn more about your ad choices. Visit megaphone.fm/adchoices

Fáilte ar ais chuig eagrán nua de Ar An Lá Seo ar an 31ú lá de mí an Mhárta, liomsa Lauren Ní Loingsigh. I 1989 bhuail Mr Ray Burke le daoine ó RTÉ agus dhiúltaigh sé chun seas siar ar na táillí conspóideach do raidió. I 2000 fuair fear darbh ainm Gerry Hutch, a raibh amhrasta den gadaíocht mhór I mBaile Átha Cliath, 500 míle punt ar a bille cánach. I 1978 lainseáil clár ECC chun cabhrú le daoine a d'fhág an scoil chun déileáil le rudaí a chaithfidh siad a dhéanamh sa saol. Bhí sé ar siúil I Curriculum Development Centre sa tSionainn. I 1989 chuir an rialtas cheist ar an Shannon Development chun staidéar nua a dhéanamh san Inbhear na Sionainne. Sin Madonna le Like A Prayer – an t-amhrán is mó ar an lá seo I 1989. Ag lean ar aghaidh le nuacht cheoil ar an lá seo I 1967, las Jimi Hendrix a Fender Stratocaster trí thine don chéad uair. Tharla sé I Londain don chéad uair agus rinne sé é cúpla uair tar éis é sin. I 1984 chuaigh Kenny Loggins chuig barr na cairteacha lena amhrán Footloose. Bhí sé ar barr na cairteacha do 3 seachtain. Agus an bhliain tar éis chuaigh sé chuig barr na cairteacha le Danger Zone. Agus ar deireadh breithlá daoine cáiliúla ar an lá seo rugadh aisteoir Ewan McGregor san Albain I 1971 agus rugadh aisteoir Christopher Walken I Meiriceá ar an lá seo I 1943 agus seo chuid de na rudaí a rinne sé. Beidh mé ar ais libh amárach le heagrán nua de Ar An Lá Seo.

À l'occasion de la sortie du film "Un parfait inconnu" de James Mangold avec Timothée Chalamet, spéciale Bob Dylan avec Éric Russon qui aura vu le film, Gorian Delpâture qui nous parle du livre qui a inspiré le film : "Dylan Électrique - Newport 1965, du folk au rock, histoire d'un coup d'état" de Elijah Wald (Rivages Rouge) et Jacques De Pierpont pour retracer la bio de Bob Dylan. "Un parfait inconnu" : New York, début des années 60. Au cœur de l'effervescente scène musicale et culturelle de l'époque, un énigmatique jeune homme de 19 ans arrive dans le West Village depuis son Minnesota natal, avec sa guitare et un talent hors normes qui changeront à jamais le cours de la musique américaine. Alors qu'il noue d'intimes relations durant son ascension vers la gloire, il finit par se sentir étouffé par le mouvement folk et, refusant d'être mis dans une case, fait un choix controversé qui aura des répercussions à l'échelle mondiale... "Dylan Électrique - Newport 1965, du folk au rock, histoire d'un coup d'état" : Le 25 juillet 1965, lorsqu'il grimpe sur la scène du festival de Newport, Bob Dylan est encore pour bon nombre de ses fans un chanteur de folk songs dans la tradition de ses aînés, Pete Seeger en tête. Armé d'une Fender Stratocaster, entouré d'un groupe lourdement amplifié, le jeune homme va secouer, sur l'air de « Maggie Farm » ou de « Like A Rolling Stone », un public de puristes. Rien ne sera plus comme avant. Alors que l'opposition à la guerre du Vietnam fait rage, que des émeutes sont sur le point d'éclater à Watts, et que San Francisco vit ses premiers « Acid Tests », ce concert très électrique marque la fin du « Folk Boom », l'arrivée d'un rock mature, chargé de gravité et de poésie, le triomphe de la contre-culture, et le sacre d'un artiste unique en son genre. Merci pour votre écoute Entrez sans Frapper c'est également en direct tous les jours de la semaine de 16h à 17h30 sur www.rtbf.be/lapremiere Retrouvez l'ensemble des épisodes et les émission en version intégrale (avec la musique donc) de Entrez sans Frapper sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/8521 Abonnez-vous également à la partie "Bagarre dans la discothèque" en suivant ce lien: https://audmns.com/HSfAmLDEt si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Vous pourriez également apprécier ces autres podcasts issus de notre large catalogue: Le voyage du Stradivarius Feuermann : https://audmns.com/rxPHqEENoir Jaune Rouge - Belgian Crime Story : https://feeds.audiomeans.fr/feed/6e3f3e0e-6d9e-4da7-99d5-f8c0833912c5.xmlLes Petits Papiers : https://audmns.com/tHQpfAm Des rencontres inspirantes avec des artistes de tous horizons. Galaxie BD: https://audmns.com/nyJXESu Notre podcast hebdomadaire autour du 9ème art.Nom: Van Hamme, Profession: Scénariste : https://audmns.com/ZAoAJZF Notre série à propos du créateur de XII et Thorgal. Franquin par Franquin : https://audmns.com/NjMxxMg Ecoutez la voix du créateur de Gaston (et de tant d'autres...)

Vi jobbar på i Roslagen och i detta avsnitt snackar vi om en av de mest klassiska elgitarrerna i historien. Fölster ger sig bakåt i tiden och pratar ljud vi minns. I veckans pryl spelar vi på Sir Henry Vibe. I veckans avsnitt: Fender Bigsby, Gibson, G&L, Music Man, Marshall, Germino, Gustavsson, Analogman, Dumble, Komet, Satellit, Custom Audio, Gretsch, Fractal Audio, Matchless, Insulander, Vemuran, Andersson, Marshall, Sir Henry, Asher.

MOTO MUSIC: whether it's a piano etude or a perfectly banked decreasing radius curve, we can make art in the ways presented to us on an everyday basis. Playing a classic Fender Stratocaster or riding a BMW M 1000 RR, your tools create your music. Send your questions to us via email: podcast@bmwmoa.org. The Ride Inside with Mark Barnes is brought to you by the BMW MOA Foundation and is on the web at BMWOwnersNews.com.  

On Trump's 1st day back in the White House… We'll tell you his most important economic number.Bumble's founder is returning as CEO… So we found the stock performance of Boomerang CEOs.Gmail and Microsoft are forcing everyone to buy their AI… because AI has an innovator problem.Plus, Jimi Hendrix once lit a guitar on fire… and it became the best-selling guitar of all-time: The Fender Stratocaster.$BMBL $GOOG $MSFTCheck out the latest episode of our new weekly deepdive show: The untold origin story of… The Fender Stratocaster: The Guitar that Created Rock ‘N' Roll

Στο σημερινό επεισόδιο του Ask the Guitar Coach, o Ioannis Anastassakis απαντάει την ερώτηση: “Οι 5 αγαπημένες μου αναβαθμίσεις για μία Fender Stratocaster”

KEEP THE DREAM FLOWING -- THE LOST EPISODES! In this episode from 2019, we talk to our very good friend GILLES MALKINE, he who had been an accomplished musician for some several decades and who, by the way, played a Fender Stratocaster behind TIM HARDIN at Woodstock! Gilles is a wit, bon vivant and scholar of no small repute, and it is always a blast to chat with him! We know you'll love this one!

Listen to Season 2 of "Vintage Guitar Presents: Buy That Guitar," hosted by Ram Tuli, co-author of The Official Vintage Guitar Price Guide. In this season, we explore a variety of topics, including the ever-expanding vintage guitar market, the jangly sound of Rickenbacker guitars from the sixties, the cool beginnings of Gretsch, Newman Guitars, the iconic Fender Stratocaster, and the rarest and most expensive pedals and effects in today's vintage market, among many other fascinating topics. Our second season launches on January 14th, with new episodes released every Tuesday! Subscribe to our "Overdrive" newsletter for the latest happenings at Vintage Guitar magazine: https://www.vintageguitar.com/overdrive Please feel free to reach out to Ram at Ram@VintageGuitar.com with any questions or comments you may have. Like, comment, and share this podcast!

When you grow up listening to classical music, and studying the violin pyrotechnics of Nicolo Paganini, you're bound to emerge as one of the most unique shredders in the world. And if you're Yngwie Malmsteen, you get your own signature Fender Stratocaster. Enjoy! Like the show? Follow us at these fine establishments: Patreon || https://www.patreon.com/thehighgain Instagram || @thehighgain Web || https://www.thehighgain.com

In this episode, we have a first for the podcast, a returning guest! We again have the great privilege of talking with industry veteran Andy Murray, who was the European Marketing Director for Warner Music International during The Corrs' rise to fame.Andy recounts the challenges the band faced in the album's gestation period, from the initial recording of demo tracks to navigating the complex dynamics with their American label, Atlantic Records. He shares how he fought to ensure key songs like "So Young" and "What Can I Do" were included, despite some resistance, ultimately helping shape the album's final track list.We hear firsthand of the technical and creative decisions that went into the album's success and details of the involvement of producers, David Foster and Glenn Ballard, as well as personal anecdotes - from the band gifting him a rare guitar to the making of some of the the album's iconic music videos. Andy shares insights that shed new light on the high-stakes environment of breaking an international act in the late 90s.At 00:09:27 you can hear a clip of the March 1997 Demo of 'What Can I Do' with as then, unfinished lyrics. Andrea can be heard to sing about 'Johnny' referring to the bands manager John Hughes who was no doubt watching her put down these vocals.At 00:32:51 you can hear the backing vocals for 'Helpless' (Hopelessly Addicted) sung by Andrea and layered by Oliver Leiber from the master recorded on 7th August 1997.At 00:43:04 you can hear a clip of the band's first ever live performance of Fleetwood Mack's 'Dreams' at Melkweg in Amsterdam on the 18th of November 1997.At 00:52:58 you can hear the beginning of 'What Can I Do?' as heard in the music video.At 01:09:38 you can 'Runaway' Tin Tin Out Remix as heard in the music video.At 01:29:03 you can hear a clip of 'Help Me Find My Heart' produced by Andy Murray and Mike Gaffey for consideration by The Corrs for 'Talk on Corners'.In this episode Andy describes being gifted a limited edition Fender Stratocaster guitar by the band after the gig at the NEC in Birmingham on December 22nd 1998. An image of this wonderful gift can be found at the following link HERE.Andy also describes receiving a fax from Emma Hill (PA to John Hughes and the band) with a provisional running order of the songs for 'Talk on Corners', this can be seen HERE.Andy also shared with us a promotional poster which was ultimately unapproved by the band but was considered for early promotion of the Royal Albert Hall release on VHS and DVD, a link to this can be found HERE.This work is licensed under a Creative Commons Attribution 4.0 International License.CorrsCast.comInstagramTwitterFacebookDiscordPatreon#CorrsCast on social media.#TheCorrsPlease subscribe, rate and review CorrsCast on iTunes or a platform of your choosing. Hosted on Acast. See acast.com/privacy for more information.

Dónal Gallagher, brother of the late Rory Gallagher, discusses the auction of the famous 1961 Fender Stratocaster which was made famous by the blues legend.

It's hoped that Rory Gallagher's iconic Fender Stratocaster will be showcased in Cork Hosted on Acast. See acast.com/privacy for more information.

Tommy Meskill, London Correspondent, reports on today's auction of Rory Gallagher's iconic Fender Stratocaster.

Should the state buy Rory Gallagher's Guitar? Or is that the best way of spending taxpayers money?Tánaiste Micheál Martin has hinted that one of the State's cultural institutions could move to buy Rory Gallagher's signature Fender Stratocaster guitar, when it goes up for auction later this week.The guitar is being auctioned off by the Gallagher estate at an estimated price of £700,000 to £1 million…To discuss, Andrea is joined by Bernard Mulvaney from Access For All Ireland, Alan Buckley, Head Tour Guide at the Irish Rock ‘N' Roll Museum Experience, Sheena Crowley from Crowley's Music Centre in Cork and more.Image: Bonhams

Nile Rodgers is one of the most successful and influential figures in popular music. As a songwriter, producer and arranger he has enjoyed a 50 year career with his bands Chic and Sister Sledge, and collaborations with artists including Diana Ross, David Bowie, Duran Duran, Madonna, Daft Punk and Beyoncé.Bringing his 1959 Fender Stratocaster guitar to the This Cultural Life studio, Nile tells John Wilson how the instrument has been the bedrock of almost every record that he worked on, and acquiring the nickname 'The Hitmaker'. He discusses his bohemian upbringing in 1950s New York with his mother and stepfather who were both drug users. He chooses as one of his most important influences his jazz guitar tutor Ted Dunbar who taught him not only about musical technique but also how to appreciate the artistry of a hit tune. “It speaks to the souls of a million strangers” he was told. Nile Rodgers reminisces about his musical partner Bernard Edwards, with whom he set up the Chic Organisation after the pair first met on the club circuit playing with cover bands. He discusses their song writing techniques and the importance of what they called ‘deep hidden meaning' in lyrics. He also reflects on the untimely death of Bernard Edwards in 1996 shortly after he played a gig with Nile in Tokyo, and why he continues to pay musical tribute to his friend in his globally-touring stage show which includes the songs of Chic and other artists they worked with. Producer: Edwina Pitman

Στο σημερινό επεισόδιο του Ask the Guitar Coach, o Ioannis Anastassakis απαντάει την ερώτηση: “5 λόγοι για να αγοράσεις μία Fender Stratocaster”

In today's episode, we're celebrating a remarkable milestone in guitar history: the 70th anniversary of the Fender Stratocaster. Whether you're a seasoned guitarist or just starting your musical journey, the Stratocaster's legacy is sure to fascinate you. We'll delve into its rich history, the legendary players who've made it famous, classic songs and riffs you should know, and the innovations that have kept it at the forefront of music for over seven decades. Stay tuned as we embark on this exciting journey through seven decades of guitar excellence! If you want to get more from the podcast check out our new Podcast+ membership at www.bgapodcast.plus

Claire Tole-Moir is Head of Popular Culture at Bonhams, the world-famous auction house in London. On a daily basis, she is in direct contact with some of the most iconic and culturally impactful works of modern art, sculpture, photography, film and artist memorabilia of the last century.  So if you fancy a Man Ray photograph; a golden ticket from the original Charlie and The Chocolate Factory film; if you've got your eye on John Lennon's mosaic swimming pool; or maybe Roger Moore's silver Dupont cigar lighter, Claire and her team can make that happen for you. All you have to do is submit the winning bid.  And then, there are the guitars… Let me tell you about the guitars! We're talking serious instruments owned by iconic musicians: The Beatles, Jimi Hendrix, Eric Clapton, Joy Division, Radiohead, Judas Priest, Jeff Beck, Slash, Peter Green...the list is ever-growing.  Which to my mind begs the question: What's it like, being responsible for the sale of guitars that have changed the history of modern music and impacted our global culture on a seismic level?  Well, there's only one way to find out!  I met up with Claire Tole-Moir at Bonhams in Knightsbridge London. There was a palpable sense of excitement as it had recently been made public that Bonhams is about to handle the sale of one of the most immediately recognizable guitars on earth, Rory Gallagher's extraordinary Fender Stratocaster! Yes, THAT STRAT! I think you'll agree that's pretty awesome. So join us now at Bonhams in the heart of London to find out more.  This episode is sponsored by Guitar Tech Courses - an online treasure trove of information created by British luthier James Collins which will guide you through the set up and maintenance of your beautiful instruments. Follow the affiliate link here and you can also support the podcast. https://www.guitartechcourses-academy.com/p/guitar-pro-setup/?affcode=1348382_dohdjpdf Speaking of which - thank you to everyone who has used the Tip-Jar link to make a donation. Life On The Fretboard is a one-man show: I do literally everything and your support is as encouraging as it is appreciated. If, and only if, you have enjoyed this episode then please do consider making a donation via this link https://michaelwattsguitar.com/tip-jars/4745 You can see more about this and future auctions at Bonhams right here:  Bonhams Popular Culture https://www.bonhams.com/department/COL-ENT/popular-culture/ Bonhams Popular Culture Instagram https://www.instagram.com/bonhamspopularculture/ Claire Tole-More Instagram https://www.instagram.com/claire.tole.moir/ Michael Watts:  YouTube https://www.youtube.com/user/michaelwattsguitar Instagram https://www.instagram.com/michael.watts.guitar/ Website https://michaelwattsguitar.com  

While there are many guitar models out there associated with rock and roll there are two primary models that seem to have been in a foot race for dominance from day one. Since he 1950s The Fender Stratocaster and the Gibson Les Paul have both captured the immaginations of guitarists around the world as well as the hosts of your favorite podcast! On this week's Loudini Rock & Roll Circus we bring you the story of how these two behemouths of rock fought for dominance in the hearts and hands of guitarists for the last 72 years and how they inspired each of us as well!   #lespaul #stratocaster #gibsonguitars #fenderguitars   Topics DIscussed:   What we did this week: Loudini: I saw the TV Glow, Under Paris, Horrorstor, the story of Dire Straits' Money for Nothing, Neal Schon & Jonathan Cain kiss and make up, Brian Jones' release from The Rolling Stones, why smart people believe stupid shit, Solid Gold, why don't marty's parents remember him?, anthony bourdain & robin williams, Loudini's quote of the week, guitar tip Mr. Pittsburgh: Sorcerer, dog bites dog, tiktok   Les Pauls and Strats and our journey with both   Reference: https://medium.com/@richwhite08/fender-stratocaster-vs-gibson-les-paul-an-in-depth-comparison-2abf2d8c35d7   Most famous Stratocaster Players Most Famous Les Paul Players   New & Notable: Loudini: Eve Of Uprise; One Left Standing Mr. Pittsburgh: JD and the RetroRyders; What To Do?

Charlamos con Alan Boguslavsky (ex-guitarrista de Héroes del Silencio y Bunbury) sobre el disco ‘The Dark Side of the Moon' de Pink Floyd. En esta tercera parte (publicada originalmente en junio de 2023) hablamos de: Las dos canciones siguientes de 'The Dark Side of the Moon': «Time» y «The Great Gig in the Sky». Algunas de las leyendas alrededor de la grabación de la cantante Clare Torry en «The Great Gig in the Sky». La demanda judicial que Torry interpuso contra Pink Floyd y su discográfica EMI. La influencia de la música ‘soul' en 'The Dark Side of the Moon'. La resurrección del vinilo. Y por el camino nos encontramos con Alan Parsons, Radiohead, Jimi Hendrix, Spotify, la Fender Stratocaster, el ‘delay' de cinta y mi primera teoría de la conspiración (totalmente gratuita). Para participar en la elección de los discos que tratamos en el podcast, date de alta en mi lista de correo en discoprestado.com Contacto: discoprestado@proton.me ¡Salud y buena música! Marc Aliana

It was announced last week that Rory Gallagher's legendary Fender Stratocaster guitar was going up for auction, much to the dismay of rock and roll fans across the country. There have been calls to keep the guitar in Ireland and the government have been urged to intervene, to help hold onto this piece of history. On this morning's Gift Grub, the Liveline was lighting up! Hit play now to hear the full episode.

As Rory Gallagher's iconic Fender Stratocaster guitar goes up for auction, calls are growing for it to remain in Ireland. Joining Seán to discuss is Lord Mayor of Cork, Green Councillor Dan Boyle.Image: Bonhams

Rory Gallagher gilt "als einer der größten Gitarristen, die keiner kennt". Mit dieser Folge der SWR1 Meilensteine ändern wir genau das. Wir sprechen heute über Gallaghers legendäres Livealbum "Irish Tour ‘74". Alben mit irischem Bezug hatten wir in den letzten Monaten ein paar bei uns in den SWR1 Meilensteinen. Letztens erst Thin Lizzy und "Black Rose: A Rock Legend". Und heute packen wir Rory Gallagher und seine "Irish Tour ‘74" mal mit dazu in unseren SWR1 Meilensteine Plattenschrank. Und auch wenn Rory Gallagher nicht unbedingt im kollektiven Gedächtnis verankert ist, schmälert das sein Können nicht im Geringsten. Viele große Stars aus der Musikszene kannten ihn, haben ihn verehrt und wollten sogar zusammen mit ihm Musik machen. Brian May von Queen hat gesagt, dass sein Sound von Rory Gallagher inspiriert ist, Eric Clapton hat Gallagher dafür gedankt, wieder zum Blues zurückgefunden zu haben und nicht ganz unbedeutende Bands wie Deep Purple, Cream oder die Rolling Stones hätten ihn wohl gerne als Gitarristen gehabt. Aber Rory Gallagher wollte lieber immer sein eigenes Ding machen. Und auf große Studioarbeit hatte Gallagher ohnehin nie wirklich Lust. Seine unglaubliche Energie hat sich vor allem auf der Bühne entfaltet. Auch deshalb sprechen wir mit "Irish Tour '74" heute über ein Live- und nicht über ein Studioalbum. Neben seinem unfassbar guten Gitarrenspiel ist Rory Gallagher auch sehr bekannt für eine bestimmte Gitarrenart: eine Fender Stratocaster. Einer der bekanntesten Vertreter der Stratocaster-Spieler ist, der eben schon erwähnte, Eric Clapton. Aber auch die Gitarre von Rory Gallagher ist bis heute ein fast schon kultisch verehrtes Instrument der Rockgeschichte. Als fünfzehnjähriger hat sich Rory Gallagher die Gitarre damals gekauft und sich dafür selbst sehr hoch verschuldet, heißt es. Über die Jahre hat sie dann (vor allem optisch) sehr gelitten. Angeblich, weil Rory Gallagher einen extrem sauren Schweiß gehabt haben soll, der den Lack verätzt hat. Das sind Stories, aus denen Rock Mythen sind. __________ Über diese Songs vom Album "Irish Tour '74" wird im Podcast gesprochen (16:45) – "Cradle Rock"(42:44) – "Tattoo'd Lady"(47:06) – "As The Crow Flies"(57:47) – "Million Miles Away"__________ Alle Shownotes und weiterführenden Links zur Folge "Bad Company" findet ihr hier: https://www.swr.de/swr1/rp/meilensteine/swr1-meilensteine-bad-company-paul-rodgers-100.html __________ Ihr wollt mehr Podcasts wie diesen? Abonniert die SWR1 Meilensteine! Fragen, Kritik, Anregungen? Meldet euch gerne per WhatsApp-Sprachnachricht an die (06131) 92 93 94 95 oder schreibt uns an meilensteine@swr.de

In this episode, we dive deep into rock 'n' roll history with none other than Tim Shaw, Chief Engineer Guitar at Fender, as our guide. Celebrating the 70th anniversary of the legendary Fender Stratocaster guitar, Shaw takes us on a journey through seven decades of Strat goodness. Drawing on decades of experience, Tim is warm and knowledgeable - a favourite here at the Guitar Speak Podcast. Want more Shaw? Check out Guitar Speak Podcast episode #225    This episode is brought to you by Fretboard Biology    Fretboard Biology - the online guitar college created by Joe Elliott, ex Head of Guitar at GIT and McNally Smith Music College. Fretboard Biology Guitar Speak Podcast #146 - Joe Elliott - ex guitar head of GIT - launches Fretboard Biology Guitar Speak Podcast Links PayPal Tip Jar Visit us at guitarspeakpodcast.com Subscribe and find previous episodes at: Apple Podcasts Spotify Stitcher   Follow us on Instagram

Den legendariske el-guitar Fender Stratocaster fylder 70 i år, og i den sammenhæng kunne man måske forlenes til at tro, at den så er gammel og passé i moderne popmusik. Og sådan har det måske også været for nogle år siden, hvor elguitaren for en generation af musikere lugtede af fortid. Men faktisk er guitaren igen ved at blive en del af mainstreammusik. Det fortæller musikproducer Thor Nørgaard. For nyligt er der udkommet en ny oversættelse af "Venuskrigene - Antikke digte om kærlighed" og i næste uge udkommer Longos' såkaldte hyrderoman 'Dafnis og Chloe' om bl.a. forelskelse, uskyld, humor og kærlighed. Foruden de dugfriske udgivelser er nulevende forfattere også optagede af antikkens digtere - Harald Voetmann, Mathilde Moestrup med 'Elektras Breve. Men hvad er det for temaer og beskrivelser der bliver ved at kunne fascinere her mange tusinde efter og hvordan har den antikke lyrik især formet vores blik på erotik her i vesten? Værter: Chris Pedersen og Linnea Albinus Lande.

Rock and Roll Hall of Famer and Songwriters Hall of Famer Nile Rodgers is our inaugural guest on the At First Listen podcast!On this episode, Andrew and Diamond dive into Chic's 1978 sophomore album, C'est Chic, with Nile himself as their guide. Nile offers recollections from creating legendary hits like "Le Freak," "I Want Your Love," "Chic Cheer" and others, as well as memories of his close relationship with fellow Chic co-founder and producer late-bassist Bernard Edwards, as well as music icons Jimi Hendrix and Prince.Nile is arguably the most successful record producer in music history, and his fingerprints are all over generations of music from the 1970s to present day. He's been so successful that his favorite white Fender Stratocaster earned the name Hitmaker, and he still uses the guitar to this day. Chic is one of the best-selling musical acts of the '70s, with grooves and melodies that have taken on new life in hip-hop and R&B, and as a producer Nile has created countless hits, including records by Sister Sledge, Diana Ross, David Bowie, Madonna, Duran Duran, Daft Punk, Daddy Yankee, LE SSERAFIM, Beyoncé and many others. Listen and let us know who should be on the show next!Subscribe so you don't miss an episode of At First Listen!

In this episode, we take a deep dive into the revolutionary album "Trilogy" with a discussion about the guitar virtuoso Yngwie Malmsteen and his groundbreaking contribution to the neoclassical metal genre. We explore how his unique blend of classical music influences and unparalleled guitar skills reshaped the metal landscape, setting a new standard for guitarists everywhere.During the discussion, we get into the creation of "Trilogy," its standout tracks like "You Don't Remember, I'll Never Forget," and the impact of Yngwie's music on the metal genre and beyond. We also cover Yngwie's journey from Sweden to the United States, his rise to fame, and the stories behind the making of "Trilogy," including his infamous MTV-era music videos and the tales surrounding his name and playing style.This episode is a treasure trove for 80s metal fans, guitar enthusiasts, and those new to Yngwie Malmsteen's music. We offer an in-depth exploration of Yngwie's groundbreaking guitar technique and pivotal role in shaping metal music. We delve into everything from Yngwie's emblematic use of the Fender Stratocaster to the progression of his signature neoclassical metal style.So, join us for a comprehensive review of one of the 80s metal era's most seminal albums, and embark on a nostalgic journey to a time when MTV's Headbangers' Ball reigned supreme, marking the golden age of music television and the rise of guitar legends.Songs in this Episode* Intro - You Don't Remember I'll Never Forget * 31:28 - Queen in Love * 32:55 - Crying * 35:29 - You Don't Remember I'll Never Forget * 36:36 - Fire 46:53 - Magic Mirror * 49:13 - Trilogy Suite Op:5 * 1:04:14 - Carry On My Wayward Son * Outro - Trilogy Suite Op:5Make Your Metal Voice Heard!In our quest to explore the depths of 80s metal, we rely on you, our listeners. Your suggestions drive our show – be it an underrated classic or a forgotten gem. By joining our DMO Union on Patreon, you help us stay independent and ad-free and gain the power to vote on and choose the albums we dive into each year. Let's unearth the treasures of 80s Metal, one listener-powered episode at a time.Suggest an Album → | Support the Mission → This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit digmeout.substack.com/subscribe

"2024 is a year of many anniversaries and one big birthday. The Fender Stratocaster is 70 years old. We will look at the history and why it continues to be such an iconic guitar."

Thanks again Justin Saladino for hanging out with us. We reached out to Justin after finding his live album and were blown away by his playing, song writing, and vocals. We chatted about his guitar journey from Toddler to Today. His love for Stratocasters. And his up and coming albums and tour plans. The outro song is the title track off of The Justin Saladino Band's latest album, "Honest Lies" - Honest Lies. Check him out at...WebsiteSpotifyInstagramIf you like what you hear, buy us a coffee.

To Support the Channel:Patreon  https://www.patreon.com/AskZacTip jar:  https://paypal.me/AskZacVenmo @AskZac  Or check out my store for merch  - https://my-store-be0243.creator-spring.com/Introduced in 1954, the Fender Stratocaster could have died a quick death if it had not caught on with key players on the music scene of the day. The guitarists who put it on the map, Ike Turner, Otis Rush, Pee Wee Crayton, Buddy Guy, Buddy Holly, Johnny Meeks, Eldon Shamblin, Buddy Merrill, and Neil LeVang, deserve credit for their important role in the success story of the Strat. Bill Carson & Rex Gallion also get special mention as the guys who pushed Leo Fender to create the Stratocaster because of their desire for an instrument with a built-in vibrato, a 6-piece bridge, 3 pickups, and a contoured body.  Playlisthttps://open.spotify.com/playlist/4XGaErkuMmb0aa1tYu9jaE?si=cceae943364246dcDoye O'Dell with Bill Carsonhttps://www.youtube.com/watch?v=LtuBYo3e9lQDeke's article on Rex Gallion and Strat 001https://dekedickerson.com/musings/rex-gallion-and-stratocaster-serial-no-001/Gear used:2023 Headstrong Lil' King with 12" Eminence GA-SC64 speakerhttps://headstrongamps.com/lil-king-amp1955 Stratocaster built by my old college buddy, B. Paisley, using a mix of old and new parts. Ron Ellis 50/60 middle and neck, Duncan Twang banger in the bridge.https://www.ronellispickups.com/Strings: D'Addario NYXL 10-46Affiliate linkhttps://amzn.to/494qQ1yPick:Pick Boy Small Jazz, Tortoise Shell, 1.00mmEffects: Amp reverb#askzac #zacchilds #stratocasterSupport the show

This week, a bone Vervoid joins in the fun as we travel back in time to Wales in 2015 pretending to be Scotland in 1980 pretending to be somewhere in the Soviet Union. And it's hard to say which time paradox is the most annoying, the bootstrap one or the predestination one. Thank goodness Frazer Gregory is here to help us sort it all out — it's Before the Flood. Notes and links Like Steven B in our episode on Flatline, Frazer uses the Christopher Nolan film The Prestige (2006) as a way of understanding what Toby Whithouse is doing by setting up the bootstrap paradox at the start of this episode — it's a magic trick. Likewise, Frazer compares this story's unresolved conclusion with the way that the Season 9 episode of The Simpsons Das Bus throws its ending away with a hilarious voiceover from James Earl Jones. El Sandifer refers to the Fisher King as a Bone Vervoid in her TARDIS Eruditorum essay on this story. Bone Vervoid. Warning: she is considerably less kind to these two episodes than we have been. Of course, A Long Tradition of Doctor Who Monsters That in Some Way Resemble Human Genitalia is the title of Flight Through Entirety Episode 168, and it refers to Human Dalek Sec in Evolution of the Daleks. It is currently the record-holder as the longest title of any episode of Flight Through Entirety. We refer to some of Peter Serafinowicz's earlier work, including his role as the voice of Darth Maul in The Phantom Menace (1999), In 2002, he appeared in Look Around You, a spoof of educational science programmes for schoolchildren. And in 2007, he appeared in his own sketch comedy show on BBC Two, The Peter Serafinowicz Show, which introduced his character Brian Butterfield, who he continues to play on tour this year. The Butterfield Diet Plan is a must see. Picks of the week James Fans of weird time paradoxes will also enjoy Douglas Adams's Dirk Gently's Holistic Detective Agency (1987), which, through a time paradox of its own, was the inspiration for Adams's own Doctor Who stories, City of Death (1979) and Shada (1979, but in a nearby parallel universe). Peter Fans of weird time paradoxes will also enjoy the Sex in the City sequel TV series And Just Like That. Nathan Nathan picks the podcast Strong Songs, where enthusiastic and talented musician Kirk Hamilton analyses the music that he loves, in order to discover what it is that makes it great. Highly recommended. Frazer Like Nathan two weeks ago, Frazer recommends that you watch the wonderful new Star Trek series Strange New Worlds, which finished its second series earlier this year. Follow us Nathan is on ex-Twitter as @nathanbottomley, James is @ohjamessellwood,and Frazer is @FelixFrazer. The Flight Through Entirety theme was arranged by Cameron Lam. You can follow the podcast on X at @FTEpodcast. We're also on Facebook, Mastodon, and Bluesky, and you can check out our website at flightthroughentirety.com. Please consider rating or reviewing us on Apple Podcasts, or we'll turn up at your place in the middle of the night with a Fender Stratocaster to explain the paradox of entailment. And more Jodie into Terror was our flashcast on every episode of the Whittaker era, recorded just a couple of days after the broadcast of the episode. Bondfinger is our James Bond commentary podcast, which also covers some of our favourite spy-fi TV shows of the sixties and seventies. Maximum Power is a podcast about Blakes 7, a co-production with the Trap One Podcast. It's on hiatus right now, but it will be returning with our coverage of Series C some time next month, we think. And finally, there's our Star Trek commentary podcast, Untitled Star Trek Project, featuring Nathan and friend-of-the-podcast Joe Ford. In our most recent episode, we watch a credible and highly-regarded episode of The Original Series with a monster in it that makes that hydra thing in Time-Flight look horrifyingly realistic.

This episode is with five-time-Grammy-nominated guitarist Kenny Wayne Shepherd. Kenny's new album: "Dirt On My Diamonds, Vol 1" is scheduled to be released on November 17th, and we were lucky enough to catch him for the interview right before his tour started. The new album was recorded at the legendary FAME Studios in Muscle Shoals, Alabama. The project chronicles Shepherd's journey of musical evolution, touching on stories of loss, redemption, and memorable melodies, all crafted by an elite team of songwriters. Born in Louisiana, in 1977, Shepherd's own life has never followed the script. Steeped in classic blues and rock 'n' roll from an early age by his dad - a respected Louisiana radio personality and promoter - Kenny soon reached for his first Fender Stratocaster and found he didn't require lessons to make it cry and wail. Long Before Warner Brothers subsidiary Giant Records offered a deal, Shepherd had toured in clubs he was still too young to drink in. 

There are so many electric guitars. Truly, there is a guitar for every mood, every season, and every feeling. But there are four types of electric guitar that are a bit more widely used than other ones. On this formely-bonus-now-main-feed episode, Kirk discusses those four guitars—the Fender Stratocaster, the Telecaster, the Gibson Les Paul, and the 335—and goes through some of the Strong Songs that have featured them.FEATURED/DISCUSSED:“Spanish Castle Magic" and "Little Wing" by Jimi Hendrix from Axis: Bold as Love, 1967“Like a Prayer” by Madonna from Like a Prayer, 1989“Sweet Home Alabama” by Lynyrd Skynyrd from Second Helping, 1973“Home” by Cory Wong from Motivational Music for the Syncopated Soul, 2019"Time" by Pink Floyd from The Dark Side of the Moon, 1973"Everybody Wants to Rule the World" by Tears for Fears from Songs From The Big Chair, 1985“Folsom Prison Blues" by Johnny Cash, 1955"Make a Mistake With Me" by Brad Paisley from Mud on the Tires, 2003“Paranoid Android” by Radiohead from OK Computer, 1997“Stairway to Heaven” by Led Zeppelin from Led Zeppelin IV, 1971“Kiss” by Prince from Parade, 1986“Last Goodbye” by Jeff Buckley from Grace, 1994“Blood and Thunder” by Mastodon from Leviathan, 2004“Immigrant Song” from Led Zeppelin III, 1970“Mr. Blue Sky” by Electric Light Orchestra from Out of the Blue, 1978“Wuthering Heights” by Kate Bush from The Kick Inside, 1978“Starman” by David Bowie from The Rise and Fall of Ziggy Stardust and the Spiders from Mars, 1972“November Rain” by Guns N' Roses from Use Your Illusion, 1991"Sister Sadie" by Horace Silver, 1959“Help Me” by Joni Mitchell from Court & Spark, 1974“Kid Charlemagne” by Steely Dan from The Royal Scam, 1976“September” by Earth, Wind & Fire, 1978“No One Knows” by Queens of the Stone Age from Songs for the Deaf, 2004-----LINKS-----SUPPORT STRONG SONGSPaypal | Patreon.com/StrongsongsMERCH STOREstore.strongsongspodcast.comSOCIAL MEDIA@StrongSongs | @Kirkhamilton | IG: @Kirk_HamiltonNEWSLETTERhttps://kirkhamilton.substack.com/subscribeJOIN THE DISCORDhttps://discord.gg/GCvKqAM8SmOUTRO SOLO PLAY-A-LONG:https://soundcloud.com/kirkhamilton/strong-songs-outro-music-no-soloSTRONG SONGS PLAYLISTSSpotify | Apple Music | YouTube Music----------------SEPTEMBER 2023 WHOLE-NOTE PATRONSBen BarronCatherine WarnerDamon WhiteKaya WoodallDan AustinJay SwartzMiriam JoySEAN D WINNIERushDaniel Hannon-BarryAshley HoagChristopher MillerJamie WhiteChristopher McConnellDavid MascettiJoe LaskaKen HirshJezMelanie AndrichJenness GardnerJeanneret Manning Family FourDave SharpeSami SamhuriJeremy DawsonAccessViolationRyan TorvikElliot Jay O'NeillAndre BremerDave FloreySEPTEMBER 2023 HALF-NOTE PATRONSAbraham BenrubiChristopher BrunoChris KotarbaCallum WebbLynda MacNeilDick MorganBen SteinSusan GreenSean MurphyJake YumatillaAlan BroughRandal VegterGo Birds!Whit SidenerRobert Granatdave malloyNick GallowayHeather Johnsonjohn halpinPeter HardingDavidMeghan O'LearyJohn BaumanDax and Dane HuddlestonMartín SalíasTim HowesStu BakerSteve MartinoDr Arthur A GrayCarolinaGary PierceMatt BaxterGiantPredatoryMolluskLuigi BocciaE Margaret WartonCharles McGeeCatherine ClauseEthan BaumanKenIsWearingAHatJordan BlockAaron WadeJamieDeebsPortland Eye CareCarrie SchneiderRichard SneddonJulian RoleffDoreen CarlsonDavid McDarbyWendy GilchristElliot RosenLisa TurnerPaul WayperBruno GaetaKenneth JungAdam StofskyZak RemerRishi SahayAilie FraserVonRob TsukNATALIE MISTILISJosh SingerPhino DeLeonAmy Lynn ThornsenAdam WKelli BrockingtonVictoria YuBrad Clarkmino caposselaSteve PaquinEmma SklarBernard KhooRobert HeuerMatthew GoldenDavid NoahGeraldine ButlerMadeleine MaderJason PrattAbbie BergDoug BelewDermot CrowleyAchint SrivastavaRyan RairighMichael BermanOlivia BishopJohn GisselquistLinda DuffyLiz SegerEoin de BurcaKevin PotterM Shane BordersDallas HockleyJason GerryNathan GouwensLauren ReayEric PrestemonCookies250Damian BradyAngela LivingstoneSarah SulanDiane HughesMichael CasnerLowell MeyerStephen TsoneffWenJack SjogrenGeoff GoldenRobyn FraserPascal RuegerRandy SouzaClare HolbertonDiane TurnerTom ColemanMark PerryDhu WikMelEric HelmJonathan DanielsMichael FlahertyJarrod SchindlerCaro Fieldmichael bochnerNaomi WatsonDavid CushmanAlexanderGavin DoigSam FennTanner MortonAJ SchusterJennifer BushDavid StroudAmanda FurlottiAndrew BakerJules BaileyAndrew FairL.B. MorseBill ThorntonBrian AmoebasBrett DouvilleJeffrey OlsonMatt BetzelNate from KalamazooMelanie StiversRichard TollerAlexander PolsonEarl LozadaJustin McElroyArjun SharmaJames JohnsonKevin MorrellColin Hodo

Following the Japan tour in spring 2023, Night Demon traveled to the UK for a run of UK / Ireland shows that was planned to commence with an appearance at the Dominion Festival in Newcastle.  Unfortunately, that festival was canceled on very short notice, leaving the band in limbo for a few days.  In this week's episode, you will hear how they spent that time.  The centerpiece was an off-the-cuff covers gig at an open mike night at a blues bar in Newcastle.  The episode includes audio of this entire performance, including a Jarvis collaboration with Russ Tippins from Satan. Night Demon then traveled to their home base in Derry, Northern Ireland, for a couple days of downtime.  The guys describe their philosophies on how to spend time off on the road.  Also, Jarvis explains why in a very real way Northern Ireland is home.Become a subscriber today at nightdemon.net/subscriber. This week, subscribers have access to the bonus content below:Streaming Video: Night Demon playing War Pigs and Wasted Years at secret bar show in Newcastle, U.K.Streaming Video:  Jarvis, Russ Tippins (Satan) and Danny "Dante" Needham (Venom) playing Breakin' The Law at secret bar show in Newcastle, U.K. Listen at nightdemon.net/podcast or anywhere you listen to podcasts! Follow us on Instagram Like us on Facebook

Johnny Marr is an acclaimed British guitarist who's played with a ton of bands including, most famously, The Smiths. Marr started playing guitar as a young teenager growing up in Manchester. When he turned 15 he dropped out of school and moved to London to join the band Sister Ray. A couple years later he would help form The Smiths with Morrissey, Mike Joyce, and Marr's friend and bassist, Andy Rourke. After The Smiths broke up in 1987, Marr went on to collaborate with an array of different musicians and play in bands like The Pretenders, The The, and Modest Mouse. In the early aughts, Marr started releasing solo material, and he's on the brink of releasing a new album of his greatest hits. On today's episode Justin Richmond talks to Johnny Marr about his exciting work scoring movies with Pharrell and Hans Zimmer. Marr also recalls the terror he felt performing live in front of stadiums full of fans with The Pretenders on U2's Joshua Tree tour. And he talks about the time he bought a Fender Stratocaster while hanging out with Oasis' Noel Gallager. That Strat has nine pickups and it eventually led to him writing one the best songs of his solo career. You can hear a playlist of some of our favorite Johnny Marr songs HERE.See omnystudio.com/listener for privacy information.

Hot on the heels of episodes about Rhythm Games and Party Games the Beat of the Month Crew tackle the ultimate rhythm party game - Rock Band! Whether you are a Call of Duty playing dude bro or a World of Warcraft basement dweller, you've probably played Rock Band before. We take a look back at some fond memories we have of the Rock Band franchise and the big parties we used to throw centered around the game. We also talk about the extensive DLC song list, the variety of instruments, and the infamous Stage Kit complete with strobe light and fog machine. In addition to Rock Band we dip even further back into the games that came before such as (of course) Guitar Hero, but also Karaoke Revolution, Amplitude, and more! We also kick things off with Rock Band/Guitar Hero trivia and even have some snippets of our latest Rock Band session with questionable vocal quality. So grab your plastic Fender Stratocaster, secure your USB microphone, and get ready to rock out over some Rock Band!

To Support the Channel:Tip jar:  https://paypal.me/AskZacVenmo @AskZac  Or check out my store for merch  - www.askzac.comWhen LEGO released their Fender Stratocaster and Princeton Reverb amp set, my childhood and adult obsessions collided. As a child, I was given LEGO sets for Christmas and birthdays throughout the late 70s and early 80s. By 1985, I was 13 years old and had switched gears from LEGO to the guitar, so the little bricks went into the attic for close to 20 years. When my children were born, the LEGOs came out of hiding, and I began to enjoy building with my kids, and recently began getting sets of my own like the UCS Snowspeeder, and Slave I. With the release of this LEGO/Fender collaboration, my obsession with building bricks and electric guitars collided head-on. Amazon affiliate link to the Fender Stratocaster LEGO® Ideas Fender® Stratocaster™https://amzn.to/3s64Ksp#askzac #lego #fender #askzac #guitartech #telecasterSupport the show

Kurt Cobain smashed and band-signed Fender Stratocaster electric guitar from the Nevermind era of the band, which just went for $596,900 at auctionSee omnystudio.com/listener for privacy information.

This week we continue our deep dive into Night Demon's new album, Outsider, by peeling back the curtain on the creative process underlying track 7, "A Wake."  You will hear the genesis of the song in early riff tapes, and the pressure-packed circumstances under which the band rediscovered those riffs late in the Outsider writing sessions.  The guys explain the necessity of not overplaying their parts, talk about the shimmering vocal harmonies, and lead you through the epic guitar solo at the end.  You will also learn the thematic importance of "A Wake" to the narrative, and its significance to telling a story of consequence.  The episode concludes with a recent live version of the track, and the band's reflections on its similarities to and differences from fan favorite "Darkness Remains."Night Demon "A Wake" - https://www.youtube.com/watch?v=uLZFoRzyyhEScorpions "Always Somewhere" - https://www.youtube.com/watch?v=AepjLbcLrJEJimi Hendrix "Little Wing" - https://www.youtube.com/watch?v=BkEPBiMbgxsBlack Sabbath "Fairies Wear Boots" - https://www.youtube.com/watch?v=BkEPBiMbgxsMetallica "For Whom the Bell Tolls" - https://www.youtube.com/watch?v=B_HSa1dEL9sNight Demon 'Outsider' ordering info - https://nightdemon.bandcamp.com/ Listen at nightdemon.net/podcast or anywhere you listen to podcasts! Follow us on Instagram Like us on Facebook

In 1978, the US saw the debut of one of the greatest guitar heroes of all time, Eddie Van Halen, However, across the pond another guitar god was releasing his first record as well - Mark Knopfler of Dire Straits. With his folksy songwriting, authentic vocal style and masterful, finger-picking guitar style, Dire Straits 1978 debut showed us what this little band from the north of England were made of. Not as flashy as a Van Halen or maybe as intricate as a Steve Howe but every bit as passionate, Mark Knopfler established himself as one of the premier guitar players of his generation. Whether picking on his Fender Stratocaster or the steel acoustic Old National, Knopfler creates country, folk and rock soundscapes with inspired guitar work and a storytelling style that is very relatable. You may not be able to hear this album and think that in 7 short years they'd have a worldwide success in Brothers in Arms but you can see the foundational talent that would allow them to grow into that kind of achievement. What kind of characters do you see walking around London? A drunken old sailor? A snobby watitess? A ten pence band with a million pound name? Knopfler's rich stories create images that transport you to another time and place yet allow you to relate to them on a very personal level.Ugly American Werewolf in London Website Twitter Instagram YouTube LInkTree www.pantheonpodcasts.com Visit RareVinyl.com and use the code PODCAST to save 10%! Learn more about your ad choices. Visit megaphone.fm/adchoices

At the beginning of each year, we at Second Act Stories like to take a look back at the incredible interviews we shared and pick one episode that truly exemplifies the surprising, inspiring and eye-opening nature of a fascinating career change. This “Best of” show gives us an opportunity to re-share a remarkable story, and it welcomes new listeners by giving them a good taste of what we do here: profile people who have made major life and career changes to pursue a more rewarding life in a second act career. The numbers spoke for themselves this year. Without question, the episode our listeners downloaded the most was our interview with rock and roll legend Jeff “Skunk” Baxter. Skunk was the founding lead guitarist in Steely Dan, and he was inducted into the Rock and Roll Hall of Fame as a member of the Doobie Brothers. As a hired gun, he's played with a who's who of music royalty, including Linda Ronstadt, Donna Summer, Elton John, Eric Clapton, Ringo Starr, Dolly Parton, Carly Simon… the list goes on and on. From the time he was a child, the mechanically inclined Baxter loved taking things apart to see how they worked and putting them back together. He became an expert guitar repair technician and built custom guitars. He traded a custom white Fender Stratocaster he built in the 1960s to Jimi James, who would later re-emerge as the legendary Jimi Hendrix. In the 1980s, Skunk parlayed his more-than-casual interest in all things technical into a career as a missile defense consultant. After writing a paper that was quickly classified, he received the necessary clearances and now regularly consults with the U.S. government, the Pentagon and the Joint Chiefs on topics including counterterrorism and wargaming. Skunk recently released a new solo album, his first, called Speed of Heat. We hope you enjoy this encore presentation – the Best of 2022 episode of Second Act Stories – our exciting deep dive into the second act of one of rock's greatest guitarists.

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

Brian, Blake, and Richard are back for an all-new episode of the Chasing Tone Podcast!Richard has "Borrowed" a vintage 1963 Fender Stratocaster and he tells us about it - there are some surprising differences with modern Strats that he has uncovered so the guys chat about vintage guitars and that special magic they can exude.  This also leads on to a fascinating and enlightening discussion about switch positions and Brian refuses to listen to Richard's utterly flawed logical fallacies so gets hard evidence to finally prove Richard is indeed a massive fool. Brian wants a giant tractor and a private plane and a plot is hatched to make this happen...maybe...ok it got silly real quick.  There was a massive tribute concert to Taylor Hawkins and the guys chat about it - it was emotional, and there were guitars involved. There was also a very special performance from Wolfgang Van Halen and it pleased the guys greatly. Brian has serpentine problems in the shape of a water snake and the guys ponder over potential solutions to this problem which is consuming the fishery livestock of Martinsville. Richard is concerned about the barbarism in Brian's approach to despatching his unwanted guest so explores alternatives.  Meanwhile, Blake introduces us to the king of the methedestrians while Brian admits that he has the brain of a small tree dwelling rodent... Cheap holiday flings, Its just not cricket, Golden farm vehicles, Indiana Brian and the Temple of Tone, The ultimate amphibian dispatch unit, Kesha who?...it's all in this week's Chasing Tone!We are on Patreon now too!Support the show (https://www.patreon.com/chasingtonepodcast)Awesome Merch and DIY mods:https://modyourownpedal.com/collections/booksFind us at:https://www.wamplerpedals.com/https://www.instagram.com/WamplerPedals/https://www.facebook.com/groups/wamplerfanpage/Youtube:https://www.youtube.com/channel/UCdVrg4Wl3vjIxonABn6RfWwContact us at: podcast@wamplerpedals.comSupport the show