Podcasts about flying squad

Andy Bennett had his first break with his band The Elements (formerly known asSargent) which included Tim Jacques, Lee Burn and Dave Casswell. The Elementsregularly gigged throughout Birmingham and supported Ocean Colour Scene. Theband released their first album, The Elements, on Acid Jazz Records music labeland the album charted at #7 in the indie music charts.Andy joined Ocean Colour Scene on 8 April 2004 (when he participated in the RoyalAlbert Hall concert). He has featured on the following albums: One for the Road (2004) (Guitar, Background Vocals) A Hyperactive Workout for the Flying Squad (2005) (Guitar) Live Acoustic at the Jam House (2006) (Acoustic and Electric Guitar,Background Vocals) Live at Birmingham Academy (2006) On the Leyline (2007) (Acoustic and Electric Guitar) Live at the Town Hall (2008) Saturday (2010) (Composer) 21 (2010) (Guitar, Composer)Bennett co-wrote the song "Old Pair of Jeans" which was onthe Saturday album. According to The Digital Fix, "It just gets better with every songa winner. The jaunty ‘Old Pair Of Jeans' is rollicking fun: "I wish you didn't get hungup so easily / When you're bound fall apart you always fall apart at the seams / Soworn and so torn..like an old pair of jeans." The song also featured on the 21 album.Bennett has toured with Ocean Colour Scene since 2004, but left in February 2015to focus on his solo material.You can see Andy Bennett live at The Regency Hotel in Solihull on Mondaynights with his great musician partner Simon Foster – Benny & The Foz!BENNY & THE FOZ (Andy Bennett formerly of Ocean Colour Scene) | Facebook

In 2000, a group of career criminals known for their audacious heists gets recruited for what would be the biggest robbery in history. Lee Wenham and his crew draw up a plan to steal the world's largest diamond on display for the public at London's Millennium Dome.   As the thieves work out how to thwart guards, vaults, and impregnable glass, an elite police unit has been monitoring their plans. While the so-called Flying Squad has clocked elements of the bandits' scheme, it won't be until the day of the heist when they learn how it all fits together.Netflix's “The Diamond Heist” recounts the daring daylight caper to steal the 203-carat, £200-million Millennium Star. Produced by movie director Guy Ritchie, the three-part series is high on action film pace and style. We hear from both the cops and robbers involved, who tell their stories and take part in the re-enactments. OUR SPOILER-FREE REVIEWS OF "THE DIAMOND HEIST" BEGIN IN THE FINAL NINE MINUTES OF THE EPISODE. For exclusive podcasts and more, sign up at Patreon.Sign up for our newsletter at crimewriterson.com.

Who doesn't love a good Heist? Now throw in the most valuable diamond in the world at the time, the Millennium Star. Still not convinced? Well let's put this thing right in the middle of London at the Millennium Dome's De Beers exhibit. In November of the year 2000, a crew of career criminals attempted one of the ballsiest, most brazen robberies in history. And they would've probably gotten away with it too if it wasn't for those nosey specialist at Scotland Yard called The Flying Squad. Months prior the future heist-ers had attempted not one but two separate armored truck robberies that were both met with failure in different but wildly entertaining fashion.  Not to be deterred these guys might have figured their methods were sounds, just maybe they weren't aiming high enough. Find out how it all goes down here.Support the show

In November 2000, a gang of audacious criminals attempted one of the most daring heists in British history—right in the heart of London.Their target? A collection of diamonds worth £350 million, including the legendary Millennium Star, housed inside the Millennium Dome. Armed with sledgehammers, a speedboat escape plan, and sheer nerve, they thought they had the perfect crime. But what they didn't anticipate was the meticulous planning of Scotland Yard's elite Flying Squad, who lay in wait for the thieves to make their move.Let us jump inside the gripping story of the Millennium Dome Heist—where the stakes were high, the execution bold, and the downfall inevitable. Hosted on Acast. See acast.com/privacy for more information.

Check out a secret "icebreaker" interview with Jackie at patreon.com/hkpodcasts. In this conversation, Jackie Malton shares her experiences working in prisons and her insights into the psychology of criminals, particularly focusing on masculinity, addiction, and the impact of childhood trauma. She discusses her interviews with a serial killer and the complexities of rehabilitation, self-discovery, and the importance of storytelling in understanding human behaviour. Malton emphasizes the need for self-reflection and the role of mentorship in personal growth, while also addressing the challenges faced by individuals in the prison system. Jackie and Hugh also discuss various aspects of policing in London, emphasizing the need for geographical restructuring, rebuilding public trust, and understanding gang culture. She explores the role of direct entry in policing, the challenges faced by officers, and the importance of rehabilitation in prisons. --- Jackie Malton is a UK-based television script consultant and former senior police officer. Born in 1951, she made history as one of the first openly gay women to rise through the ranks of the Metropolitan Police Service. Malton's remarkable career spanned multiple areas, including the Flying Squad, Murder Squad, and Fraud Squad. Malton is perhaps most famous for being the inspiration behind the iconic character DCI Jane Tennison in Lynda La Plante's Prime Suspect drama series. Her experiences as a woman detective in a male-dominated establishment, combined with her bravery in speaking out against police corruption in the 1980s, made her a compelling figure for La Plante's character. You can buy Jackie's book - The Rel Prime Suspect - via amazon, at this link: https://www.amazon.co.uk/Real-Prime-Suspect-Screen-Detective/dp/B09YMWY4MZ/ref=sr_1_1?nsdOptOutParam=true&sr=8-1

This episode brings youth rights advocates, Flying Squad facilitators, and unschooling parents Bria Bloom, Alex Khost, and Annie Friday together in conversation about what a self-directed lifestyle can look like in a child's earliest stages of life. Bria was raised in a life without school and is currently unschooling in partnership with a teenager and toddler at home. Alex has been unschooling with four kids for the last 18+ years, currently covering ages spanning from teenagers to toddler. The conversation explores how as adults guiding the lives of young people, we can intentionally include them in our family life, safeguard their rights, and support their curiosities. They discuss the work of the adult which includes bringing awareness to your own inner monologue, anxieties, and pace of life in order to communicate vales and culture to your children. Alex and Bria share personal stories of real life struggles that come up and how they navigate those moments while honoring the personhood and humanity of their child. Find more on Alex Khost and Bria Bloom through the FlyingSquads.org website and the Alliance for Self-Directed Education at self-directed.org Thanks for listening! Links Share a comment or ask a questionSupport the show (and save 10%) when you shop early learning trainings at Explorations Early LearningVisit the show archives to browse and search all episodesMore AnnieMore CandisVisit Blue Bridge School's website or Instagram

Proudly sponsored by Gold Seal - suppliers of the highest grade Shilajit and health products in the UK. For a 10% discount on their pure premium Shilajit, Mushroom Capsules, Testosterone Booster and other health supplements, visit: https://goldsealshilajit.com/?oly=liamtuffs   He's lived enough life for ten people - from childhood abuse and neglect, to serving in the Royal Navy, competing in the Royal Tournament, to serving in the Flying Squad, and undercover for 17 years bringing down criminal masterminds (and some less well-equipped minds!), smuggling, being sectioned, a cheating wife... Now he's ready to say what he really thinks about the state of the country, and how he thinks we can resolve it.   Follow our socials for daily content: Instagram: https://instagram.com/liamtuffs Facebook: https://facebook.com/liamtuffsfb TikTok: https://tiktok.com/liamtuffs1 X / Twitter: https://x.com/liamtuffs1   Barking Mad by Rob Sole: https://www.amazon.co.uk/Barking-Mad-Robert-Sole/dp/B0CPX99JH4

#Subscribe for FREE: robertmurphy.substack.com #Jackie Malton was a policing pioneer, joining a British provincial force in 1970, then transferring to the Metropolitan Police where she served in the Fraud Squad, Flying Squad and murder squads. She was often the only woman serving in each team.In this episode, she describes how she overcame homophobia and misogyny, clashed with corrupt officers and worked on one of London's most controversial inquiries: The New Cross Fire investigation. Jackie's book is The Real Prime Suspect. You can grab a copy here.Please rate and review Behind The Crimes wherever you get your podcasts. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit robertmurphy.substack.com/subscribe

Welcome to the Scottish Watches Podcast Episode 583! Watch crime can happen at any time in any place so we have a couple of folks on this week from the... The post Scottish Watches Podcast #583 : Watch Crime – How To Stay Safe With The Metropolitan Police Flying Squad appeared first on Scottish Watches.

Interview of The Flying Squad representing Team Netherlands - for the Sport Kite Podcast. In this interview they share their thoughts about the World Kite Cup and their history in the sport kite world. http://www.theflyingsquad.org/about-us/the-kites/ 

Jackie is a former DCI with the metropolitan Police. She started her career in Leicestershire she now works within the true crime world. Whilst in the Police she advised some of the most iconic police dramas on the television. Jackie was the inspiration for Lynda La Plantes character DCI Jane Tennison in Prime Suspect.Jackie joined the police as a cadet and on the 7th July 1970 she was sworn in as a constable. At that time she was part of the Police Women's Department she worked in Highfields in Leicester City. Jackie was promoted to Sgt after 3 years' service she became a Detective Sergeant in quick succession. After 9 years' service she made the decision to go to the Metropolitan Police and was encouraged by Michael Hurst. In 1980 she went to the CID as a DS. Her initial major crime deployment was on the New Cross Fire. Graham Stockwell was the commander on the investigation, and he insisted that there would be no room for criticism in the way the team conducted the enquiry.The coroner inappropriately called a quick inquest to appease racial harmony – The inquest resulted in an open verdict. Jackie was seconded to the abduction and murder of Vishal Mehrotra - https://en.wikipedia.org/wiki/Death_of_Vishal_Mehrotra she maintains the momentum of this investigation with former Detective Sean Keep and BBC journalist Colin Campbell and is an integral part of the Podcast “ Vishal” which has recently won awards at the True Crime awards.Jackie was head hunted by Commander Stockwell to go to the Flying Squad at Rotherhithe. Her reception was frosty to say the least. Misogyny was in full flow, and she was subjected to abusive behaviour from one of her colleagues Sgt Phil William. Jackie was posted to West End Central and was on duty the day that Yvonne Fletcher was murdered and vividly remembers attending the scene. It was during her time at West End Central that she experienced corruption. Having exposed the individuals, she was accused of having a lesbian relationship with her junior colleague. The Inspector involved stood trial at the Old Bailey, he was convicted and went to prison. Having been promoted to DCI, Jackie was approached by author Lynda Le Plante. Lynda was seeking advice regarding a publication. The outcome was Helen Mirren became the character DCI Jane Tennison in Prime Suspect Since leaving the job Jackie has trained as a counsellor and assists in the rehabilitation of offenders who are in prison. She also works with ex- offenders and has formed professional friendships with former armed robbers such as Noel Razor Smith. We discuss the modern police service and the issues faced and the great work carried out – Brick cop gets a mention! Hosted on Acast. See acast.com/privacy for more information.

in the 7th episode of the second season, Meghan is speaking with two people from the Seattle Flying Squad. A teen named Everest and facilitator Susan. Everest + Susan explain what flying squads are, how they communicate as a squad, what it's like out in public during school hours and the ways adults always think they know better! it's a good one, and you won't want to miss it

The South African Police Service (SAPS) is becoming an “iron fist” for the African National Congress (ANC) in certain parts of South Africa. Crime fighter Ian Cameron of Action Society speaks to BizNews about the latest abuses of power and lack of accountability in SAPS. He describes how Police Minister Bheki Cele was escorted by six Flying Squad vehicles, three Public Order Policing (POP) vehicles and three mini buses from TRT to an ANC meeting on the Cape Flats. “…is the South African Police Service now a private security service for the ANC?” Cameron is fuming that eight “Blue Light Mafia” members who publicly assaulted civilians are back at work after their suspensions lapsed. He points out that the Presidential Protection Unit reports to Wally Rhoode who mainly reports directly to the President Cyril Ramaphosa. “So it's basically this little private security force that they've built on the side with police power that benefits a certain group of politicians.” Cameron also speaks about the submission Action Society made to Parliament today (Tuesday 25 October) on the new IPID bill that would give the Minister of Police “a complete monopoly on law enforcement in South Africa”. - Chris Steyn

Développement concernant les incidents survenus à la Citadelle samedi : Sept autres personnes arrêtées ce matin par des membres de la SST, l'ADSU et la Flying Squad sous la supervision de l'ASP Ashik Jagai

On Thursday, April 24th, 1975, a group of six well-dressed men let themselves into the Bank of America in London's Mayfair. They had one intention: to break into the vault and make off with over 8 million pounds worth of gold, valuables and cash. Little did they know that the inside man who'd helped them set up the job would also be a part of their downfall. Scotland Yard's Intelligence Division, and the detectives from the Flying Squad were about to make history, turning the criminals against each other as they chased each one of them down and tried to recover the record-breaking haul. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Sandra is from a large Italian family. Her parents had come to London in the 60s and settled.Prior to joining the police Sandra worked in a Building society where she witness an armed robbery and met the Flying Squad for the first time. This incident and the fact that her brother was a police officer she was inspired to follow her dream.In 1991 at the age of 20 she commenced the process of joining the Metropolitan Police and was eventually was posted to Wembley and when she was on nights her mum would cook a large lasagne for the entire team. The team took her under their wing and included her in everything including drinks after nights in the section house, the initiation processes. She sees the nicknames as terms of endearment and not seen as malicious.Sandra was taken to the 2 area AMIT and was involved in investigations where local knowledge and good use of intelligence detected some very serious crimes. She became a trainer on the murder teams and became a mentor. She has worked closely with the Police Sikh Association and having retired she set up Sandra Mosely Coaching where she assists serving officers who are seeking promotion.Sandra has joined the Women's Institute and loves being an active member but its not all "Jam and Jerusalem"Sit back and enjoy her story. Hosted on Acast. See acast.com/privacy for more information.

Amid the heatwave of July 1948, a gang of London's top thieves came up with an audacious plot to steal half a million pounds worth of gold bullion and other valuables from the customs warehouse at the newly opened London Airport. The Head of Security at the airport - which later became known as Heathrow - was former Scotland Yard Detective, Donald Fish. He wasted no time in alerting his old pals on the force. The heist, and the resulting royal rumble between cops and robbers became known as The Battle of Heathrow. It went down in Scotland Yard folklore as the most bloody, but most successful sting operation in Flying Squad history. Learn more about your ad choices. Visit podcastchoices.com/adchoices

We are diving beneath the surface today as we undress all the words related to your Undergarments at our live show at the Fortune Theatre.  Come learn how your undergarments are linked to garnish, why the bra used to be exclusively worn by men, what your stockings have in common with a murderous medieval contraption and which style of underwear is connected to the violin.  Susie will keep us in suspense whilst she divulges the origin of suspenders and Gyles shares his affinity for chest wigs in his younger days.. We love hearing from you, find us @SomethingRhymes on Twitter and Facebook, @SomethingRhymesWith on Instagram or you can email us here: purple@somethinelse.com We currently have 20% off at the SRwP official merchandise store, just head to: https://kontraband.shop/collections/something-rhymes-with-purple Want even more purple, people? Join the Purple Plus Club by clicking the banner in Apple podcasts or head to purpleplusclub.com to listen on other platforms Don't forget that you can join us in person at our upcoming tour, tap the link to find tickets: www.somethingrhymeswithpurple.com  Enjoy Susie's Trio for the week:  Quockerwodger: A windsock or political puppet. Purfled: Ahort of breath, especially when too lusty. Puckfyst: Thirsty. The puckfyst is a `dried toadstool. Hence, "I feels puckfyst" means I feel as dry as a dried toadstool. Gyles' poem this week was 'Macavity: The Mystery Cat' by 'T. S. Eliot' Macavity's a Mystery Cat: he's called the Hidden Paw— For he's the master criminal who can defy the Law. He's the bafflement of Scotland Yard, the Flying Squad's despair: For when they reach the scene of crime—Macavity's not there! Macavity, Macavity, there's no one like Macavity, He's broken every human law, he breaks the law of gravity. His powers of levitation would make a fakir stare, And when you reach the scene of crime—Macavity's not there! You may seek him in the basement, you may look up in the air— But I tell you once and once again, Macavity's not there! Macavity's a ginger cat, he's very tall and thin; You would know him if you saw him, for his eyes are sunken in. His brow is deeply lined with thought, his head is highly domed; His coat is dusty from neglect, his whiskers are uncombed. He sways his head from side to side, with movements like a snake; And when you think he's half asleep, he's always wide awake. Macavity, Macavity, there's no one like Macavity, For he's a fiend in feline shape, a monster of depravity. You may meet him in a by-street, you may see him in the square— But when a crime's discovered, then Macavity's not there! He's outwardly respectable. (They say he cheats at cards.) And his footprints are not found in any file of Scotland Yard's. And when the larder's looted, or the jewel-case is rifled, Or when the milk is missing, or another Peke's been stifled, Or the greenhouse glass is broken, and the trellis past repair— Ay, there's the wonder of the thing! Macavity's not there! And when the Foreign Office find a Treaty's gone astray, Or the Admiralty lose some plans and drawings by the way, There may be a scrap of paper in the hall or on the stair— But it's useless to investigate—Macavity's not there! And when the loss has been disclosed, the Secret Service say: ‘It must have been Macavity!'—but he's a mile away. You'll be sure to find him resting, or a-licking of his thumbs; Or engaged in doing complicated long division sums. Macavity, Macavity, there's no one like Mac< Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on Legally Speaking with Michael Mulligan:A University of Victoria instructor pleaded guilty to criminal contempt for blocking a road by chaining himself to a log. Other people who had been convicted in similar circumstances have been sentenced to a period of probation with 100 hours of community work service. Following the man's arrest, his bag, containing $1605 of his camping gear,  was “repeatedly run over by a road grader”. Judges can consider the “collateral consequences” of a charge when determining an appropriate sentence. As a result, the man's sentence was ordered to complete only 70 hours of community service: an effective reduction of $53.50 / hour for the run-over camping gear. Also, on the show, statutory exemptions from paying municipal property tax are discussed. In British Columbia, municipalities determine their budget and set mill rates for different kinds of property. The mill rates are multiplied by every $1,000 in property value, as determined by BC Assessment. Because of how this system works, the amount of tax payable by each property owner depends on the relative value of properties and how many properties there are to distribute the tax burden. Section 220 of the Community Charter includes a list of kinds of properties that enjoy a statutory exemption from paying any property taxes. They include hospitals, schools, graveyards, and property owned by the provincial government. It wouldn't be sensible if municipalities could impose very high property taxes on the legislature building, for example. Section 220 (h), however, exempts property owned or leased by religious organizations from paying any municipal tax. The result of this statutory exception is that all other property owners in a municipality are required to pay more in property tax to subsidize religious organizations that are paying nothing. In addition to the unfairness of requiring all other property owners to subsidize religious organizations, the exemption may be inconsistent with section 2 (a) of the Charter, which provides for “freedom of conscience and religion”. This section has been interpreted to include freedom from being required to engage in religious activity.In a case called R. v. Big M Drug Mart Ltd., the Supreme Court of Canada held that the Lords Day Act, which required businesses to be shut on Sunday, contravened section 2 (a) of the Charter. This compelled business owners who were not religious or who worshiped on days other than Sunday to close or pay a fine.There would be a compelling argument that requiring property owners to pay higher property taxes to subsidize religious organizations is unconstitutional.   Finally, on the show, a new BC Court of Appeal decision expanded the scope of how judges should interpret section 718.2(e) of the Criminal Code. This section provides that when sentencing someone, a judge should consider all available sanctions other than imprisonment “with particular attention to the circumstances of Aboriginal offenders.”The court reduced a sentence from 5 years to 4 years in jail for a Métis man convicted of aggravated assault for an unprovoked stabbing.The accused in the case had a horrific childhood, primarily because of his non-indigenous stepfather. The Court of Appeal concluded that the man had a “significantly reduced level of moral blameworthiness” and had no difficulty inferring that “Canada's colonial history and assimilationist policies played a role in bringing Mr. Kehoe before the court.”Follow this link for a transcript of the show and links to the cases discussed. 

Join us for an in-depth conversation with bestselling author Dom Nolan as we delve into the world of his novel "Vine Street." Set in the gritty streets of Los Angeles, this intense thriller follows a former detective as he unravels a web of corruption and violence that threatens to consume the city. Hear from Nolan himself as he discusses the inspiration behind the book and the challenges of bringing its complex characters to life. Don't miss this exciting opportunity to learn more about one of the most gripping novels of the year.VINE STREET:**BEST CRIME BOOKS OF 2021 - THE TIMES/SUNDAY TIMES****CRIME BOOK OF THE MONTH - THE TIMES**'Savage, beautiful, mesmeric...a very special book.' CHRIS WHITAKER, AUTHOR OF WE BEGIN AT THE END'Extraordinary...a career-defining performance.' THE TIMES/SUNDAY TIMES'This is crime writing of the highest quality' DAILY MAILSOHO, 1935.SERGEANT LEON GEATS' PATCH.A snarling, skull-cracking misanthrope, Geats marshals the grimy rabble according to his own elastic moral code.The narrow alleys are brimming with jazz bars, bookies, blackshirts, ponces and tarts so when a body is found above the Windmill Club, detectives are content to dismiss the case as just another young woman who topped herself early.But Geats - a good man prepared to be a bad one if it keeps the worst of them at bay - knows the dark seams of the city.Working with his former partner, mercenary Flying Squad sergeant Mark Cassar, Geats obsessively dedicates himself to finding a warped killer - a decision that will reverberate for a lifetime and transform both men in ways they could never expect.'A stirringly ambitious novel that pairs the scope of James Ellroy's LA CONFIDENTIAL with the psychological depth of Graham Greene's BRIGHTON ROCK. Extraordinary.' A. J. FINN'A tour de force. A brilliant marriage of tension and rich detail.' HARRIET TYCE'An epic, brutal, blockbuster of a crime novel. It's the best film noir you've never seen complete with a love story that might just rip your heart out.' TREVOR WOOD'An enthralling tale that takes you into the seamy heart of Soho's past. Written in Nolan's visceral, muscular prose, it is a joy to read.' LESLEY KARA'A rich, ambitious, masterpiece of a crime novel' OLIVIA KIERNAN'Poetic and tragic...but also vibrant, with a great depth of world and character' JAMES DELARGYPraise for Dominic Nolan:'Nolan is set to become Britain's Michael Connelly' DAILY MAIL'This powerhouse novel is not for the fragile-hearted...one hell of a debut' HEAT#DominicNolan #Crimebooks #crimefiction ______________________________________Find out more: www.TheWritingCommunityChatShow.ComTHE WCCS – TOGETHER AS ONE, WE GET IT DONE!If you would like to advertise your #book on the show, to enroll in a book launch interview, or to have a WCCS social media shout out, visit here: https://www.buymeacoffee.com/TheWCCSFOLLOW US► Our website – https://www.thewritingcommunitychatsh...► Universal link – https://linktr.ee/TheWCCS► Buy the show a coffee – https://www.buymeacoffee.com/TheWCCS► Use hashtag TheWritingCommunityChatShow or TheWCCS on social media to keep us current. This show will only succeed with your support!► Support us through Patreon – https://www.patreon.com/WCCS► For our FIVERR affiliate link click here (we will earn a little from you signing up through our link and more if you use the service. We back this service and have used it with great results! – https://fvrr.co/32SB6cs► For our PRO #WRITING AID affiliate link click here – https://prowritingaid.com/?afid=15286Hey! We have spent 3 years using StreamYard. You can see how much we love its features, and how we can make it look great for live streaming. We are huge fans and they are constantly improving their service. Check it out with our link and we could earn from referrals!

Featuring Scotland Yard Confidential, the podcast that enters the minds of some of the greatest detectives in history - real-life sleuths who would give Sherlock Holmes a run for his money. In this taster episode, follow the story of the Hatton Garden Heist - one of the most daring diamond heists in British History. With potentially 40 million pounds worth of jewels missing, Scotland Yard's elite robbery and organized crime unit, the Flying Squad - was put on the case... Scotland Yard Confidential is a Spotify Original and available exclusively on Spotify. Short History Of continues next Monday wherever you get your podcasts.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Scotland Yard dispatches its finest detective, Tommy Butler, and his infamous Flying Squad to hunt down the crew. This career-defining opportunity would mean that Butler would stop at nothing to bring the crew to justice - no matter whether they were guilty or not. Arrest first, prove later.  Learn more about your ad-choices at https://www.iheartpodcastnetwork.comSee omnystudio.com/listener for privacy information.

In the 1980s, London was rocked by a wave of violent armed robberies. One of the most daring was the raid on the Brink's Mat security warehouse in Hounslow. It was also the most lucrative by far, netting the thieves a cool £26 million in gold bullion, and leaving in its trail a wake of violence and death. An elite unit was tasked with bringing the gang to justice, Scotland Yard's Flying Squad. From the outset, Flying Squad officers suspected the robbers had inside help. But which of the guards was responsible, and how to prove it? Learn more about your ad choices. Visit podcastchoices.com/adchoices

Jockey Brooke Stower offers her support to Leah Kilner after her fall at Grafton yesterday, and looks ahead to today's rides at Gunnedah including STAR ON FIRE, FLYING SQUAD & DEEPSTAR.

On the Easter bank holiday weekend of 2015, one of the most daring diamond heists in British history occurred in London's Hatton Garden District. With potentially 40 million pounds worth of jewels missing, Scotland Yard's elite robbery and organized crime unit — the Flying Squad — was put on the case. It was clear from the beginning that the heist was carried out by a highly-skilled group of thieves, but the Flying Squad officers struggled to uncover their identity. That is until CCTV footage revealed they were a rag-tag gang of criminals that have been on their radar for a long, long time.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week on Legally Speaking with Michael Mulligan: The BC Court of Appeal allowed an appeal by Teal Cedar extending an injection against people attempting to physically prevent the company from logging.The original interim injunction was not renewed by a judge because of concerns with respect to how the RCMP was enforcing the injunction and the fact that the conduct of the people attempting to physically prevent logging also constituted criminal offences that could be prosecuted without an injunction. In allowing the appeal, the BC Court of Appeal held that the fact conduct may also constitute a criminal offence is not a reason to deny an injunction application. The reason for this conclusion was that someone who is applying for an injunction to prevent unlawful conduct does not have control over whether the police or provincial Attorney General will exercise their discretion to arrest and prosecute.The court pointed out that, in the past, the BC Attorney General adopted a policy not to prosecute people who were unlawfully obstructing logging. The availability of an injunction permits a remedy that is not subject to political or other considerations. Injunctions also permit more specific prohibitions, such as exclusion zones, that are not available pursuant to the criminal law except in the form of release conditions for people already charged with a criminal offence.With respect to concern over the conduct of the RCMP when enforcing the injunction, the decision makes clear that the RCMP and the court are separate entities. Issues with respect to RCMP conduct can be raised while defending a charge of criminal contempt and are not a basis for denying an injunction. Finally, the BC Court of Appeal made clear that courts do not determine if the public policy with respect to logging is appropriate and that the protesters who were attempting to impose their will by force were abandoning the democratic process:[76]         It is not tenable in a democracy for a group to abandon the democratic process and impose their will on others by force. In a complex, pluralistic society, the democratically-elected government makes laws, and the courts interpret and uphold them. Barring constitutional overreach, the laws and decisions flowing from them are to be respected and enforced.Also, on the show, a dispute between a strata corporation and a property developer concerning payment for a shared electric car is discussed. As a proposed amenity for the building, a shared electric BMW was offered. To facilitate this the property developer leased the car and had the strata corporation take over responsibility for the lease. At the time this was arranged the developer also controlled the strata corporation as the units in the building hadn't been sold yet. Once the new owners of the units took over management of the strata corporation they objected to having to pay for the car. They raised various unsuccessful arguments about not having been told about the arrangement, and not having voted on it. Ultimately, the strata corporation was ordered to pay the developer for the costs associated with terminating the lease for the BMW. Follow this link for a transcript of the show and links to the cases discussed. 

Por primera vez conoceremos la historia del extraordinario ascenso del submundo criminal en Gran Bretaña durante la Segunda Guerra Mundial. Utilizando imágenes de archivo y entrevistas inéditas Mad Frankie Fraser, el jefe de la mafia más temido de Gran Bretaña; Spud Murphy, un ladrón de esa época; el joven Roy Hill y con el detective Percy Burgess del llamado Flying Squad, que luchó contra el crimen en Gran Bretaña durante la guerra. Asimismo, durante el documental se revelará cómo el gobierno y la policía se enfrentaron y vencieron a la ola de crimen que surgió en aquel momento y que amenazó con minar el esfuerzo de la guerra.

The Flying Squad har som uppgift att förebygga grov kriminalitet - och att haffa gärningspersonerna om de ändå lyckas begå brott. Specialstyrkan bildades 1919 på Scotland Yard, och genom åren har The Flying Squad fångat ett antal olika grövre brottslingar, som genomfört bland annat tågrån med byten på motsvarande över 100 miljoner kronor. Men det största brottet som The Flying Squad försökt förhindra inträffade på 2000-talet, och inbegrep bland annat en traktor, en diamant och Londons tidvatten. KÄLLOR: Text: Wikipedia: The Millenium Dome (hämtad 2021-11-12) mylondon.news/news/south-london-news/millennium-dome-heist-itv-heres (hämtad 2021-11-12) kentonline.co.uk/kent/news/the-old-style-kent-crooks-who-tried-to-raid-the-dome (hämtad 2021-11-12) crimeandinvestigation.co.uk/crime-files/millennium-dome-heist (hämtad 2021-11-12) mirror.co.uk/tv/tv-news/ross-kemps-millennium-dome-heist (hämtad 2021-11-12) Bild och ljud: openroadmedia.com/ebook/the-great-train-robbery-and-the-metropolitan-police-flying-squad: ljudbok (lyssnad på 2021-11-12 och framåt) Youtube: The Flying Squad - The team at tower bridge (1989) (hämtad 2021-11-12) Youtube: Scotland Yard - The Flying Squad (1995) (hämtad 2021-11-12)

MACAVITY: THE MYSTERY CAT Macavity's a Mystery Cat: he's called the Hidden Paw— For he's the master criminal who can defy the Law. He's the bafflement of Scotland Yard, the Flying Squad's despair: For when they reach the scene of crime—Macavity's not there! Macavity, Macavity, there's no one like Macavity, He's broken every human law, he breaks the law of gravity. His powers of levitation would make a fakir stare, And when you reach the scene of crime—Macavity's not there! You may seek him in the basement, you may look up in the air— But I tell you once and once again, Macavity's not there! Macavity's a ginger cat, he's very tall and thin; You would know him if you saw him, for his eyes are sunken in. His brow is deeply lined with thought, his head is highly domed; His coat is dusty from neglect, his whiskers are uncombed. He sways his head from side to side, with movements like a snake; And when you think he's half asleep, he's always wide awake. Macavity, Macavity, there's no one like Macavity, For he's a fiend in feline shape, a monster of depravity. You may meet him in a by-street, you may see him in the square— But when a crime's discovered, then Macavity's not there! He's outwardly respectable. (They say he cheats at cards.) And his footprints are not found in any file of Scotland Yard's. And when the larder's looted, or the jewel-case is rifled, Or when the milk is missing, or another Peke's been stifled, Or the greenhouse glass is broken, and the trellis past repair— Ay, there's the wonder of the thing! Macavity's not there! And when the Foreign Office find a Treaty's gone astray, Or the Admiralty lose some plans and drawings by the way, There may be a scrap of paper in the hall or on the stair— But it's useless to investigate—Macavity's not there! And when the loss has been disclosed, the Secret Service say: 'It must have been Macavity!'—but he's a mile away. You'll be sure to find him resting, or a-licking of his thumbs, Or engaged in doing complicated long division sums. Macavity, Macavity, there's no one like Macavity, There never was a Cat of such deceitfulness and suavity. He always has an alibi, and one or two to spare: At whatever time the deed took place—MACAVITY WASN'T THERE! And they say that all the Cats whose wicked deeds are widely known (I might mention Mungojerrie, I might mention Griddlebone) Are nothing more than agents for the Cat who all the time Just controls their operations: the Napoleon of Crime!

DOMINIC 'DOM' NOLAN chats with Victoria Selman about his new novel VINE STREET, 1930S Soho, obsession, history versus the past and believing in your work.VINE STREET: SOHO, 1935. SERGEANT LEON GEATS' PATCH.A snarling, skull-cracking misanthrope, Geats marshals the grimy rabble according to his own elastic moral code.The narrow alleys are brimming with jazz bars, bookies, blackshirts, ponces and tarts so when a body is found above the Windmill Club, detectives are content to dismiss the case as just another young woman who topped herself early.But Geats - a good man prepared to be a bad one if it keeps the worst of them at bay - knows the dark seams of the city.Working with his former partner, mercenary Flying Squad sergeant Mark Cassar, Geats obsessively dedicates himself to finding a warped killer - a decision that will reverberate for a lifetime and transform both men in ways they could never expect.VINE STREET is Dominic Nolan's third novel, following his widely acclaimed books PAST LIFE and AFTER DARKProduced by Junkyard DogMusic courtesy of Southgate & LeighCrime Time

Rehab is an important safety function on the fire ground. At the same time, it can provide a conduit for members of the community - including retired fire service members - to remain involved and give back to the service. Meet Chief Steve Korb and Lt. Steve Meyenberg of the Richmond Metro Flying Squad. Learn about their personal histories, some history about the Richmond, VA Fire and Emergency Services Department, and how the future of fire ground support is changing. Visit their web site at www.rvaflyingsquad.com Comments or suggestions? Contact us at: Email - FirehouseLogbook@gmail.com Twitter - @FDLogbook Instagram - @FDLogbookPodcast Facebook - www.facebook.com/FDLogbookPodcast Website - www.firehouselogbook.captivate.fm Music: "Tired traveler on the way to go home", Andrew Codeman via Freemusicarchive.com

Harvey Brownstone conducts an in-depth interview with Andy Bennett, British Musician, Singer and Songwriter and Former member of Ocean Colour SceneAbout Harvey's guestAndy Bennett (born in Leamington Spa, Warwickshire), is an English singer and musician, best known for his work with Ocean Colour SceneBennett had his first break with his band The Elements (formerly known as Sargent) which included Tim Jacques, Lee Burn and Dave Casswell. The Elements regularly gigged throughout Birmingham and supported Ocean Colour Scene. The band released their first album, The Elements, on Acid Jazz Records music label and the album charted at  in the indie music charts.Bennett joined Ocean Colour Scene on 8 April 2004 (when he participated in the Royal Albert Hall concert). He has featured on the following albums:One for the Road (2004) (Guitar, Background Vocals)A Hyperactive Workout for the Flying Squad (2005) (Guitar)Live Acoustic at the Jam House (2006) (Acoustic and Electric Guitar, Background Vocals)Live at Birmingham Academy (2006)On the Leyline (2007) (Acoustic and Electric Guitar)Live at the Town Hall (2008)Saturday (2010) (Composer)21 (2010) (Guitar, Composer)Bennett co-wrote the song "Old Pair of Jeans" which was on the Saturday album. According to The Digital Fix, "It just gets better with every song a winner. The jaunty ‘Old Pair Of Jeans' is rollicking fun: "I wish you didn't get hung up so easily / When you're bound fall apart you always fall apart at the seams / So worn and so torn...like an old pair of jeans." The song also featured on the 21 album.Bennett has toured with Ocean Colour Scene since 2004 but left in February 2015 to focus on his solo material.In October 2015, Andy Bennett released his solo debut single Hole in the Road, followed in May 2016 by the single Drift Away.In November 2016, Bennett released his first album, thinkin', drinkin', singin' , featuring a back catalogue of songs which he has been working on over time (including the songs previously released as singles and also a new version of the song "Old Pair of Jeans").His album was met with positive response, garnering a four stars out of five review from PlanetMosh, as well as a 5 stars rating from Flick of the Finger. The publication cited the track 'Fool No More' as 'the quintessential track on an album that is full of gems.' For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com https://andybennettmusic.comhttps://www.instagram.com/andybennettmusician/https://bit.ly/OfficialAndyBennetthttps://www.facebook.com/andybennettuk/https://twitter.com/AndybennettVoxhttps://www.youtube.com/channel/UCziEngGpV0P1yLg0m0OMBVA#andybennett  #andybennettmusic  #oceancolourscene  #harveybrownstoneinterviews

In 1966 in London, the World Cup Trophy, at the time the Jules Rimet Trophy, was stolen from a stamps exhibit during church service. The job was a professional one, and the trophy would elude authorities for months. Englands legendary Flying Squad was tasked with tracking the trophy and bring her home, but it would be instead uncovered by Pickles, a local sheep dog. While Pickles was able to enjoy minor fame, the trophy was on borrowed time, only to be once again stolen 13 years later in Rio, having still yet to resurface. In this heist story rife with familiar tropes, was it two separate jobs, or as we may have discovered, was it all one big plan by Pickles' owner, David Corbett, to have the fanciest salsa bowl in the UK? Find out today y'all.

First broadcast on FAB RADIO INTERNATIONAL at 19:00 on June 13th 2021 Episode thirty six of VISION ON SOUND finds WARREN CUMMINGS returning to have an extended natter about one of his television favourites, The Sweeney. In preparation I did rewatch the Armchair Cinema sort-off pilot, "REGAN", and the opening episode of the series proper "RINGER", but our off-the-cuff conversation is fairly wide ranging, and includes some of Warren's real-world tales of dealing with the actual Sweeney, and a little bit of the history of the Flying Squad, but we also discuss seedy villains, wonderful dialogue, the various guest stars, some atrocious accents, crockery, and 1970s motor cars, as well as giving a little attention to the episode featuring Morecambe & Wise. PLEASE NOTE - For Copyright reasons, musical content sometimes has to be removed for the podcast edition. All the spoken word content remains (mostly) as it was in the broadcast version. Hopefully this won't spoil your enjoyment of the show.

Matt West and Andrew Cartmel discuss "Sweeney 2": Second theatrical spin-off from the popular 1970's police series. Regan and Carter head a Flying Squad investigation into a series of bank raids by a team of well-armed villains who are flying in from the continent.

In this episode, I'm meeting with Kathy Code from the Rainforest Flying Squad. The Squad is a movement. The last thing standing between the Ancient Growth Forests and the Teal-Jones: the company hell-bent on clear cutting the region. If you live in BC and can get to Fairy Creek, please join the Facebook Group and find a way to do so. If you are stuck at home like me, please email or call Premier John Horgan and let him know you will not vote NDP in the future if this forest gets clear cut. Horgan made a promise to protect this area and he is breaking that promise now. Premier Horgan's Office: premier@gov.bc.ca 1-250-387-1715 You can also find the Rainforest Flying Squad on Facebook or Support their Go Fund Me here: https://ca.gofundme.com/f/legal-assistance-rainforest-flying-squard?qid=40920cb64ead6806e8738ec16a7f8848&utm_campaign=p_cp_url&utm_medium=os&utm_source=customer Find the podcast on Twitter: @potppod Facebook at: Politics on the Prairies Music by Hot Lettuce. Cheers, RK

It was the heist you have when you’re not having a heist, the Millennium Dome raid in November of 2000 was well planned but ultimately failed after the great work from Scotland Yard and the Flying Squad.

Billboard and Twitter have launched a popularity list based on conversations and the overall presence of musicians and music releases on the social network. The ‘the Billboard Hot Trending Powered by Twitter’ list will follow music trends and conversation on Twitter, including the buzz around new releases, music awards and impressive moments at festivals, topics related to music nostalgia, the music industry newsletter reported. Our trends in the Incubator of Good Music are local. And among them is the album 'Homeland' by the Mayales group, the HRtop 40 list and music news. We will be accompanied by songs performed by, among others, the Flying Squad, the Far Coast, Matija Cvek and Klapa Šufit. Track list: Gibonni - Kiša (Z'Naab), Dallas Records; ToMa - Reci naglas, Dallas Records; Leteći odred - Možda postanemo bolji ljudi, Croatia Records; Mayales - Adio Galioti, Aquarius Records; Daleka obala - U reggaeu je spas, Dancing Bear; Danijela Martinović - Ljubav ne odustaje, Croatia Records; Nikolina Tomljanović & Belfast Food - Volim kako se smiješ, Dallas Records; Matija Cvek - Ptice, Menart; Marko Kutlić - Samo nek ona sretna je, Hit Records; Ana Opačak i Gabi Novak - Pjesma, Aquarius Records; Vladimir Kočiš Zec - Nemoj čekat' sutra, Croatia Records; Albina - Tick-Tock, Universal Music Hrvatska; Klapa Šufit - Mirno ti more, Scardona.

A special Education Ministry squad investigating potentially dodgy early childhood providers has been on hold since the end of October. The Provider Assessment Group made surprise visits to high-risk early learning services over the course of three years - closing down 17. The ministry says it will restart the group once it has recruited a manager to lead it. Education correspondent John Gerritsen has the details.

Come listen as we talk about a different side of heists. We talk about the recovery of paintings by art detective Charley Hill. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

This week, Nick and Carol join the Flying Squad, send a message on a machine from another age, talk Saturday Night TV and help a desperate man in a pub. Please subscribe and review! Follow Nick and Carol @NIAbbot & @McGiff

Cop turned stand-up and star of BBC Radio 4's It's A Fair Cop, Alfie Moore, talks to former Detective Chief Inspector Peter Kirkham. Peter was a member of the real-life ‘Sweeney' – the Met's Flying Squad, before becoming a DCI in charge of a Murder Investigation Team. 

Episode eighty-five of A History of Rock Music in Five Hundred Songs looks at “Three Steps to Heaven” by Eddie Cochran, and at the British tour which changed music and ended his life. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode, on “Quarter to Three” by Gary US Bonds. 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/  —-more—- Resources   As usual, I have put together a Mixcloud mix with every song excerpted in this podcast. Much of the information here comes from Spencer Leigh’s book Things Do Go Wrong, which looks specifically at the 1960 tour. I also used Gene Vincent and Eddie Cochran: Rock and Roll Revolutionaries by John Collis.  While there are dozens of compilations of Cochran’s music available, many of them are flawed in one way or another (including the Real Gone Music four-CD set, which is what I would normally recommend). This one is probably the best you can get for Cochran novices. This CD contains the Saturday Club recordings by Vincent and Cochran, which are well worth listening to.   Pete Frame’s The Restless Generation is the best book available looking at British 50s rock and roll from a historical perspective. Be warned, though — his jokey and irreverent style can, when dealing with people like Larry Parnes (who was gay and Jewish) very occasionally tip over into reinforcing homophobic and anti-semitic stereotypes for an easy laugh. And a fair chunk of the background information here also comes from the extended edition of Mark Lewisohn’s Tune In, which is essential reading for anyone who is interested in the Beatles, British post-war culture, and British post-war music.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript There’s been a sad running theme in the episodes in recent months of rock stars dying in accidents. Sadly, in the 1950s and sixties, travelling long distances was even more dangerous than it is today, and rock musicians, who had to travel a lot more than most people, and did much of that travelling at night, were more likely to be in accidents than most. Today, we’re going to look at yet another of these tragic deaths, of someone who is thought of in the US as being something of a one-hit wonder, but who had a much bigger effect on British music. We’re going to look at what would be Eddie Cochran’s final tour, and at his UK number one single “Three Steps to Heaven”: [Excerpt: Eddie Cochran, “Three Steps to Heaven”] When we left Eddie Cochran, he had just appeared in the film “The Girl Can’t Help It”, singing “Twenty Flight Rock”, and he had also had a hit with “Sittin’ in the Balcony”. But he hadn’t yet managed to establish himself as the star he knew he could be — he was the whole package, singer, songwriter, and especially guitarist, and he hadn’t yet made a record that showed him to his best advantage as an artist. “Twenty Flight Rock” had come close, but it wasn’t a song he’d written himself, and the record hadn’t yet been released in the US. Meanwhile, Liberty Records seemed to not understand what they had in him — they were trying to push him to be another Pat Boone, and become a bland pop singer with no rock and roll in his sound. His first album, Singin’ to My Baby, had little to do with the music that he was interested in playing. So Cochran needed to find something that would really put him on the map — a song that would mean he wasn’t just one of dozens of Fabians and Frankie Avalons and interchangeable Bobbies who were starting to take over shows like American Bandstand. “Twenty Flight Rock” hadn’t ended up being a hit at all, despite its placement in a popular film — they’d left it too long between the film coming out and releasing the record, and he’d lost that momentum. At the end of 1957 he’d gone on the Australian tour with Little Richard and Gene Vincent which had led to Richard retiring from rock and roll, and he’d become much closer with Vincent, with whom he’d already struck up a friendship when making The Girl Can’t Help It. The two men bonded, particularly, over their love of guns, although they expressed that love in very different ways. Cochran had grown up in rural Minnesota, and had the same love of hunting and fishing that most men of his background did at that time (and that many still do). He was, by all accounts, an affable person, and basically well adjusted. Vincent, on the other hand, was a polite and friendly person when not drinking. Unfortunately, he was in constant pain from his leg wounds, and that meant he was drinking a lot, and when he was drunk he was an incredibly unpleasant, aggressive, person. His love of guns was mostly for threatening people with, and he seems to have latched on to Cochran as someone who could look after him when he got himself into awkward situations — Cochran was so personally charming that he could defuse the situation when Vincent had behaved appallingly towards someone. At the time, Vincent seemed like a has-been and Cochran a never-would-be. This was late 1957, and it seemed like rock and roll records with guitars on were a fad that had already passed their sell-by date. The only white guitarist/vocalist other than Elvis who’d been having hits on a regular basis was Buddy Holly, and his records were doing worse and worse with each release. Vincent hadn’t had a real hit since his first single, “Be Bop A Lula”, while Cochran had made the top twenty with “Sittin’ in the Balcony”, but the highest he’d got after that was number eighty-two. He’d recently recorded a song co-written by George Mottola, who’d written “Goodnight My Love”, but “Jeannie, Jeannie, Jeannie” stalled at number ninety-four when it was released in early 1958: [Excerpt: Eddie Cochran, “Jeannie, Jeannie, Jeannie”] So neither man was in a good place at the start of 1958, but they had very different attitudes — Vincent was depressed and angry, but Cochran knew that something would come along. He was only nineteen, he was astonishingly good looking, he was a great guitarist — if rock and roll didn’t work out, something would. In early 1958, Cochran was still hunting for that elusive big hit, as he joined the Blue Caps in the studio, to provide bass, arrangements, and backing vocals on several tracks for Vincent’s latest album. It’s Cochran singing the bass vocals at the start of “Git It”, one of Vincent’s greatest tracks: [Excerpt: Gene Vincent and the Blue Caps, “Git It”] But shortly after that recording, a major turn in Cochran’s fortunes came from an unexpected place. Liberty Records had been in financial difficulties, and part of the reason that Cochran’s records were unsuccessful was that they just didn’t have the money to promote them as much as they’d like. But then at the beginning of April a man called Ross Bagdasarian, under the name David Seville, released a novelty song called “The Witch Doctor”, featuring some mildly racist comedy and a sped-up voice. That record became a massive hit, selling over a million copies, going to number one, and becoming the fourth most successful record of 1958. Suddenly, Liberty Records was saved from bankruptcy. That made all the difference to the success of a track that Cochran had recorded on March the 28th, the same week he recorded those Gene Vincent sessions, and which came out at the tail-end of summer. Cochran had come up with a guitar riff that he liked, but he didn’t have any lyrics for it, and his friend and co-writer Jerry Capehart said “there’s never been a blues about the summer”. The two of them came up with some comedy lyrics in the style of the Coasters, who had just started to have big hits, and the result became Cochran’s only top ten hit in the US, reaching number eight, and becoming one of the best-remembered tracks of the fifties: [Excerpt: Eddie Cochran, “Summertime Blues”] That track was recorded with a minimal number of musicians — Cochran played all the guitars and sang both vocal parts, his bass player Guybo Smith played the bass part, and the great session drummer Earl Palmer played drums. There was also a fourth person on the record — Sharon Sheeley, who added handclaps, and who had written the B-side. Sheeley was a talented songwriter who also had a propensity for dating musicians. She’d dated one of the Everly Brothers for a while — different reports name different brothers, but the consensus seems to be that it was Don — and then when they’d split up, she’d written a song called “Poor Little Fool”. She’d then faked having her car break down outside Ricky Nelson’s house, and collared him when he came out to help. That sort of thing seemed to happen to Nelson a lot with songwriters — Johnny and Dorsey Burnette had sold Nelson songs by sitting on his doorstep and refusing to move until he listened to them — but it seemed to work out very well for him. The Burnettes wrote several hits for him, while Sheeley’s “Poor Little Fool” became Nelson’s first number one, as well as being the first number one ever on Billboard’s newly-renamed Hot One Hundred, and the first number one single on any chart to be written by a woman without a male cowriter: [Excerpt: Ricky Nelson, “Poor Little Fool”] Sheeley gets unfairly pigeonholed as a groupie (not that there’s anything wrong with being a groupie) because she had relationships with musicians, and at this point she was starting a relationship with Cochran. But it’s important to remember that when they got together, even though he was eighteen months older than her, she was the one who had written a number one single, and he was the one whose last record had gone to number ninety-four — and that after her relationship with Cochran, she went on to form a writing partnership with Jackie DeShannon that produced a long string of hits for people like Brenda Lee and the Fleetwoods, as well as songs that weren’t hits but probably deserved to be, like Ral Donner’s “Don’t Put Your Heart in His Hands”: [Excerpt: Ral Donner, “Don’t Put Your Heart in His Hands”] Sheeley was more invested in her relationship with Cochran than he was, but this has led rock writers to completely dismiss her as “just Eddie Cochran’s girlfriend”, when in terms of their relative statuses in the music industry, it would be more fair to define Cochran as “just Sharon Sheeley’s boyfriend”. I have to emphasise this point, because in the limited number of books about Cochran, you will see a lot of descriptions of her as “a groupie”, “a fantasist”, and worse, and very few mentions of the fact that she had a life outside her partner. “Summertime Blues” looked like it was going to be the start of Eddie Cochran’s career as a rock and roll star, but in fact it was the peak of it, at least in the US. While the song was a big hit, the follow-up, “C’mon Everybody”, which was written by Cochran and Capehart to much the same formula, but without the humour that characterised “Summertime Blues”, didn’t do so well: [Excerpt: Eddie Cochran, “C’mon Everybody”] That made only number thirty-five on the US charts, and would be Cochran’s last top forty record there — but in the UK, it was a bigger hit than “Summertime Blues”, reaching number six. “C’mon Everybody” was, though, big enough for Cochran to make some TV appearances. He’d agreed to go on tour with his friends Buddy Holly and Ritchie Valens on a tour called the Winter Dance Party tour, but had bowed out when he got some offers of TV work. He definitely appeared on a show called Town Hall Party broadcast from California on February the second 1959, and according to Sheeley he was booked to appear in New York on the Ed Sullivan Show, which was the reason he’d decided not to do the tour, a few days later. As it turned out, Cochran never made that Ed Sullivan Show appearance, as in the early hours of February the third, his friends died in a plane crash. He refused to get on the plane to New York for the show, and instead drove out to the desert in his station wagon to grieve, and from that point on he developed a fear of flying. The follow-up to “C’mon Everybody”, “Teenage Heaven”, only went to number ninety-nine on the charts, and his next two singles didn’t do much better. “Somethin’ Else”, a song that Sheeley had written for him, made number fifty-eight, while his cover version of Ray Charles’ “Hallelujah I Love Her So” didn’t chart at all. 1959 was a depressing year for Cochran personally and professionally. But while “Somethin’ Else” and “Hallelujah I Love Her So” were flops in the US, they both made the top thirty in the UK. In the US, guitar-based white rock and roll was now firmly out of fashion, with the audience split between black vocal groups singing R&B and white male solo singers called Bobby singing mid-tempo pop. But in the UK, the image of rock and roll in people’s minds was still that of the rockabillies from a couple of years earlier — while British musical trends would start to move faster than the US by the sixties, in the fifties they lagged a long way behind. And in particular, Cochran’s friend Gene Vincent was doing much better in Britain than in the US. Very few US performers had toured the UK, and with the exception of Buddy Holly, most of those who had were not particularly impressive. Because of an agreement between the two countries’ musicians’ unions, it was difficult for musicians to perform in one country if they were from the other. It wasn’t quite so difficult for solo performers, who could be backed by local musicians and were covered under a different agreement, but Lew and Leslie Grade, who had a virtual monopoly on the UK entertainment business, had had a very bad experience with Jerry Lee Lewis when his marriage to his teenage cousin had caused his UK tour to be cancelled, and anyway, Britain was an unimportant market a long way away from America, so why would Americans come all that way? For most of 1959, the closest thing to American rock and roll stars touring the UK were Connie Francis and Paul Anka, neither of whom screamed rock and roll rebellion. American rockers just didn’t come to the UK. Unless they had nowhere else to go, that is — and Gene Vincent had nowhere else to go. In the US, he was a washed-up has been who’d burned every single bridge, but in the UK he was an American Rock Star. In late 1959 he released a not-great single, “Wildcat”: [Excerpt: Gene Vincent, “Wildcat”] That single wasn’t doing particularly well, but then Larry Parnes and Jack Good hatched a plan. Good had a new TV show, “Boy Meets Girls”, based around one of Parnes’ artists, Marty Wilde, and also had a column in Disc magazine. They’d get an American rock star over to the UK, Parnes would stick him on a bill with a bunch of Parnes’ acts, Good would put him on the TV show and promote him in Disc magazine, and the tour and TV show would split the costs. Wilde was, at the time, about to go into a career slump. He’d just got married, and he and his wife were trying for their first kid — they’d decided that if it was a girl, they were going to call her Kim. It seemed likely they were going to lose his audience of teenage girls, as he was no longer available, and so Larry Parnes was trying to move him from rock and roll into musical styles that would be more suitable for adults, so his latest single was a ballad, “Bad Boy”: [Excerpt: Marty Wilde, “Bad Boy”] That meant that Wilde’s band, the Wildcats, made up at this point of Tony Belcher, Big Jim Sullivan, Licorice Locking and Brian Bennett, were no longer going to be suitable to back Wilde, as they were all rock and rollers, so they’d be fine for whichever rock star they could persuade over to the UK. Vincent was the only rock star available, and his latest single was even called “Wildcat”. That made him perfect for Parnes’ purposes, though Vincent was slightly nervous about using British musicians — he simply didn’t think that British musicians would be any good. As it turned out, Vincent had nothing to worry about on that score at least. When he got to the studios in Didsbury, in Manchester, where Boy Meets Girls was filmed, he met some of the best session musicians Britain had to offer. The house band for the show, the Flying Squad, was a smaller version of the bands that had appeared on Good’s earlier shows, a nine-piece group that included organist Cherry Wainer and session drummer Andy White, and was led by Joe Brown. Brown was a Larry Parnes artist, who at this point had released one rather uninspired single, the country-flavoured “People Gotta Talk”: [Excerpt: Joe Brown, “People Gotta Talk”] But Brown had an independent streak, which could be seen just from his name — Larry Parnes had tried to change it, as he did with all his acts, but Brown had flat-out refused to be called Elmer Twitch, the name Parnes had chosen for him. He insisted on keeping his own name, and it was under that name that he became one of Britain’s most respected guitarists. Vincent, amazingly, found these British musicians to be every bit as good as any musicians he’d worked with in the USA. But that was about all that he liked about the UK — you couldn’t get a hamburger or a pizza anywhere in the whole country, and the TV was only in black and white, and it finished at 11PM. For someone like Vincent, who liked to stay up all night watching old monster movies on TV, that was completely unacceptable. Luckily for him, at least he had his gun and knife to keep him occupied — he’d strapped them both to the leg iron he used for his damaged leg, so they wouldn’t set off the metal detectors coming into the country. But whatever his thoughts about the country as a whole, he couldn’t help loving the audience reaction. Jack Good knew how to present a rock and roll star to an audience, and he’d moved Vincent out of the slacks and sweater vests and blue caps into the kind of leather that he’d already had Vince Taylor wear. He got Vincent to emphasise his limp, and to look pained at all times. He was imagining Vincent as something along the lines of Richard III, and wanted him to appear as dangerous as possible. He used all the tricks of stagecraft that he’d used on Taylor, but with the added advantage that Vincent had a remarkable voice, unlike Taylor. Sadly, as is the case with almost all of the British TV of the period, the videotapes of the performances have long since been wiped, but we have poor-quality audio that demonstrates both how good Vincent was sounding and how well the British musicians were able to adapt to backing him: [Excerpt: Gene Vincent, “Summertime”, live on Boy Meets Girls] After making three appearances on Boy Meets Girls, Vincent was put on tour backed by the Wildcats, on a bill with acts like Wee Willie Harris and the Bachelors (the ones who recorded for Parlophone, not the later act of the same name), and “Wildcat” started going up the charts. Even though Gene Vincent hadn’t had a hit in three years, he was a massive success with the British audiences, and as a result Parnes and Good decided that it might be an idea if they got another American star over here, and the obvious choice was Eddie Cochran. Cochran had the same agent as Vincent, and so there was a working relationship there; they both knew each other and so Vincent could help persuade Cochran over; and Cochran had had a string of top thirty hits in the UK, but was commercially dead in the US. It was tempting for Cochran, too — as well as the obvious advantage of playing to people who were actually buying his record, the geography of Britain appealed. He’d been terrified of flying since Buddy Holly and Ritchie Valens had died, but the British tour would only involve the transatlantic flight — all the travel once he was in the UK would be by road or rail. Before he came over, he had to record his next single, to be released while he was over in the UK. So on January the 8th, 1960, Eddie Cochran went into Gold Star Studios with his normal bass player, Guybo, and with his friends Sonny Curtis and Jerry Allison, the guitarist and drummer of the Crickets, and they cut what turned out to be his last single, “Three Steps to Heaven”: [Excerpt: Eddie Cochran, “Three Steps to Heaven”] Two days later, he was in Britain, for the start of what was the biggest rock and roll tour in British history to that point — a hundred and eight live appearances, plus several TV and radio appearances, in a little over three months, playing two shows a night most nights. Parnes felt he had to work them hard to justify their fees — Vincent was getting $2500 a week, and Cochran $1000, while for example Billy Fury, at that point the biggest of Parnes’ acts, was on a salary of twenty pounds a week. While Vincent had made a great impression largely despite himself, Cochran was a different matter. Everyone seemed to love him. Unlike Vincent, he was a musician’s musician, and he formed close friendships with the players on the tour. Joe Brown, for example, remembers Cochran explaining to him that if you swap the G string on your guitar for a second B string, tuned down to G, you could bend a note a full tone — Brown used that trick to make himself one of the most sought-after session players in the UK before his own pop career started to take off. It was also apparent that while Jack Good had had to create a stage act for Gene Vincent, he didn’t have to do anything to make Cochran look good in front of the cameras. Marty Wilde said of him “The first thing I noticed about Eddie was his complexion. We British lads had acne and all the usual problems, and Eddie walked in with the most beautiful hair and the most beautiful skin – his skin was a light brown, beautiful colour, all that California sunshine, and I thought ‘you lucky devil’. We had Manchester white all over us. And he had the most beautiful face — the photographs never did the guy justice”. From the moment Cochran started his set in Ipswich, by saying “It’s great to be here in Hipswich” and wiggling his hips, he was utterly in command of the British audiences. Thankfully, because they did so many TV and radio sessions while they were over here, we have some idea of what these shows sounded like — and from the recordings, even when they were in the antiseptic environment of a BBC recording studio, without an audience, they still sounded fantastic. On some shows, Cochran would start with his back to the audience, the band would start playing “Somethin’ Else”, the song that Sharon Sheeley had written for him that had been a minor hit, and he’d whirl round and face the audience on the opening line, “Well look-a there!” [Excerpt: Eddie Cochran and Gene Vincent, “Somethin’ Else [Eddie Cochran vocals]”, Saturday Club version] The shows all had a number of acts on, all of them other than the stars Larry Parnes acts, and because there were so many shows, acts would get rotated in and out as the tour went on. But some of those who played on many dates were Vince Eager, who had named himself after Gene Vincent but quickly grew more attached to Eddie Cochran, who he started to regard as his best friend as the tour went on, Tony Sheridan, who was building a solo career after leaving the Oh Boy! band, Georgie Fame, who was already more interested in being a jazz and R&B pianist in the mould of Mose Allison than he was in being a pop star, Johnny Gentle, a Liverpudlian performer who never rose to massive success, and Billy Fury, by far the most talented of Parnes’ acts. Fury was another Liverpudlian, who looked enough like Cochran that they could be brothers, and who had a top ten hit at the time with “Collette”, one of many hits he wrote for himself: [Excerpt: Billy Fury, “Collette”]  Fury was something of a sex symbol, aided by the fact that he would stuff his pants with the cardboard tube from a toilet roll before going on stage. This would lead the girls to scream at him — but would also lead their violent boyfriends to try to bottle him off stage, which meant he had more reason than most to have stagefright. Cochran would joke with Fury, and try to put him at ease — one story has him telling a nervous Fury, about to go on stage, to just say to himself “I am the greatest performer in the world”. Fury repeated back “I am the greatest performer in the world”, and Cochran replied, “No you’re not — I am!” This kind of joking led to Cochran becoming immensely popular among all the musicians on the tour, and to him once again falling into his old role of protecting Gene Vincent from the consequences of his own actions, when Vincent would do things like cut up a suit belonging to one of the road managers, while the road manager was inside it. While Vincent was the headliner, Cochran was clearly the one who impressed the British audiences the most. We have some stories from people who saw the tour, and they all focus on Eddie. Particularly notable is the tour’s residency in Liverpool, during which time Cochran was opening his set with his version of “What’d I Say”: [Excerpt: Gene Vincent and Eddie Cochran, “What’d I Say [Eddie Cochran vocals]”, Saturday Club version] We have this report of Cochran’s performance in Liverpool: “Eddie blew me away. He had his unwound 3rd string, looked good and sang good and he was really getting to be a good guitarist… One moment will always represent Eddie to me. He finished a tune, the crowd stopped screaming and clapping, and he stepped up to the mike and before he said something he put both his hands back, pushed his hair back, and some girl, a single voice in the audience, she went ‘Eddie!’ and he said ‘Hi honey!’… I thought, ‘Yes! That’s it – rock ’n’ roll!’” That’s a quote from George Harrison in the early 1990s. He’d gone to see the show with a friend, John Lennon — it was Lennon’s first ever rock and roll gig as an audience member, and one of a very small number he ever attended. Lennon never particularly enjoyed seeing live shows — he preferred records — but even he couldn’t resist seeing Eddie Cochran and Gene Vincent on the same bill. The Liverpool shows were massive successes, despite both American rockers being increasingly bored and turning more and more to drink as a result. Apparently the two would drink a bottle of bourbon between them before going on stage, and at one Liverpool show Cochran had to hold on to a mic stand to keep himself upright for the first two songs, before he sobered up enough to let go. The shows were successful enough that a local promoter, Allan Williams, asked if he could book Cochran and Vincent for another show, and Larry Parnes said yes — after Liverpool, they had to play Newcastle, Manchester, London, and Bristol, taking up another month, and then Eddie Cochran was going to be going back to the US for a couple of weeks, but he could pencil them in for six weeks’ time, when Cochran was going to come back. It’s quite surprising that Cochran agreed to come back, because he was getting thoroughly sick of the UK. He’d asked Sharon Sheeley to fly over and join him, but other than her and Vincent he had nothing of home with him, and he liked sunshine, fast food, cold beer, and all-night TV, and hated everything about the British winter, which was far darker and wetter than anything he’d experienced. But on the other hand, he was enjoying making music with these British people. There’s a great recording of Cochran, Vincent, Billy Fury, and Joe Brown jamming on the Willie Dixon blues song “My Babe” on “Boy Meets Girls”: [Excerpt: Eddie Cochran, Gene Vincent, Billy Fury, Joe Brown, “My Babe”] But by the time the tour ended in Bristol, Eddie was very keen to get back. He was going to be bringing Vince Eager over to America to record, and arranged to meet him in London in the early hours of Easter Sunday. They were going to be taking the lunchtime plane from what was then London Airport but is now Heathrow. But there was a problem with getting there on time. There were very few trains between Bristol and London, and they’d have to get a car from the train station to the airport. But that Easter Sunday was the day of the annual Aldermaston March against nuclear weapons. These were massive marches which were big enough that they spawned compilation albums of songs to sing on the march, like Ewan MacColl and Peggy Seeger’s “Brother Won’t You Join the Line”: [Excerpt: Ewan MacColl and Peggy Seeger, “Brother Won’t You Join the Line?”] But the main effect the march was having on Cochran and Vincent was that it meant that to be sure of catching their plane, they would have to travel overnight by car. At first, they asked one of the other artists on the tour, Johnny Gentle, if they could go in his car, but he already had a carful, so they ended up getting a local driver, named George Martin (not the one at Parlophone Records) to drive them overnight. They got into the back seat of the car — Cochran sitting between Vincent and Sheeley, as Sheeley couldn’t stand Vincent. Vincent took a sleeping pill and went to sleep almost immediately, but Sheeley and Cochran were in a good mood, singing “California Here We Come” together, when Martin took a turn too fast and hit a lamppost. Vincent and Sheeley suffered major injuries and had to spend time in hospital. Cochran died. A short while later, Johnny Gentle’s car made its way onward towards London, and ran out of fuel. As all-night garages weren’t a thing in Britain then, they flagged down a policeman who told them there’d been a crash, and they could see if the breakdown vehicle would let them siphon petrol from the wrecked car. They did, and it was only the next day they realised which car it was they’d taken the fuel from. One of the police at the scene – maybe even that one – was a cadet who would later change his name to Dave Dee, and become the lead singer in Dave Dee, Dozy, Beaky, Mick and Titch. As soon as the news got out about Cochran’s death, “Three Steps to Heaven”, which had come out in the US, but not yet in the UK, was rush-released: [Excerpt: Eddie Cochran, “Three Steps to Heaven”] It went to number one, and became Cochran’s biggest hit. Larry Parnes didn’t see why Cochran’s death should put a crimp in his plans, and so he immediately started promoting the shows for which Vincent and Cochran had been booked, calling them Eddie Cochran Tribute Shows, and talking to the press about how ironic it was that Cochran’s last song was “Three Steps to Heaven”. Vince Eager was so disgusted with Parnes that he never worked with him again. But those shows turned out to have a much bigger impact than anyone could have imagined. Allan Williams was worried that without Cochran, the show he’d got booked in Liverpool wouldn’t get enough of a crowd, so he booked in a number of local bands — Rory Storm and the Hurricanes, Cass and the Cassanovas, Nero and the Gladiators, and Gerry and the Pacemakers — to fill out the bill. This led to all the bands and musicians in Liverpool realising, for the first time, how much talent there was in the city and how many bands there were. That one show changed Liverpool from a town where there were a few bands to a town with a music scene, and May the third 1960 can be pointed to as the day that Merseybeat started. Parnes was impressed enough by the local groups that he decided that Liverpool might be a good place to look for musicians to back his singers on the road. And we’ll pick up on what happened then in a few months. Sharon Sheeley, once she’d recovered from her injuries, went on to write hits for Brenda Lee, Jackie DeShannon, the Fleetwoods, and Irma Thomas, and when Jack Good moved back to the US, she renewed her acquaintance with him, and together with Sheeley’s husband they created Shindig, the most important American music show of the sixties. But by the time she died in 2002, all her obituaries talked about was that she’d been Eddie Cochran’s girlfriend. And as for Gene Vincent, he was already in chronic pain, suffering mood swings, and drinking too much before the accident hospitalised him. After that, all those things intensified. He became increasingly unreliable, and the hits dried up even in Britain by mid-1961. He made some good music in the sixties, but almost nobody was listening any more, and an attempted comeback was cut short when he died, aged thirty-six, in 1971, from illnesses caused by his alcoholism. Despite their tragic deaths, Vincent and Cochran, on that 1960 UK tour, almost accidentally catalysed a revolution in British music, and the changes from that will reverberate throughout the rest of this story.

Episode eighty-five of A History of Rock Music in Five Hundred Songs looks at "Three Steps to Heaven" by Eddie Cochran, and at the British tour which changed music and ended his life. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode, on "Quarter to Three" by Gary US Bonds. 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/  ----more---- Resources   As usual, I have put together a Mixcloud mix with every song excerpted in this podcast. Much of the information here comes from Spencer Leigh's book Things Do Go Wrong, which looks specifically at the 1960 tour. I also used Gene Vincent and Eddie Cochran: Rock and Roll Revolutionaries by John Collis.  While there are dozens of compilations of Cochran's music available, many of them are flawed in one way or another (including the Real Gone Music four-CD set, which is what I would normally recommend). This one is probably the best you can get for Cochran novices. This CD contains the Saturday Club recordings by Vincent and Cochran, which are well worth listening to.   Pete Frame's The Restless Generation is the best book available looking at British 50s rock and roll from a historical perspective. Be warned, though -- his jokey and irreverent style can, when dealing with people like Larry Parnes (who was gay and Jewish) very occasionally tip over into reinforcing homophobic and anti-semitic stereotypes for an easy laugh. And a fair chunk of the background information here also comes from the extended edition of Mark Lewisohn's Tune In, which is essential reading for anyone who is interested in the Beatles, British post-war culture, and British post-war music.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript There's been a sad running theme in the episodes in recent months of rock stars dying in accidents. Sadly, in the 1950s and sixties, travelling long distances was even more dangerous than it is today, and rock musicians, who had to travel a lot more than most people, and did much of that travelling at night, were more likely to be in accidents than most. Today, we're going to look at yet another of these tragic deaths, of someone who is thought of in the US as being something of a one-hit wonder, but who had a much bigger effect on British music. We're going to look at what would be Eddie Cochran's final tour, and at his UK number one single "Three Steps to Heaven": [Excerpt: Eddie Cochran, "Three Steps to Heaven"] When we left Eddie Cochran, he had just appeared in the film "The Girl Can't Help It", singing "Twenty Flight Rock", and he had also had a hit with "Sittin' in the Balcony". But he hadn't yet managed to establish himself as the star he knew he could be -- he was the whole package, singer, songwriter, and especially guitarist, and he hadn't yet made a record that showed him to his best advantage as an artist. "Twenty Flight Rock" had come close, but it wasn't a song he'd written himself, and the record hadn't yet been released in the US. Meanwhile, Liberty Records seemed to not understand what they had in him -- they were trying to push him to be another Pat Boone, and become a bland pop singer with no rock and roll in his sound. His first album, Singin' to My Baby, had little to do with the music that he was interested in playing. So Cochran needed to find something that would really put him on the map -- a song that would mean he wasn't just one of dozens of Fabians and Frankie Avalons and interchangeable Bobbies who were starting to take over shows like American Bandstand. "Twenty Flight Rock" hadn't ended up being a hit at all, despite its placement in a popular film -- they'd left it too long between the film coming out and releasing the record, and he'd lost that momentum. At the end of 1957 he'd gone on the Australian tour with Little Richard and Gene Vincent which had led to Richard retiring from rock and roll, and he'd become much closer with Vincent, with whom he'd already struck up a friendship when making The Girl Can't Help It. The two men bonded, particularly, over their love of guns, although they expressed that love in very different ways. Cochran had grown up in rural Minnesota, and had the same love of hunting and fishing that most men of his background did at that time (and that many still do). He was, by all accounts, an affable person, and basically well adjusted. Vincent, on the other hand, was a polite and friendly person when not drinking. Unfortunately, he was in constant pain from his leg wounds, and that meant he was drinking a lot, and when he was drunk he was an incredibly unpleasant, aggressive, person. His love of guns was mostly for threatening people with, and he seems to have latched on to Cochran as someone who could look after him when he got himself into awkward situations -- Cochran was so personally charming that he could defuse the situation when Vincent had behaved appallingly towards someone. At the time, Vincent seemed like a has-been and Cochran a never-would-be. This was late 1957, and it seemed like rock and roll records with guitars on were a fad that had already passed their sell-by date. The only white guitarist/vocalist other than Elvis who'd been having hits on a regular basis was Buddy Holly, and his records were doing worse and worse with each release. Vincent hadn't had a real hit since his first single, "Be Bop A Lula", while Cochran had made the top twenty with "Sittin' in the Balcony", but the highest he'd got after that was number eighty-two. He'd recently recorded a song co-written by George Mottola, who'd written "Goodnight My Love", but "Jeannie, Jeannie, Jeannie" stalled at number ninety-four when it was released in early 1958: [Excerpt: Eddie Cochran, "Jeannie, Jeannie, Jeannie"] So neither man was in a good place at the start of 1958, but they had very different attitudes -- Vincent was depressed and angry, but Cochran knew that something would come along. He was only nineteen, he was astonishingly good looking, he was a great guitarist -- if rock and roll didn't work out, something would. In early 1958, Cochran was still hunting for that elusive big hit, as he joined the Blue Caps in the studio, to provide bass, arrangements, and backing vocals on several tracks for Vincent's latest album. It's Cochran singing the bass vocals at the start of "Git It", one of Vincent's greatest tracks: [Excerpt: Gene Vincent and the Blue Caps, "Git It"] But shortly after that recording, a major turn in Cochran's fortunes came from an unexpected place. Liberty Records had been in financial difficulties, and part of the reason that Cochran's records were unsuccessful was that they just didn't have the money to promote them as much as they'd like. But then at the beginning of April a man called Ross Bagdasarian, under the name David Seville, released a novelty song called "The Witch Doctor", featuring some mildly racist comedy and a sped-up voice. That record became a massive hit, selling over a million copies, going to number one, and becoming the fourth most successful record of 1958. Suddenly, Liberty Records was saved from bankruptcy. That made all the difference to the success of a track that Cochran had recorded on March the 28th, the same week he recorded those Gene Vincent sessions, and which came out at the tail-end of summer. Cochran had come up with a guitar riff that he liked, but he didn't have any lyrics for it, and his friend and co-writer Jerry Capehart said "there's never been a blues about the summer". The two of them came up with some comedy lyrics in the style of the Coasters, who had just started to have big hits, and the result became Cochran's only top ten hit in the US, reaching number eight, and becoming one of the best-remembered tracks of the fifties: [Excerpt: Eddie Cochran, "Summertime Blues"] That track was recorded with a minimal number of musicians -- Cochran played all the guitars and sang both vocal parts, his bass player Guybo Smith played the bass part, and the great session drummer Earl Palmer played drums. There was also a fourth person on the record -- Sharon Sheeley, who added handclaps, and who had written the B-side. Sheeley was a talented songwriter who also had a propensity for dating musicians. She'd dated one of the Everly Brothers for a while -- different reports name different brothers, but the consensus seems to be that it was Don -- and then when they'd split up, she'd written a song called "Poor Little Fool". She'd then faked having her car break down outside Ricky Nelson's house, and collared him when he came out to help. That sort of thing seemed to happen to Nelson a lot with songwriters -- Johnny and Dorsey Burnette had sold Nelson songs by sitting on his doorstep and refusing to move until he listened to them -- but it seemed to work out very well for him. The Burnettes wrote several hits for him, while Sheeley's "Poor Little Fool" became Nelson's first number one, as well as being the first number one ever on Billboard's newly-renamed Hot One Hundred, and the first number one single on any chart to be written by a woman without a male cowriter: [Excerpt: Ricky Nelson, "Poor Little Fool"] Sheeley gets unfairly pigeonholed as a groupie (not that there's anything wrong with being a groupie) because she had relationships with musicians, and at this point she was starting a relationship with Cochran. But it's important to remember that when they got together, even though he was eighteen months older than her, she was the one who had written a number one single, and he was the one whose last record had gone to number ninety-four -- and that after her relationship with Cochran, she went on to form a writing partnership with Jackie DeShannon that produced a long string of hits for people like Brenda Lee and the Fleetwoods, as well as songs that weren't hits but probably deserved to be, like Ral Donner's "Don't Put Your Heart in His Hands": [Excerpt: Ral Donner, "Don't Put Your Heart in His Hands"] Sheeley was more invested in her relationship with Cochran than he was, but this has led rock writers to completely dismiss her as "just Eddie Cochran's girlfriend", when in terms of their relative statuses in the music industry, it would be more fair to define Cochran as "just Sharon Sheeley's boyfriend". I have to emphasise this point, because in the limited number of books about Cochran, you will see a lot of descriptions of her as "a groupie", "a fantasist", and worse, and very few mentions of the fact that she had a life outside her partner. "Summertime Blues" looked like it was going to be the start of Eddie Cochran's career as a rock and roll star, but in fact it was the peak of it, at least in the US. While the song was a big hit, the follow-up, "C'mon Everybody", which was written by Cochran and Capehart to much the same formula, but without the humour that characterised "Summertime Blues", didn't do so well: [Excerpt: Eddie Cochran, "C'mon Everybody"] That made only number thirty-five on the US charts, and would be Cochran's last top forty record there -- but in the UK, it was a bigger hit than "Summertime Blues", reaching number six. "C'mon Everybody" was, though, big enough for Cochran to make some TV appearances. He'd agreed to go on tour with his friends Buddy Holly and Ritchie Valens on a tour called the Winter Dance Party tour, but had bowed out when he got some offers of TV work. He definitely appeared on a show called Town Hall Party broadcast from California on February the second 1959, and according to Sheeley he was booked to appear in New York on the Ed Sullivan Show, which was the reason he'd decided not to do the tour, a few days later. As it turned out, Cochran never made that Ed Sullivan Show appearance, as in the early hours of February the third, his friends died in a plane crash. He refused to get on the plane to New York for the show, and instead drove out to the desert in his station wagon to grieve, and from that point on he developed a fear of flying. The follow-up to "C'mon Everybody", "Teenage Heaven", only went to number ninety-nine on the charts, and his next two singles didn't do much better. "Somethin' Else", a song that Sheeley had written for him, made number fifty-eight, while his cover version of Ray Charles' "Hallelujah I Love Her So" didn't chart at all. 1959 was a depressing year for Cochran personally and professionally. But while "Somethin' Else" and "Hallelujah I Love Her So" were flops in the US, they both made the top thirty in the UK. In the US, guitar-based white rock and roll was now firmly out of fashion, with the audience split between black vocal groups singing R&B and white male solo singers called Bobby singing mid-tempo pop. But in the UK, the image of rock and roll in people's minds was still that of the rockabillies from a couple of years earlier -- while British musical trends would start to move faster than the US by the sixties, in the fifties they lagged a long way behind. And in particular, Cochran's friend Gene Vincent was doing much better in Britain than in the US. Very few US performers had toured the UK, and with the exception of Buddy Holly, most of those who had were not particularly impressive. Because of an agreement between the two countries' musicians' unions, it was difficult for musicians to perform in one country if they were from the other. It wasn't quite so difficult for solo performers, who could be backed by local musicians and were covered under a different agreement, but Lew and Leslie Grade, who had a virtual monopoly on the UK entertainment business, had had a very bad experience with Jerry Lee Lewis when his marriage to his teenage cousin had caused his UK tour to be cancelled, and anyway, Britain was an unimportant market a long way away from America, so why would Americans come all that way? For most of 1959, the closest thing to American rock and roll stars touring the UK were Connie Francis and Paul Anka, neither of whom screamed rock and roll rebellion. American rockers just didn't come to the UK. Unless they had nowhere else to go, that is -- and Gene Vincent had nowhere else to go. In the US, he was a washed-up has been who'd burned every single bridge, but in the UK he was an American Rock Star. In late 1959 he released a not-great single, "Wildcat": [Excerpt: Gene Vincent, "Wildcat"] That single wasn't doing particularly well, but then Larry Parnes and Jack Good hatched a plan. Good had a new TV show, "Boy Meets Girls", based around one of Parnes' artists, Marty Wilde, and also had a column in Disc magazine. They'd get an American rock star over to the UK, Parnes would stick him on a bill with a bunch of Parnes' acts, Good would put him on the TV show and promote him in Disc magazine, and the tour and TV show would split the costs. Wilde was, at the time, about to go into a career slump. He'd just got married, and he and his wife were trying for their first kid -- they'd decided that if it was a girl, they were going to call her Kim. It seemed likely they were going to lose his audience of teenage girls, as he was no longer available, and so Larry Parnes was trying to move him from rock and roll into musical styles that would be more suitable for adults, so his latest single was a ballad, "Bad Boy": [Excerpt: Marty Wilde, "Bad Boy"] That meant that Wilde's band, the Wildcats, made up at this point of Tony Belcher, Big Jim Sullivan, Licorice Locking and Brian Bennett, were no longer going to be suitable to back Wilde, as they were all rock and rollers, so they'd be fine for whichever rock star they could persuade over to the UK. Vincent was the only rock star available, and his latest single was even called "Wildcat". That made him perfect for Parnes' purposes, though Vincent was slightly nervous about using British musicians -- he simply didn't think that British musicians would be any good. As it turned out, Vincent had nothing to worry about on that score at least. When he got to the studios in Didsbury, in Manchester, where Boy Meets Girls was filmed, he met some of the best session musicians Britain had to offer. The house band for the show, the Flying Squad, was a smaller version of the bands that had appeared on Good's earlier shows, a nine-piece group that included organist Cherry Wainer and session drummer Andy White, and was led by Joe Brown. Brown was a Larry Parnes artist, who at this point had released one rather uninspired single, the country-flavoured "People Gotta Talk": [Excerpt: Joe Brown, "People Gotta Talk"] But Brown had an independent streak, which could be seen just from his name -- Larry Parnes had tried to change it, as he did with all his acts, but Brown had flat-out refused to be called Elmer Twitch, the name Parnes had chosen for him. He insisted on keeping his own name, and it was under that name that he became one of Britain's most respected guitarists. Vincent, amazingly, found these British musicians to be every bit as good as any musicians he'd worked with in the USA. But that was about all that he liked about the UK -- you couldn't get a hamburger or a pizza anywhere in the whole country, and the TV was only in black and white, and it finished at 11PM. For someone like Vincent, who liked to stay up all night watching old monster movies on TV, that was completely unacceptable. Luckily for him, at least he had his gun and knife to keep him occupied -- he'd strapped them both to the leg iron he used for his damaged leg, so they wouldn't set off the metal detectors coming into the country. But whatever his thoughts about the country as a whole, he couldn't help loving the audience reaction. Jack Good knew how to present a rock and roll star to an audience, and he'd moved Vincent out of the slacks and sweater vests and blue caps into the kind of leather that he'd already had Vince Taylor wear. He got Vincent to emphasise his limp, and to look pained at all times. He was imagining Vincent as something along the lines of Richard III, and wanted him to appear as dangerous as possible. He used all the tricks of stagecraft that he'd used on Taylor, but with the added advantage that Vincent had a remarkable voice, unlike Taylor. Sadly, as is the case with almost all of the British TV of the period, the videotapes of the performances have long since been wiped, but we have poor-quality audio that demonstrates both how good Vincent was sounding and how well the British musicians were able to adapt to backing him: [Excerpt: Gene Vincent, "Summertime", live on Boy Meets Girls] After making three appearances on Boy Meets Girls, Vincent was put on tour backed by the Wildcats, on a bill with acts like Wee Willie Harris and the Bachelors (the ones who recorded for Parlophone, not the later act of the same name), and "Wildcat" started going up the charts. Even though Gene Vincent hadn't had a hit in three years, he was a massive success with the British audiences, and as a result Parnes and Good decided that it might be an idea if they got another American star over here, and the obvious choice was Eddie Cochran. Cochran had the same agent as Vincent, and so there was a working relationship there; they both knew each other and so Vincent could help persuade Cochran over; and Cochran had had a string of top thirty hits in the UK, but was commercially dead in the US. It was tempting for Cochran, too -- as well as the obvious advantage of playing to people who were actually buying his record, the geography of Britain appealed. He'd been terrified of flying since Buddy Holly and Ritchie Valens had died, but the British tour would only involve the transatlantic flight -- all the travel once he was in the UK would be by road or rail. Before he came over, he had to record his next single, to be released while he was over in the UK. So on January the 8th, 1960, Eddie Cochran went into Gold Star Studios with his normal bass player, Guybo, and with his friends Sonny Curtis and Jerry Allison, the guitarist and drummer of the Crickets, and they cut what turned out to be his last single, "Three Steps to Heaven": [Excerpt: Eddie Cochran, "Three Steps to Heaven"] Two days later, he was in Britain, for the start of what was the biggest rock and roll tour in British history to that point -- a hundred and eight live appearances, plus several TV and radio appearances, in a little over three months, playing two shows a night most nights. Parnes felt he had to work them hard to justify their fees -- Vincent was getting $2500 a week, and Cochran $1000, while for example Billy Fury, at that point the biggest of Parnes' acts, was on a salary of twenty pounds a week. While Vincent had made a great impression largely despite himself, Cochran was a different matter. Everyone seemed to love him. Unlike Vincent, he was a musician's musician, and he formed close friendships with the players on the tour. Joe Brown, for example, remembers Cochran explaining to him that if you swap the G string on your guitar for a second B string, tuned down to G, you could bend a note a full tone -- Brown used that trick to make himself one of the most sought-after session players in the UK before his own pop career started to take off. It was also apparent that while Jack Good had had to create a stage act for Gene Vincent, he didn't have to do anything to make Cochran look good in front of the cameras. Marty Wilde said of him "The first thing I noticed about Eddie was his complexion. We British lads had acne and all the usual problems, and Eddie walked in with the most beautiful hair and the most beautiful skin - his skin was a light brown, beautiful colour, all that California sunshine, and I thought 'you lucky devil'. We had Manchester white all over us. And he had the most beautiful face -- the photographs never did the guy justice". From the moment Cochran started his set in Ipswich, by saying "It's great to be here in Hipswich" and wiggling his hips, he was utterly in command of the British audiences. Thankfully, because they did so many TV and radio sessions while they were over here, we have some idea of what these shows sounded like -- and from the recordings, even when they were in the antiseptic environment of a BBC recording studio, without an audience, they still sounded fantastic. On some shows, Cochran would start with his back to the audience, the band would start playing "Somethin' Else", the song that Sharon Sheeley had written for him that had been a minor hit, and he'd whirl round and face the audience on the opening line, "Well look-a there!" [Excerpt: Eddie Cochran and Gene Vincent, "Somethin' Else [Eddie Cochran vocals]", Saturday Club version] The shows all had a number of acts on, all of them other than the stars Larry Parnes acts, and because there were so many shows, acts would get rotated in and out as the tour went on. But some of those who played on many dates were Vince Eager, who had named himself after Gene Vincent but quickly grew more attached to Eddie Cochran, who he started to regard as his best friend as the tour went on, Tony Sheridan, who was building a solo career after leaving the Oh Boy! band, Georgie Fame, who was already more interested in being a jazz and R&B pianist in the mould of Mose Allison than he was in being a pop star, Johnny Gentle, a Liverpudlian performer who never rose to massive success, and Billy Fury, by far the most talented of Parnes' acts. Fury was another Liverpudlian, who looked enough like Cochran that they could be brothers, and who had a top ten hit at the time with "Collette", one of many hits he wrote for himself: [Excerpt: Billy Fury, "Collette"]  Fury was something of a sex symbol, aided by the fact that he would stuff his pants with the cardboard tube from a toilet roll before going on stage. This would lead the girls to scream at him -- but would also lead their violent boyfriends to try to bottle him off stage, which meant he had more reason than most to have stagefright. Cochran would joke with Fury, and try to put him at ease -- one story has him telling a nervous Fury, about to go on stage, to just say to himself "I am the greatest performer in the world". Fury repeated back "I am the greatest performer in the world", and Cochran replied, "No you're not -- I am!" This kind of joking led to Cochran becoming immensely popular among all the musicians on the tour, and to him once again falling into his old role of protecting Gene Vincent from the consequences of his own actions, when Vincent would do things like cut up a suit belonging to one of the road managers, while the road manager was inside it. While Vincent was the headliner, Cochran was clearly the one who impressed the British audiences the most. We have some stories from people who saw the tour, and they all focus on Eddie. Particularly notable is the tour's residency in Liverpool, during which time Cochran was opening his set with his version of "What'd I Say": [Excerpt: Gene Vincent and Eddie Cochran, "What'd I Say [Eddie Cochran vocals]", Saturday Club version] We have this report of Cochran's performance in Liverpool: "Eddie blew me away. He had his unwound 3rd string, looked good and sang good and he was really getting to be a good guitarist… One moment will always represent Eddie to me. He finished a tune, the crowd stopped screaming and clapping, and he stepped up to the mike and before he said something he put both his hands back, pushed his hair back, and some girl, a single voice in the audience, she went ‘Eddie!’ and he said ‘Hi honey!’… I thought, ‘Yes! That’s it – rock ’n’ roll!’" That's a quote from George Harrison in the early 1990s. He'd gone to see the show with a friend, John Lennon -- it was Lennon's first ever rock and roll gig as an audience member, and one of a very small number he ever attended. Lennon never particularly enjoyed seeing live shows -- he preferred records -- but even he couldn't resist seeing Eddie Cochran and Gene Vincent on the same bill. The Liverpool shows were massive successes, despite both American rockers being increasingly bored and turning more and more to drink as a result. Apparently the two would drink a bottle of bourbon between them before going on stage, and at one Liverpool show Cochran had to hold on to a mic stand to keep himself upright for the first two songs, before he sobered up enough to let go. The shows were successful enough that a local promoter, Allan Williams, asked if he could book Cochran and Vincent for another show, and Larry Parnes said yes -- after Liverpool, they had to play Newcastle, Manchester, London, and Bristol, taking up another month, and then Eddie Cochran was going to be going back to the US for a couple of weeks, but he could pencil them in for six weeks' time, when Cochran was going to come back. It's quite surprising that Cochran agreed to come back, because he was getting thoroughly sick of the UK. He'd asked Sharon Sheeley to fly over and join him, but other than her and Vincent he had nothing of home with him, and he liked sunshine, fast food, cold beer, and all-night TV, and hated everything about the British winter, which was far darker and wetter than anything he'd experienced. But on the other hand, he was enjoying making music with these British people. There's a great recording of Cochran, Vincent, Billy Fury, and Joe Brown jamming on the Willie Dixon blues song "My Babe" on "Boy Meets Girls": [Excerpt: Eddie Cochran, Gene Vincent, Billy Fury, Joe Brown, “My Babe”] But by the time the tour ended in Bristol, Eddie was very keen to get back. He was going to be bringing Vince Eager over to America to record, and arranged to meet him in London in the early hours of Easter Sunday. They were going to be taking the lunchtime plane from what was then London Airport but is now Heathrow. But there was a problem with getting there on time. There were very few trains between Bristol and London, and they'd have to get a car from the train station to the airport. But that Easter Sunday was the day of the annual Aldermaston March against nuclear weapons. These were massive marches which were big enough that they spawned compilation albums of songs to sing on the march, like Ewan MacColl and Peggy Seeger's "Brother Won't You Join the Line": [Excerpt: Ewan MacColl and Peggy Seeger, "Brother Won't You Join the Line?"] But the main effect the march was having on Cochran and Vincent was that it meant that to be sure of catching their plane, they would have to travel overnight by car. At first, they asked one of the other artists on the tour, Johnny Gentle, if they could go in his car, but he already had a carful, so they ended up getting a local driver, named George Martin (not the one at Parlophone Records) to drive them overnight. They got into the back seat of the car -- Cochran sitting between Vincent and Sheeley, as Sheeley couldn't stand Vincent. Vincent took a sleeping pill and went to sleep almost immediately, but Sheeley and Cochran were in a good mood, singing "California Here We Come" together, when Martin took a turn too fast and hit a lamppost. Vincent and Sheeley suffered major injuries and had to spend time in hospital. Cochran died. A short while later, Johnny Gentle's car made its way onward towards London, and ran out of fuel. As all-night garages weren't a thing in Britain then, they flagged down a policeman who told them there'd been a crash, and they could see if the breakdown vehicle would let them siphon petrol from the wrecked car. They did, and it was only the next day they realised which car it was they'd taken the fuel from. One of the police at the scene – maybe even that one – was a cadet who would later change his name to Dave Dee, and become the lead singer in Dave Dee, Dozy, Beaky, Mick and Titch. As soon as the news got out about Cochran's death, "Three Steps to Heaven", which had come out in the US, but not yet in the UK, was rush-released: [Excerpt: Eddie Cochran, "Three Steps to Heaven"] It went to number one, and became Cochran's biggest hit. Larry Parnes didn't see why Cochran's death should put a crimp in his plans, and so he immediately started promoting the shows for which Vincent and Cochran had been booked, calling them Eddie Cochran Tribute Shows, and talking to the press about how ironic it was that Cochran's last song was "Three Steps to Heaven". Vince Eager was so disgusted with Parnes that he never worked with him again. But those shows turned out to have a much bigger impact than anyone could have imagined. Allan Williams was worried that without Cochran, the show he'd got booked in Liverpool wouldn't get enough of a crowd, so he booked in a number of local bands -- Rory Storm and the Hurricanes, Cass and the Cassanovas, Nero and the Gladiators, and Gerry and the Pacemakers -- to fill out the bill. This led to all the bands and musicians in Liverpool realising, for the first time, how much talent there was in the city and how many bands there were. That one show changed Liverpool from a town where there were a few bands to a town with a music scene, and May the third 1960 can be pointed to as the day that Merseybeat started. Parnes was impressed enough by the local groups that he decided that Liverpool might be a good place to look for musicians to back his singers on the road. And we'll pick up on what happened then in a few months. Sharon Sheeley, once she'd recovered from her injuries, went on to write hits for Brenda Lee, Jackie DeShannon, the Fleetwoods, and Irma Thomas, and when Jack Good moved back to the US, she renewed her acquaintance with him, and together with Sheeley's husband they created Shindig, the most important American music show of the sixties. But by the time she died in 2002, all her obituaries talked about was that she'd been Eddie Cochran's girlfriend. And as for Gene Vincent, he was already in chronic pain, suffering mood swings, and drinking too much before the accident hospitalised him. After that, all those things intensified. He became increasingly unreliable, and the hits dried up even in Britain by mid-1961. He made some good music in the sixties, but almost nobody was listening any more, and an attempted comeback was cut short when he died, aged thirty-six, in 1971, from illnesses caused by his alcoholism. Despite their tragic deaths, Vincent and Cochran, on that 1960 UK tour, almost accidentally catalysed a revolution in British music, and the changes from that will reverberate throughout the rest of this story.

Peter Kirkham was born & bred on a farm in Cheshire. He travelled to London and basically never went back! He joined the Metropolitan Police as a Special Constable whilst at university and joined as a Constable immediately after he finished his degree.   He served in the Metropolitan Police for over 21 years, both in uniform and CID at all ranks up to Detective Chief Inspector.  He spent five years on the Flying Squad,dealing with armed robbers in the early 1990s, followed by two years, as a uniformed Duty Officer at Brixton.  He was a Senior Investigating Officer for five years before leaving in 2002.  He has since worked as a Security Management & Policing Services Consultant doing a variety of things including many around the edges of policing.  He has trained police officers on various courses and still works as a Corporate Fraud Investigator.  Since 2010 he has become an increasingly outspoken critic of the cuts to policing, often appearing in the media to highlight the damage done, in his opinion by the then home secretary and later Prime Minister Theresa May. Find out about the man, what makes him tick and his views on policing that had drawn both praise and criticism. This interview was recorded on the 9th November 2019 prior to this years General Election and contains strong language. 

Paul speaks with two Flying Squad Detectives about Watch Robbery...

SEJUMLAH gajah sumatera jinak yang dibina oleh tim Flying Squad di Taman Nasional Tesso Nilo (TNTN) menderita stres akibat kebakaran hutan dan lahan yang melanda kawasan konservasi di Kabupaten Pelalawan, Provinsi Riau itu. Gajah menjadi stress karena mendengar suara api. TNTN adalah kawasan konservasi, yang salah satunya berfungsi sebagai habitat asli satwa endemik gajah sumatera (elephas maximus sumatranus). Awalnya, luas TN Tesso Nilo adalah 38.576 hektare (ha) berdasarkan surat keputusan menhut No.255/Menhut-II/2004. Kemudian kawasan konservasi itu diperluas menjadi 83.068 ha dengan memasukkan areal hutan produksi terbatas yang berada di sisinya, berdasarkan SK No.663/Menhut-II/2009. Namun, kerusakan yang terjadi di kawasan itu akibat perambahan sudah sangat masif yang mengubah bentang alam hutan menjadi perkebunan kelapa sawit. Kebakaran besar yang menimbulkan asap pekat mulai mendekati kamp Flying Squad di Desa Lubuk Kembang Bunga sejak tanggal 1 Agustus, berawal dari daerah bernama Sungai Tapah. Akhirnya diputuskan agar satwa bongsor itu harus direlokasi dari tempat penggembalaan. Ada delapan gajah jinak yang dipindahkan, tiga di antaranya masih anak. Sebelumnya, Kepala Balai TNTN, Halasan Tulus, menyatakan kebakaran di kawasan konservasi di Provinsi Riau itu terjadi secara sporadis, terutama di area perluasan yang ada aktivitas manusia. Kondisi TN Tesso Nilo diakui Halasan memang sangat kering karena kemarau, namun kebakaran terjadi sangat kecil kemungkinan terjadi secara alami. Area yang terbakar banyak terjadi di lokasi yang diokupasi oleh masyarakat, seperti di daerah Toro. Bincang dengan: Sumatera and Wildlife Program Diector WWF Suhandri

The trail to recover the £26m in stolen gold from the high security Brink’s-Mat depot in London in 1983 leads undercover detective Ian Brown and a maverick group of Flying Squad officers overseas. Ripping up the rule book, they find an unlikely ally in their quest to crack the ‘crime of the century’ in the form of the US Drug Enforcement Agency. But what’s happened to the 6,800 gold bars?

Pardon Me 1:54 DEOBA Pardon Me 2017 Palms Itching 3:04 DMARCO Palms Itching (Explicit) 2017 What's The Plan (feat Mia Coleman - prod Lou Koo) 2:59 GAVLYN Make Up For Your Break Up 2015 Black Cherry Koolaid 4:00 GAVLYN Black Cherry Koolaid 2015 No Static (feat Nemiss) 5:37 SUBATOMIC SOUND SYSTEM On All Frequencies 2006 Ask Forgiveness 3:40 BLIMES BRIXTON Ask Forgiveness 2017 City Lights 2:52 D.M.C. CHANGE (Explicit) 2017 Neck To The Guillotine (feat KD) 3:11 CAPTAIN BUKIOE Feast Of Famine 2017 Another Level 3:26 KIN4LIFE Firewerk 2017 The Potion 3:19 BAEGOD/SBVCE The Potion 2017 The Thrill (feat Blackheart) 3:33 DRAPER Audio Visions EP (Explicit) 2017 Naked 3:54 DRAPER Audio Visions EP (Explicit) 2017 Self Therapy (Radio feat Poet) 3:13 DRAPER feat POET Self Therapy (Explicit) 2017

Jackie Malton was openly gay from an early age. As a result her character was put to the test when she joined Leicestershire Police and subsequently the Metropolitan Police. She rose through the ranks and became a member of the renowned “Flying Squad.” Passionate about her job and dealing with all the pressures that entailed she increasingly felt ashamed and she turned to alcohol to cope. It was a chance encounter with a street drinker that would change her life forever. As a thief taker she came to understand the villains she arrested and ultimately became a counsellor in prison on leaving the police service. Jackie’s story is remarkable, so much so in fact that her career was the basis of the popular television crime series Prime Suspect. FOOTNOTE: Jackie has asked me to clarify that she held the rank of Detective Sergeant on the Flying squad and retired with the rank of Detective Chief Inspector.

The Great Train Robbery was the robbery of £2.6 million from a Royal Mail train heading from Glasgow to London on the West Coast Main Line in the early hours of 8 August 1963, at Bridego Railway Bridge, Ledburn, near Mentmore in Buckinghamshire, England.   A robbery that took less than 30 minutes from start to finish, spread over a distance of 28 miles, and would net the gang involved the equivalent of over £38 million in today’s money. The gang consisted of 15 members, four of which , still to this day, were never caught-their names not even known. The robbery was immediately dubbed the crime of the century, and is still spoken about today  for not only the planning and the preciseness of the raid, but also the mistakes and the bungling of the gang that led to their arrest…for some of them that is. For in addition to this there is the story of those that evaded capture for nearly fifty years becoming celebrities halfway around the globe. There is also the story of the police that were involved. The Flying Squad determined to capture those responsible at any cost. And the story of the families of the police officers, the gang and the victims. The audacity and the scale of the robbery fascinated the country, sticking two fingers up to the establishment as details unfolded in the daily newspapers and tv reports. And even today there remains this almost romantic notion of the cheeky gang of South London crooks that wouldn’t hurt anyone being punished by harsh prison sentences- but as we will discover, people did get hurt. And as well as capturing the public’s imagination, it horrified them in equal measure. Ladies and gentlemen, Rainbow Valley is proud to present the story of The Great Train Robbery. You can follow the podcast on Twitter @rv_podcast Join our Facebook group at facebook/rainbowvalleypodcast Website rainbowvalley.libsyn.com Or send us your thoughts and feedback to rainbowvalleypod@gmail.com   This has been a Stinking Pause production

Flying Birds (feat Nora Becker) 2:55 MELODIESINFONIE Friede Freude 2014 If You Wouldn't Mind 4:00 2ND EXIT 2nd Exit 2016 Native Son (feat Raekwon & Leo Napier - Russ Liquid remix) 4:32 Gramatik Lowtemporary Vol 2 2016 Devour 2:54 Little Simz & Jakwob Time Capsule 2014 Ladies Hit Squad 3:40 SKEPTA feat D DOUBLE E/ASAP NAST Ladies Hit Squad 2016 Bubles (feat Janset) 3:43 K MAN Bubbles 2016 Reminiscing (feat Drapez) 4:45 ENIGMA DUBZ The Journey So Far Pt 2 2015 Love Me X Love Me Not 4:29 SPEC Vacancy 2015 Game Of Thrones 4:34 SPEC Vacancy 2015 Satoshi Nakamoto (Cobrayama remix) 4:27 GRAMATIK feat PROBCAUSE Satoshi Nakamoto Remixes (Explicit) 2016 Come On (feat Kid Fang) 3:21 IDOL X Stroke Game 2016

Episode 002 of the new podcast from the Stinking Pause stable of podcasts featuring Scott and Tony. Welcome to Reel Britannia-a very British podcast about very British films....with the occasional hint of professionalism.   Scott's choice for the second episode in the first big screen outing for Regan and Carter of the Flying Squad. Sweeney! from 1977 is just a little different from the tv series featuring political scandal and hitmen. Starring John Thaw and Dennis Waterman with special guest appearances from Barry Foster and Ian Bannen.   This and future episodes can be found on iTunes and Stitcher Radio as well as: reelbritannia.libsyn.com Follow us on Twitter @rbritanniapod email: reelbritannia@gmail.com Thanks for listening Scott and Tony http://reelbritannia.libsyn.com/

Singer and songwriter Loudon Wainwright III; reggae DJ David Rodigan; former detective Jackie Malton and writer Hisham Matar join Libby Purves. David 'RamJam' Rodigan MBE is a DJ, famed for his selections of reggae and dancehall music. He has played on stations from Capital 95.8 and Kiss to BBC 1Xtra and Radio 2 and is a regular on the club and festival circuit. A 65-year-old white man from Oxford who speaks in RP, he seems the very antithesis of the music that he loves and represents. In 2012 he won the highest reggae sound system honour by winning the World Clash Re-Set contest in New York. His autobiography, Rodigan: My Life in Reggae is published by Constable. Hisham Matar is a Libyan writer and the son of Jaballa Matar, a prominent political activist who opposed Colonel Gaddafi's regime. When Hisham was 19 his father was kidnapped while the family were living in exile in Cairo. Hisham would never see his father again. After the fall of Gaddafi in 2011 Hisham was finally able to return to Libya to try to discover what happened to his father. In his memoir, The Return, he recounts his physical and psychological journey to find his father and rediscover his country. The Return: Fathers, Sons and the Land In Between, is published by Penguin. Jackie Malton is a former detective chief inspector in the Metropolitan Police, best known for being the inspiration for the character of DCI Jane Tennison in the Prime Suspect drama written by Lynda La Plante. Her police career started in Leicestershire and in the Met she went on to work in the Flying Squad of the 1980s. As an openly gay women in the police force during that time she found herself at odds in a male world but went on to forge a successful career before retiring to become a script consultant and addiction counsellor. Loudon Wainwright III is a Grammy award-winning singer and songwriter. In his one man show, Surviving Twin, he connects some of his best songs with the writings of his late father Loudon Wainwright Jr, the highly regarded Life Magazine columnist. The show, which has never been performed in the UK, explores issues such as birth, loss, parenthood, pet ownership and mortality and Loudon intersperses a selection of his father's compositions with songs from his own catalogue. Surviving Twin is at the Leicester Square Theatre. Producer: Paula McGinley.

Su Ditta is best known for her work as Associate Curator, Media Arts in the Contemporary Art Department at the National Gallery of Canada and as Head of the Media Arts Section of the Canada Council for the Arts. She has also held posts as Adjunct Curator: Media Arts at the Oakville Galleries and with the Canada Council for the Arts, managing the Media, Visual and Interarts component of  Flying Squad, an organizational/management development and capacity building grant program. Su currently leads Wild Ideas Arts Consulting, a private arts management consulting firm that specializes in providing organizational development and capacity building services for not-for-profit arts and culture organizations, public agencies, and educational institutions. Many listeners will recognize her as a fixture on the Peterborough arts scene.