Podcasts about For Your Love

Biochim Biophys Acta Biomembr. 2017.May;1859(5):813-823iNature Communications 2023. volume 14, number: 794Langmuir 2019 35.30 9944-9953.Page, J. 1970 "Tangerine" Led Zepplinhttps://music.youtube.com/watch?v=KaFjxLMsOuo&si=tNw2PksrxevyVAQ9Gouldman , G. 1965. "For Your Love" Yardbirdshttps://music.youtube.com/watch?v=wWGUjcaMxLs&si=IzlI4ThOVfh1txDvSchubert, F. 1822. Symphony 8 in B Minor . D. 759. and assorted brilliant piano sonatas as only Schubert could have done.https://music.youtube.com/playlist?list=OLAK5uy_mAqAfsCyzNPtNVDxtUUmZdSUY9Ojk6vkE&si=g-GlU4mKjSkivkEA

This is a Special Episode called THE BRITISH INVASION SHOW. It features the seven following stars from this magical era of the 1960s when English artists ruled the pop world and the charts. Each was previously a guest on the podcast.Peter Noone - Herman of Herman's Hermits. They had a spectacular run of hits including “No Milk Today”, “There's A Kind Of A Hush”, “Mrs. Brown You've Got A Lovely Daughter”, “I'm Henry VIII” and their first smash “I'm Into Something Good”.Rod Argent was the keyboard wizard of The Zombies. The band had two massive hits in the ‘60s, “She's Not There” and “Tell Her No”.Allan Clarke was the lead singer for The Hollies, another band that had a string of hits including “On A Carousel”, “Pay You Back With Interest” and “Long Cool Woman In A Black Dress”.Jim McCarty was the drummer for The Yardbirds, whose hits included “For Your Love” and “Heartful Of Soul”. The band had three famous guitarists in succession: Eric Clapton, Jeff Beck and Jimmy Page.Billy J. Kramer was the lead singer of Billy J. Kramer and the Dakotas. They were managed by Brian Epstein, the manager of The Beatles, and were given several Lennon/McCartney songs to record including “Do You Want To Know A Secret”, “I Call Your Name” and “Bad To Me”.Kenney Jones was the drummer for the Small Faces of “Itchycoo Park” fame, then the Faces starring Rod Stewart, and then joined The Who after the death of Keith Moon.John Lodge was the bassist and a singer and composer for The Moody Blues. Their big hits included “Go Now” and “Nights In White Satin”. John's hits included “Ride My See Saw” and “I'm Just A Singer In A Rock And Roll Band”.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.—----------------------------------------ROBERT'S RECENT SINGLES:“MOON SHOT” is Robert's latest single, reflecting his Jazz Rock Fusion roots. The track features Special Guest Mark Lettieri, 5x Grammy winning guitarist who plays with Snarky Puppy and The Fearless Flyers. The track has been called “Firey, Passionate and Smokin!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS____________________“ROUGH RIDER” has got a Cool, ‘60s, “Spaghetti Western”, Guitar-driven, Tremolo sounding, Ventures/Link Wray kind of vibe!CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------“LOVELY GIRLIE” is a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------“SOSTICE” is Robert's single with a rockin' Old School vibe. Called “Stunning!”, “A Gem!”, “Magnificent!” and “5 Stars!”.Click HERE for all links.—---------------------------------“THE GIFT” is Robert's ballad arranged by Grammy winning arranger Michael Abene and turned into a horn-driven Samba. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES”. Robert's Jazz Fusion “Tone Poem”. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com 

Co-founder of the Yardbirds, Jim McCarty, continues to lead this ground-breaking British Invasion Rock band that provides the crucial link between the Blues, British R&B, Psychedelic Rock, and Heavy Metal, while pioneering the use of innovations like fuzztone, feedback and distortion. This drummer, singer, songwriter, and producer is said to be one of the driving forces responsible for the band's haunting sound.Since the birth of the band from 1963 to 1968, to its 1992 induction into the Rock and Roll Hall of Fame, the Yardbirds have been revered for the legendary guitarists who have contributed to the band's history including Eric Clapton, Jeff Beck, and Jimmy Page all ranked in Rolling Stone magazine's list of the 100 Greatest Guitarists of All Time (#35, #5, and #3 respectively).Originally a Blues-based band noted for their signature "rave-up" instrumental jams covering Blues classics like Howlin Wolf's "Smokestack Lighting" and Bo Diddley's "I'm a Man," the Yardbirds later broadened their range into Pop, pioneered Psychadelic Rock, early Hard Rock / Heavy Metal, and contributed to many electric guitar innovations marking those musical genres. The band had a string of hits in the mid 60s including "For Your Love", "Heart Full of Soul", "Shapes of Things", and "Over Under Sideways Down".The Yardbirds are on tour now! For more log onto their website!https://www.theyardbirds.com

Sintonía:  1.- "California Love" (feat. Cory Henry, Dr. Dre) - Sly5thAve  2.- "Kiss From A Rose" (Seal) - MNNQNS 3.- "Our Lips Are Sealed" (Fun Boy Three) - Chris Catalyst 4.- "True Love Will Find You In The End" (Daniel Johnson) - Naima Joris 5.- "Guayaba" (Tito Puente) - Lucho Macedo 6.- "Sweet Dreams" (Eurythmics) - Betty Black & The Family Fortune 7.- "Boogie Joe, The Grinder" (Quincy Jones) - Jiro Inagaki And His Friends 8.- "When Will I See You Again" (Three Degrees) - Billy Bragg 9.- "The Clapping Song" (Shirley Ellis) - Ray Russell10.- "For Your Love" (Yardbirds) - The CTMF11.- "No Limit" (2 Unlimited) - La Jungle Todas las músicas seleccionadas y presentadas por Josele Calabuig desde el estudio 204 de la Casa de la Radio en Prado Del Rey, Madrid.Contacto: www.surcopop.esEscuchar audio

Dedee Pfeiffer, celebrated actress and younger sister of Michelle Pfeiffer, is known for her roles in hit shows like *Cybill* and *For Your Love* and her recent return to television as Denise Brisbane in ABC's *Big Sky.* But Dedee's journey is far more compelling than her screen credits alone. After stepping away from Hollywood for a decade to confront her alcohol addiction and raise her children as a single mom, she emerged not just as a survivor but as an advocate for recovery. During her hiatus, Dedee earned a master's degree in social work from UCLA and worked hands-on with the homeless and those battling mental health challenges. Her recovery journey was marked by courage and resilience, and she's since become a powerful voice for addiction recovery, encouraging others to “recover out loud” and break the stigma around substance abuse. Today, Dedee blends her revitalized acting career with her passion for helping others, sharing her story on platforms like the Betty Ford Center's 40th anniversary event and advocating for the power of support systems and self-healing. Her story isn't just about survival—it's about transformation. Join us as we delve into Dedee Pfeiffer's extraordinary journey on this episode of our podcast. HELP SUPPORT OUR FIGHT AGAINST ADDICTION. DONATE HERE: https://www.patreon.com/theaddictionpodcast   PART OF THE GOOD NEWS PODCAST NETWORK. AUDIO VERSIONS OF ALL OUR EPISODES: https://theaddictionpodcast.com CONTACT US: The Addiction Podcast - Point of No Return theaddictionpodcast@yahoo.com Intro and Outro music by: Decisions by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Source: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100756 Artist: http://incompetech.com/

Graham Gouldman already had written classic ‘60s hits—including the Yardbirds' “For Your Love” and “Heart Full of Soul,” the Hollies' “Bus Stop” and “Look Through Any Window” and Herman's Hermits' “No Milk Today”—by the time he and Manchester schoolmates Lol Creme and Kevin Godley plus ex-Mindbender Eric Stewart formed one of the '70s' most tuneful, innovative bands, 10cc. These four singer-songwriters made four distinct, head-spinning albums, with Stewart and Gouldman's hypnotic “I'm Not in Love” providing the commercial breakthrough. After Godley and Creme split off, Gouldman and Stewart continued on as 10cc, scoring hits with the ebullient earworm “The Things We Do for Love” and the island misadventure “Dreadlock Holiday,” on which Gouldman sings lead. Now Gouldman is the only original member touring under the 10cc banner, and he reflects here on songwriting, collaborating and relationships among ex-bandmates.

Label: Epic 9790Year: 1965Condition: MLast Price: $45.00. Not currently available for sale.Here's a remarkably beautiful copy of this 1960s Rock classic, impossible to find in decent condition but a single I always try to keep in stock. This time I lucked out: This copy miraculously retains pristine audio — so special I recorded it quickly to iTunes and then made an mp3 snippet so you can hear for yourself! "For Your Love" was this seminal Hard Rock group's first and biggest U.S. hit. If I'm not mistaken, this is the combination of Yardbirds that found Jeff Beck playing lead guitar. As I recall, Eric Clapton left the group earlier in 1965, sort of in protest to the other members' interest in abandoning pure Blues and RnB for a catchy pop song like "For Your Love." All I can say is, "For Your Love" may be a catchy pop song as done by some other band, but this Yardbirds manage to put a muscular, almost sinister cast to the number, making it a prime example of hard rock, in the style being hammered out by bands like the Rolling Stones and Animals at the time. Note: This copy comes in a vintage Epic Records factory sleeve. The labels are Mint, and the vinyl (styrene) grades Near Mint, reflecting very faint storage wear. The audio sounds flawless, as far as I can detect (not using headphones but with loud, top-grade reference speakers blasting within 2 feet of my ears). Have a listen to the snippet and see what I mean. (Again, the price reflects a premium for the unbelievably wonderful audio, one of the best I've ever had.) The labels show no track times.

Playlist includes: good tracks and zero cohesivity. Enjoy! Bonnie Dobson - Morning Dew Yeah Yeah Yeahs - Sheena Is A Punk Rocker Prince Fatty, Shniece McMenamim - White Rabbit/ Underwater Love Celesete Carballo - El Arbolito - Live Peaches - Search And Destroy Jonah Yano - Romance ESL Johnny Adams - Even Now  Justice, Connan Mockasin - Explorer DOOPEES - Auntie Kim Sings "Now That You've Gone"/ Love Songs The Yardbirds - For Your Love  Tim Maia - Ela Partiu Eaves Wilder - Are You Diagnosed Nina Miranda - água

DeDee Pfeiffer is an accomplished actress and advocate with a dynamic career spanning over three decades. Known for her vibrant personality and versatility, she has captivated audiences in both film and television. DeDee gained widespread recognition for her roles in popular series like "Cybill" and "For Your Love," as well as her recent work in the critically acclaimed drama "Big Sky." Beyond her acting career, DeDee is a passionate advocate for mental health and addiction recovery, drawing from her personal experiences to inspire and support others. Her journey of resilience and transformation adds a profound layer to her public persona, making her a powerful voice in both the entertainment industry and the advocacy community.   DeDee and I talk meeting for the first time, Dystopia Tonight's MS Benefit, Playboy, Seinfeld, Supernatural, Fan Culture, Chiller Theatre, William Shatner, Being Sober, Siblings that take care of each other, no room for competition, future tripping, using the Michelle card, ghost hunting and more! Enjoy!

Welcome to the Instant Trivia podcast episode 1232, where we ask the best trivia on the Internet. Round 1. Category: Flying Maneuvers 1: To do it to a fire, you cover it, to do it to a plane, you lower one wing. Bank it. 2: Noisy term for flying low over a person or area. Buzzing. 3: Also a Coney Island ride, it's a 360-degree maneuver that starts by pointing the nose upward. Loop-the-loop. 4: In this roll named for a container, the plane revolves once on its longitudinal axis. Barrel roll. 5: Pitch is when the plane's nose moves up or down, and this 3-letter word refers to a left or right motion. Yaw. Round 2. Category: For A Song. With For in quotes 1: We know you remember this 1991 duet between Natalie Cole and her dad, because it's.... "Unforgettable". 2: According to Katy Perry, these title gals will "melt your Popsicle". California girls. 3: Zayn Malik and Taylor Swift teamed up on this song from "Fifty Shades Darker". "I Don't Wanna Live Forever". 4: A Creedence classic says, "It ain't me, I ain't no" this title. "Fortunate Son". 5: "I would give the stars above" in exchange in this '60s classic by the Yardbirds. "For Your Love". Round 3. Category: Arabic 1: A shamal is a wind that whips up this blinding phenomenon. a sandstorm. 2: The number 3 is talaata, and this day of the week is El Talaat. Tuesday. 3: The name of this headdress for men may be related to the word "coif". kaffiyeh. 4: Change 1 letter in "wade" to get this, a gully that's dry except during periods of rain. a wadi. 5: In Arabic, follow a hope about the future, like the train arriving shortly, with this, meaning "Allah willing". inshallah. Round 4. Category: British Inventions 1: A perambulator or pram to the Brits, it was invented in 1733 by William Kent for the Duke of Devonshire's kids. a baby carriage. 2: In 1676 Robert Hooke came up with a universal one of these to manipulate the mirrors of his helioscope. a universal joint. 3: The name of this Scot who invented the steam hammer sounds just like the American who invented basketball. (James) Nasmyth. 4: For the military, zoologist John Kerr developed the "dazzle paint" type of this, something animals also use. camouflage. 5: The miner's safety lamp was also called by the name of this British chemist who invented it in 1815. Sir Humphry Davy. Round 5. Category: Classic Lit 1: This story begins, "All children, except one, grow up". Peter Pan. 2: Edmund Dantes is unjustly accused of aiding the exiled Napoleon and imprisoned for life in this novel. The Count of Monte Cristo. 3: "The Jungle Book" contains a story about Rikki-Tikki-Tavi, one of these animals who protects his human family. a mongoose. 4: In a novel by Frances Hodgson Burnett, 7-year-old Cedric Errol inherits a title and is known as "Little Lord" this. Fauntleroy. 5: In "Gulliver's Travels", the sizes in this land are reduced to 1/12. Lilliput. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

This is a show I've covered in the long long ago, but I was listening to it and wanted to share more of the brilliance from hungry young Zeppelin. January 10, 1969 at the Fillmore West. These early shows are wild and feral, from a band that is completely unknown. Zep I hasn't been released yet. No one knows anything about these guys, until they take the stage. Then it's kaboom. I play Train Kept A Rollin' into I Can't Quit You, Killing Floor (unreal), and How Many More Times from the Mines of Moriah. We finish with a very cool Yardbird's track, For Your Love. Doesn't get much better. They even call out Keith Relf which is pretty cool.

I Only Listen to 90s Music returns with another heater of an episode. They dive into: 01:00 Katt Williams' Truth and Tall Tales 45:27 Reviewing Rolling Stones' Top 100 Songs of the 21st Century 1:02:48 For Your Love and TV Shows People Forgot 1:21:18 Who Ruined New York Hip Hop: 50 Cent, NY Radio or the Southern Explosion 1:33: 01 What songs were playing in East Coast shake clubs in the 90's 1:45:30 Curiosity about what strip club music is played in New York Join the I Only Listen to 90s Facebook Group http://bit.ly/3k0UEDe Follow I Only Listen to 90s Music on IG https://bit.ly/3sbCphv        Follow SOLC Network online Instagram: https://bit.ly/39VL542                           Twitter: https://bit.ly/39aL395                           Facebook: https://bit.ly/3sQn7je                 To Listen to the podcast Podbean https://bit.ly/3t7SDJH                       YouTube http://bit.ly/3ouZqJU                       Spotify http://spoti.fi/3pwZZnJ                      Apple http://apple.co/39rwjD1                            IHeartRadio http://ihr.fm/2L0A2y 

Check out Jim McCarty's official site https://www.jamesmccarty.comIf you would like to donate to "Rock History Music" https://www.paypal.com/donate/?hosted_button_id=VB2DNTLWAK8RNJoin our Patreon to get early access to our videos https://www.patreon.com/RockHistoryChannelsHELP SUPPORT ROCK HISTORY MUSIC..CHECK OUT OUR STORE FOR T-SHIRTS, MUGS ETC https://rock-history-music-store.creator-spring.comOur Instagram account https://www.instagram.com/rockhistorymusic/?hl=enCHECK OUT OUR TIKTOK CHANNEL https://www.tiktok.com/@johnbeaudin80Check out the ‘Rock History Book' PodcastSpotify - https://open.spotify.com/show/0LYdVTfmXN5khxXor8TzPg?si=9OY8tLroRJ6iVgGeUwe6yAiHeart “Rock History Music” Podcast https://www.iheart.com/podcast/269-rock-history-book-80154771/Tune-In “Rock History Music” Podcast https://tunein.com/podcasts/p1419168/Our Apple Podcast Apple Podcast https://podcasts.apple.com/ca/podcast/rock-history-book/id1560259111We have 3 active channelsRock History Music - https://www.youtube.com/channel/UChUv5CZuAuh08DfHA8klNSARock History Book - https://www.youtube.com/channel/UCDKUUfqq_iuwk63pZEUOTIQRock History Canada - https://www.youtube.com/channel/UCFpz17zDi5ShOVQBiNZV8xASupport the show

Join us for as we dive into the world of one of the most influential bands in rock history, The Yardbirds! In this special edition of "My 5 Favorites," we sit down with the legendary Jim McCarty, drummer and founding member of The Yardbirds, as he takes us on a journey through his personal selection of the band's best songs. In the first part of the episode, Jim McCarty talks about the band's breakthrough hit, "For Your Love." Discover the story behind this iconic track and how it helped put The Yardbirds on the map in the UK and the US. Moving on to the second song, Jim shares insights into the unique guitar sound and how Jeff Beck's influence shaped the band's psychedelic feel. Learn about the studio experimentation and the decision to swap the sitar for a fuzz box, giving birth to a distinctive and memorable riff. Finally, Jim gives us a glimpse into the recruitment of Jeff Beck and Jimmy Page as Eric Clapton didn't fit in with the group's new vision and direction. Join us as we explore these fascinating stories and more, delving into the music that defined an era and continues to inspire generations of rock fans. Tune in now to get an exclusive behind-the-scenes view of The Yardbirds through the eyes of Jim McCarty. Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Season 2 of You Are Beautiful with Lawrence Zarian. In this episode, LZ sits down with the beloved actress, Holly Robinson PeeteHolly Robinson Peete is an American actress and singer best known for her roles as Judy Hoffs on the Fox police drama 21 Jump Street, Vanessa Russell on the ABCsitcom Hangin' with Mr. Cooper, and Dr. Malena Ellis on the NBC/The WB sitcom For Your Love. She also served as one of the original co-hosts of the CBS Daytime talk show The Talk. She is also known for her portrayal of Diana Ross in the 1992 miniseries The Jacksons: An American Dream, which also aired on ABC.A children's book by Peete, My Brother Charlie, won her an NAACP Image Award for Outstanding Literary Work in March 2011.Alongside this expansive career, Holly is a wonderful mother, and beautiful wife. Enjoy!

PLAYLIST 01:30 Gregory Echols – It’s My Story 05:30 LaShawn D. Gary – For Your Love (feat. Willie Bradley) 09:30 Kenny Hamilton – Gotta Keep It Up 13:30 Belton Mouras Jr. – Magic All Around Us 16:30 Leon Pressley – Smooth Groove 2 20:00 Walter Kittle – Surrounded by Love 24:00 Jason Jackson – Through the Night 32:30 Greg Manning – Your Love Is Good 34:30 Kim Scott – Magic City Streets 36:00 Bennett B – Nouveau 37:30 Ryan La Valette – Closer To You (feat. Chris Davis) 38:30 COJ STUDIO – URBAN SPRAWL 40:00 Thom Rotella – Virtual Insanity 41:30 Patrick Yandall – Find Your Purpose 43:00 Kayla Waters – Undulation 48:00 David Margam – Immune feat. Carlos Camilo,Andrés García 52:00 Roberto Tola – Valle Della Luna 56:00 THE JAZZ AVENGERS – Unite

Este é só um trechinho da aula de número 218 da série "Aprenda Inglês com Música" com "For Your Love", sucesso de Stevie Wonder", que você encontra aqui no podcast. Trecho estudado: "And for your love I would do anything Just to see the smile upon your face For your love I would go anywhere Just you tell me and I'll be right there" Quer dar aquele up no seu inglês com a Teacher Milena ?

Este é só um trechinho da aula de número 218 da série "Aprenda Inglês com Música" com "For Your Love", sucesso de Stevie Wonder", que você encontra aqui no podcast. Quer dar aquele up no seu inglês com a Teacher Milena ?

Este é só um trechinho da aula de número 218 da série "Aprenda Inglês com Música" com "For Your Love", sucesso de Stevie Wonder", que você encontra aqui no podcast. Trecho estudado: "If all the things that it can bring Can't add up to an ounce of your happiness" Quer dar aquele up no seu inglês com a Teacher Milena ?

Este é só um trechinho da aula de número 218 da série "Aprenda Inglês com Música" com "For Your Love", sucesso de Stevie Wonder", que você encontra aqui no podcast. Trecho estudado: "If all the things that it can bring Can't add up to an ounce of your happiness" Quer dar aquele up no seu inglês com a Teacher Milena ?

Este é só um trechinho da aula de número 218 da série "Aprenda Inglês com Música" com "For Your Love", sucesso de Stevie Wonder", que você encontra aqui no podcast. Trecho estudado: "I could have never fathomed this..." Quer dar aquele up no seu inglês com a Teacher Milena ?

Mariel & Melissa welcome actor and filmmaker Dedee Pfeiffer to Out Comes The Sun! From truly humble beginnings, Dedee, her brother Rick, and her sister's Lori and Michelle Pfeiffer grew up in Midway City, California, as the children of a heating and air conditioning contractor and a homemaker. Dedee Pfeiffer landed her first movie role in John Landis' film "Into the Night" and her first television role in the series "Simon & Simon." She went on to star opposite Grace Jones in the horror cult classic comedy "Vamp," and was in such films as the cult classic "Falling Down" with Michael Douglas and in the award-winning film "L.A., I Hate You." Dedee was cast on "Cybil" as Cybil Shepherd's daughter Rachel. Cybil went on to earn nearly three dozen awards and nominations, picking up three Primetime Emmy awards and the Golden Globe Award for best television series - musical or comedy. Dedee and the rest of the cast were nominated for a Screen Actors Guild Award for outstanding performance by an ensemble in a comedy series. Dedee went on to star in the series "For Your Love" and guest starred in several of the most iconic shows on television, including "Seinfeld," "Friends," two "CSI" series and "ER." In 2020, she began starring as Denise Brisbane in the ABC crime drama series, "Big Sky" created by her brother-in-law David E. Kelley. And although Dedee has officially “made it” a long time ago, in Hollywood as an actor, what she may be most proud of is “making it” in life and in her recent recovery. Get to know Dedee Pfeiffer in this fantastic interview! Follow Dedee on Instagram - @dedeepfeifferofficial Hosts - Mariel Hemingway & Melissa Yamaguchi
 Executive Producer - Jeremiah D. Higgins
 Senior Sound Engineer - Richard Dugan
 Producer and Sound Engineer - Slater Smith Click to Donate to the Mariel Hemingway Foundation
account.venmo.com/u/MHFOUNDATION Follow us on Instagram
www.instagram.com/marielhemingwayfoundation/ Subscribe to the Mariel Hemingway Foundation Youtube Channel Here
www.youtube.com/channel/UCR168j3R1Mtx0iUQXs-VigA

Ed Sheeran took the witness stand in a New York courtroom to deny allegations that his hit song “Thinking Out Loud” ripped off Marvin Gaye's soul classic “Let's Get It On.” Sheeran, 32, was called to testify in the civil trial by the heirs of Ed Townsend, Gaye's co-writer on the 1973 soul classic. The family has accused the English star of violating their copyright, claiming his 2014 hit bore “striking similarities” and “overt common elements” to the famed Gaye track. Sheeran, in a dark suit and tie, was adamant that he had come up with the song himself. His testimony was at times contentious, as he sparred during cross-examination with the plaintiff's attorney, Keisha Rice. In response to video footage played in the courtroom that showed the musician segueing on stage between the two songs, Sheeran said it was “quite simple to weave in and out of songs” that are in the same key. Ben Crump, lawyer for Townsend's heirs, said the case was about “giving credit where credit is due.” Sheeran looked on as his lawyer, Ilene Farkas, insisted that Sheeran and a co-writer, Amy Wadge, wrote their song independently and did not steal from Townsend and Gaye. She said they “created this heartfelt song without copying ‘Let's Get It On.'” The chord progression and basic building blocks in Sheeran's song are frequently used, and didn't appear first in “Let's Get It On,” his lawyer said. “Let's Get It On” has been heard in countless films and commercials and garnered hundreds of millions of streams, spins and radio plays since it came out in 1973. “Thinking Out Loud” won a Grammy for Song of the Year in 2016. The lawsuit was filed in 2017. The trial is expected to last up to two weeks. Townsend, who also wrote the 1958 R&B doo-wop hit “For Your Love,” was a singer, songwriter and lawyer. He died in 2003. Kathryn Townsend Griffin, his daughter, is the plaintiff leading the lawsuit. “I think Mr. Sheeran is a great artist with a great future,” she said in her testimony, adding that she didn't want it to get to this point of the case. “But I have to protect my father's legacy.” This article was provided by The Associated Press.

WATCH THE VIDEO OF THIS EPISODE ON YOUTUBE HERE. Before there was Led Zeppelin, before Jimmy Page first bowed his electric guitar or worked his magic on the theremin, there was The Yardbirds—the legendary 1960s British psychedelic blues band that launched the careers of three of rock's greatest guitarists: Eric Clapton, Jeff Beck, and Jimmy Page.   In this special episode of Rock is Lit, one of the original members of The Yardbirds joins me, and I couldn't be more excited. Drummer and Rock and Roll Hall of Famer Jim McCarty is here.   Jim is recognized world-wide for the innovative drumming style he introduced in the 1960s on songs that are now classics, such as “For Your Love,” “Heart Full of Soul,” “Shapes of Things,” “The Train Kept A-Rollin',” “You're a Better Man Than I,” “Over Under Sideways Down,” and “Happenings Ten Years Time Ago.”   Since the end of The Yardbirds in the ‘60s, Jim has formed a number of successful bands and released three solo albums of his own songs. He is the author of the book ‘Nobody Told Me: My Life with the Yardbirds, Renaissance and Other Stories', published in 2018, and the 2021 book ‘She Walks In Beauty: My Quest For The Bigger Picture', both written with Dave Thompson.   Rock is Lit is a podcast about rock novels, and I'd originally contacted Jim to be a guest in the episode celebrating the audiobook release of my rock novel, ‘Searching for Jimmy Page', but we were not able to make that happen. Later, after that episode aired and after I read Jim's book ‘She Walks In Beauty', inspired by the loss of his beloved wife, Lizzie, and his quest to connect with her following her death, AND after Jim and I finally did make contact and scheduled an interview, I decided to devote an entire episode to him.   In this episode, we talk about Jim's family and childhood during WWII-torn Britain, his music career and experience as a member of The Yardbirds, his interest in and exploration of the paranormal and spirituality, his endearing and enduring relationship with Lizzie, and ‘She Walks In Beauty', the fascinating book that details that relationship as well as Jim's quest for the bigger picture, as the book's subtitle states.   The interview is uncut and only minimally edited. I hope you enjoy it. It was an honor and a thrill to spend some time with one of rock's legends: Jim McCarty.   LINKS: Leave a rating and comment for Rock is Lit on Goodpods: https://goodpods.com/podcasts/rock-is-lit-212451 Leave a rating and comment for Rock is Lit on Apple Podcasts: https://podcasts.apple.com/us/podcast/rock-is-lit/id1642987350   Jim McCarty's website: http://www.jamesmccarty.com/ Jim's 2018 album ‘Walking in the Wild Land' is available to stream and download now: https://m.facebook.com/story.php?story_fbid=pfbid02dnzoj4U768gqvbrEc4Ma7F8HHfqhTLLRTPP7CrEXh4izsgTyuiueN3QFaVeg4q9Xl&id=100063547871100 *Purchase Jim's books and albums at his website *All of Jim's social media links can be found on his website   Christy Alexander Hallberg's website: https://www.christyalexanderhallberg.com/ Christy Alexander Hallberg on Twitter, Instagram, YouTube: @ChristyHallberg Learn more about your ad choices. Visit megaphone.fm/adchoices

WATCH THE VIDEO OF THIS EPISODE ON YOUTUBE HERE. Before there was Led Zeppelin, before Jimmy Page first bowed his electric guitar or worked his magic on the theremin, there was The Yardbirds—the legendary 1960s British psychedelic blues band that launched the careers of three of rock's greatest guitarists: Eric Clapton, Jeff Beck, and Jimmy Page.   In this special episode of Rock is Lit, one of the original members of The Yardbirds joins me, and I couldn't be more excited. Drummer and Rock and Roll Hall of Famer Jim McCarty is here.   Jim is recognized world-wide for the innovative drumming style he introduced in the 1960s on songs that are now classics, such as “For Your Love,” “Heart Full of Soul,” “Shapes of Things,” “The Train Kept A-Rollin',” “You're a Better Man Than I,” “Over Under Sideways Down,” and “Happenings Ten Years Time Ago.”   Since the end of The Yardbirds in the ‘60s, Jim has formed a number of successful bands and released three solo albums of his own songs. He is the author of the book ‘Nobody Told Me: My Life with the Yardbirds, Renaissance and Other Stories', published in 2018, and the 2021 book ‘She Walks In Beauty: My Quest For The Bigger Picture', both written with Dave Thompson.   Rock is Lit is a podcast about rock novels, and I'd originally contacted Jim to be a guest in the episode celebrating the audiobook release of my rock novel, ‘Searching for Jimmy Page', but we were not able to make that happen. Later, after that episode aired and after I read Jim's book ‘She Walks In Beauty', inspired by the loss of his beloved wife, Lizzie, and his quest to connect with her following her death, AND after Jim and I finally did make contact and scheduled an interview, I decided to devote an entire episode to him.   In this episode, we talk about Jim's family and childhood during WWII-torn Britain, his music career and experience as a member of The Yardbirds, his interest in and exploration of the paranormal and spirituality, his endearing and enduring relationship with Lizzie, and ‘She Walks In Beauty', the fascinating book that details that relationship as well as Jim's quest for the bigger picture, as the book's subtitle states.   The interview is uncut and only minimally edited. I hope you enjoy it. It was an honor and a thrill to spend some time with one of rock's legends: Jim McCarty.   LINKS: Leave a rating and comment for Rock is Lit on Goodpods: https://goodpods.com/podcasts/rock-is-lit-212451 Leave a rating and comment for Rock is Lit on Apple Podcasts: https://podcasts.apple.com/us/podcast/rock-is-lit/id1642987350   Jim McCarty's website: http://www.jamesmccarty.com/ Jim's 2018 album ‘Walking in the Wild Land' is available to stream and download now: https://m.facebook.com/story.php?story_fbid=pfbid02dnzoj4U768gqvbrEc4Ma7F8HHfqhTLLRTPP7CrEXh4izsgTyuiueN3QFaVeg4q9Xl&id=100063547871100 *Purchase Jim's books and albums at his website *All of Jim's social media links can be found on his website   Christy Alexander Hallberg's website: https://www.christyalexanderhallberg.com/ Christy Alexander Hallberg on Twitter, Instagram, YouTube: @ChristyHallberg Learn more about your ad choices. Visit megaphone.fm/adchoices

| Got To Be (Extended House Mix)  | Brian Power, Roachford | Searching For Love  | Will Sawney  | I Won't Tell  | Byamm | Shine  | Byamm | Delectable U (T-Groove Remix)  | Confection | I Feel Like Making Love  | Mz. Suga | Starlight  | Destiny La Vibe Music | Right The Wrong  | Natasha Watts | I Do I Did I'm Done  | Natasha Watts | Can You Feel It?  | Dennis Taylor | So Hypnotized (Gedi Radio Edit)  | Antonio McGaha feat. Journey Brave | High (Gedi Clean Edit)  | Terrence Léon | For Your Love  | Joe Irving | Single By Choice  | Joe Irving | Beautiful  | Maysa | Let Me Show You Love  | Terrell Moses | Fool For You  | Tre Williams  | Night With Bluff  | Bluff City | Intuition  | Sade Awele | Not Today (Gedi Edit)  | Delicia feat. Pettidee | That's How Rumors Get Started  | Terrill Carter | Sexy Lady (2023 Version)  | Veira Krew | Welcome To A Dream  | Veira Krew | Count On Me (Head Nod Mix) (Radio Edit)  | Boomtang All-Stars feat. Charlene Smith and Four80East | Takin' All My Lovin'  | Mikey Jimenez | Overrated (Clean Version)  | Kenya Vaun | Never  | Tony Lindsay | How Long (Gedi Edit)  | Shuko, Nia Wyn & Pete Philly feat. Keymer | Immune  | David Margam feat. Carlos Camilo and Andres Garcia | My Way (Radio Edit)  | Champion feat. Daliya Nava | If You Want To Fool Around (2023 Remix)  | D-Funk (Demetrius Manuel) | No Boundaries  | Dee Lucas | Just A Vibe (feat. Ragan Whiteside)  | Dee Lucas | Demon Time  | Alex Vaughn | IYKYK (feat. Muni Long)  | Alex Vaughn | Learn How To Love  | Frank McComb and Walter Williams | I Let Cha  | Krishawna feat. Kion

Born on 10 May 1946 in Manchester, Graham was given his first guitar at the age of 11 and started playing with local bands at 15. He received early encouragement to develop his musical talent from his mother Betty and father Hymie, who also contributed with suggested lyrics and song titles. Graham played with various Manchester bands before forming The Mockingbirds in 1965 (with Kevin Godley on drums), and when the record label Columbia rejected Graham's first single composition for the band, it turned out to be a blessing in disguise. The song, For Your Love, became a huge hit for The Yardbirds. Working by day in a men's outfitters shop and playing by night with his semi-professional band, Graham went on to write a string of hits, such as Pamela, Pamela for Wayne Fontana, For Your Love, Evil Hearted You and Heart Full of Soul (The Yardbirds), Bus Stop and Look Through Any Window (The Hollies), No Milk Today and Listen People (Herman's Hermits), and Tallyman for Jeff Beck. In 1972, along with Eric Stewart, Kevin Godley and Lol Creme, he formed 10cc and enjoyed a string of Top 10 hits, including three No 1s – Rubber Bullets, I'm Not In Love and Dreadlock Holiday – along with Donna (No 2), Art For Art's Sake and Good Morning Judge (both reaching No 5), The Things We Do For Love and I'm Mandy Fly Me (6), and The Wall Street Shuffle (10). It's the enduring popularity of these tracks, along with others such as Bridge To Your Heart from Graham's time in Wax with the late Andrew Gold and songs from film soundtracks including Animalympics, that led to the formation of Heart Full of Songs. Needless to say, the band also features tracks from Graham's acclaimed solo albums, And Another Thing, Love And Work, Play Nicely And Share and 2020's Modesty Forbids.

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

Dorothy Diane "Dedee" Pfeiffer  is an American film and television actress. She is best known for playing Cybill's daughter, Rachel, on the sitcom Cybill (1995-1997), Sheri on the sitcom For Your Love (1998-2002), and her film appearance as Val in The Allnighter (1987).  She is also known for guest appearances on several other 90's sitcoms such as Wings, Ellen, Seinfeld, and Friends. Most recently, she is known for playing Denise Brisbane on the ABC drama Big Sky. Since 2020, the “Cybill” alum has been starring in David E. Kelley's hit ABC crime drama “Big Sky,” which she describes as a “rebirth” after taking a 10-year hiatus to battle addiction issues and raise two children as a single mother. While away from Hollywood, the actress also went back to school, earning a master's degree in social work from UCLA. She says leaving acting behind for a decade provided her with a reality check, as she got to work with the homeless and the Los Angeles County Department of Mental Health.

It has been reported that autism affects approximately 1 in 44 children in the United States and it impacts all racial, ethnic, and socioeconomic groups. Holly Robinson Peete's son, RJ, was diagnosed with autism at age 3. Her journey with RJ empowered her to take an active role in advocating for people with autism. In her new book, Charlie Makes A Splash, which she co-wrote with RJ, Holly and RJ share awareness about autism with other kids who have been touched by it in some way. Holly is an actress, singer and activist. She is known for her roles on 21 Jump Street, Hangin' with Mr. Cooper, and  For Your Love. She also served as one of the original co-hosts of the CBS Daytime talk show, The Talk. Holly's children's book, My Brother Charlie, won her an NAACP Image Award for Outstanding Literary Work in March 2011, and in 2012 the book was awarded the Dolly Gray Children's Literature Award. Music: www.purple-planet.com Show site: www.cyacyl.com

Deana Martin was born in Manhattan to Dean Martin and his first wife, Elizabeth Anne "Betty" McDonald. She moved to Beverly Hills, California, with her family by the age of one. She later went to live with her father and his second wife, Jeanne Biegger. During her childhood, it was not unusual for his Rat Packfriends, Frank Sinatra and Sammy Davis Jr., to visit. Being around them persuaded her to pursue a career in entertainment.Martin trained professionally at the Dartington College of Arts in the United Kingdom.[3] Her theatrical credits include Romeo and Juliet, The Taming of the Shrew, Hamlet, and A Taste of Honey.[4] She co-starred in the National Broadway tour of Neil Simon's play Star Spangled Girl with George Hamilton and Jimmy Boyd. Other starring roles include Wait Until Dark, 6 Rms Riv Vu, A Shot in the Dark, and The Tunnel of Love. She made her major motion picture debut in Young Billy Young with Robert Mitchum, David Carradine, and Angie Dickinson. This debut led to starring roles in the films Strangers at Sunrise with George Montgomery and A Voice in the Night with Vito Scotti.She made her television debut in 1966 on The Dean Martin Show.  She was a frequent guest, performing in musical and comedy numbers with a wide array of entertainers, including Frank Sinatra.She also appeared on A&E Biography, Access Hollywood, CBS Sunday Morning, Country Music Television, E! Entertainment Television, Entertainment Tonight, Larry King Live, Live with Regis & Kelly, Sky Italia, The Bonnie Hunt Show, The Dating Game (where she chose Steve Martinas her date),[11] The Monkees, The Today Show, The Tony Danza Show, The Big Breakfast, and Bruce Forsyth On Vegas. For four seasons she hosted The Deana Martin Show.Since 2021 Martin has hosted Dean and Deana Martin's Nightcap on WABC-770 AM in New York.Martin began her recording career with producer Lee Hazlewood at Reprise Records. The recordings included her country music hit "Girl of the Month Club" while she was a teenager. Other tunes were "When He Remembers Me", "Baby I See You", and "The Bottom of My Mind", all recorded during the 1960s. Musicians from the Wrecking Crew, including Glen Campbell, played on these recordings.Memories Are Made of This was released in 2006. She covered some of her father's hit songs, including the title cut and "Everybody Loves Somebody", "That's Amore", "Just Bummin' Around", and "For Your Love" written by her mother Betty Martin. She also sang a duet with her father's former comedy partner Jerry Lewis on "Time After Time." The album was produced by her husband John Griffeth and reached the iTunes Top 10 chart, where it remained for 40 weeks throughout 2006 and 2007.By 2008, after her tour, she was ready to record again. She went into the studio at Capitol Records with the same personnel to record Volare, released in 2009. It debuted at number seven on the Billboard magazine Heat Seek chart, reached No. 22 on the magazine's Jazz Albums Chart, and appeared in the iTunes Top 10 chart.The song "Volare" peaked at No. 40 in Billboard magazine. Martin was back in the studio working on Destination Moon (2013). Her fourth album includes "Break It to Me Gently", "I Love Being Here With You", and "Beyond the Sea" and four new songs: "Read Between the Lines", "Where Did You Learn to Love Like That", "Paradise", and "Stuck in a Dream with Me". She sang a duet with her father on the Cole Porter song "True Love". Swing Street was released in 2016. She talked to Doug Miles about the album on his show

Jim McCarty is the original drummer for The Yardbirds, one of the greatest bands of the British Invasion era of the 1960s. They had a string of hits including “For Your Love” and “Heartful Of Soul”. But the band is perhaps best known for having three of the greatest guitarists of the rock era in succession: Eric Clapton, Jeff Beck and Jimmy Page.My featured song in this episode is “Right Now”. Spotify link here. “Dream With Robert Miller”. Click here.---------------------------------------------   In this episode Jim and I discuss:The British Invasion eraForming The YardbirdsTheir American tour in 1965Eric ClaptonThe Jeff Beck eraJimmy Page together with Beck Songfest:“For Your Love”“Heartful Of Soul”“Shapes Of Things”“Over, Under, Sideways, Down”“Happenings Ten Years Time Ago” If you enjoyed the show, please Subscribe, Rate, and Review. Just Click Here. “All Of The Time” is Robert's most recent single by his band Project Grand Slam. It's a playful, whimsical love song. It's light and airy and exudes the happiness and joy of being in love. The reviewers agree. Melody Maker gives it 5 Stars and calls it “Pure bliss…An intimate sound with abundant melodic riches!”. Pop Icon also gives it 5 Stars and calls it “Ecstasy…One of the best all-around bands working today!”. And Mob York City says simply “Excellence…A band in full command of their powers!” Watch the video here. You can stream “All Of The Time” on Spotify, Apple, Amazon or any of the other streaming platforms. And you can download it here. “The Shakespeare Concert” is the latest album by Robert's band, Project Grand Slam. It's been praised by famous musicians including Mark Farner of Grand Funk Railroad, Jim Peterik of the Ides Of March, Joey Dee of Peppermint Twist fame, legendary guitarist Elliott Randall, and celebrated British composer Sarah Class. The music reviewers have called it “Perfection!”, “5 Stars!”, “Thrilling!”, and “A Masterpiece!”. The album can be streamed on Spotify, Apple and all the other streaming services. You can watch the Highlight Reel HERE. And you can purchase a digital download or autographed CD of the album HERE.  “The Fall Of Winter” is Robert's single in collaboration with legendary rocker Jim Peterik of the Ides Of March and formerly with Survivor. Also featuring renowned guitarist Elliott Randall (Steely Dan/Doobie Brothers) and keyboard ace Tony Carey (Joe Cocker/Eric Burden). “A triumph!” (The Indie Source). “Flexes Real Rock Muscle!” (Celebrity Zone). Stream it on Spotify or Apple. Watch the lyric video here. Download it here. Robert's “Follow Your Dream Handbook” is an Amazon #1 Bestseller. It's a combination memoir of his unique musical journey and a step by step how-to follow and succeed at your dream. Available on Amazon and wherever books are sold. Connect with Jim at:Website: http://www.jamesmccarty.comFacebook https://www.facebook.com/profile.php?id=100063451668431&ref=sgm  Connect with the Follow Your Dream Podcast:WebsiteFacebookLinkedInEmail RobertYouTube Listen to the Follow Your Dream Podcast on these podcast platforms:CastBoxSpotifyApple Follow Robert's band, Project Grand Slam, and his music:WebsiteInstagramPGS StoreYouTubeFacebookSpotify MusicApple MusicEmail

Hello from Drum Channel! Billy Amendola is with his guest today Jim McCarty, co-founder and original member of the 60's English band the Yardbirds.  Not many can claim to have drummed for three early bandmates who went on to become the greatest guitarists in the world, Eric Clapton, Jimmy Page, and Jeff Beck, who were all in the same band for a short period.  As part of the sixties British Invasion, the band had a string of hits, including the 1965 top-charting songs "For Your Love,” “Heart Full of Soul,” and “Shape of Things.” Jim is currently on the road with a new line-up as we speak and was kind enough to take a bit of time between shows to talk about his early days and touring today. Also, popping on to say hello is Yardbirds guitarist Godfrey Townshed.  The new group also features along with Townshed and McCarty, bassist Kenny Aaronson.  Jim has been the only drummer/band member in the group for the past five decades. Let's listen! 

This week, we're joined by the one and only Holly Robinson Peete.  She wears many hats - actress, author, talk show host, activist, philanthropist. With her husband, NFL great Rodney Pete she has four children.  One of those children is her 24-year-old son RJ - who co-wrote with Holly the just-released children's picture book called “Charlie Makes a Splash”.It celebrates the power of water for those who have autism and promotes awareness and acceptance about autism with other children. We've long been inspired by Holly's leadership and how she has modeled what a powerful and determined Mom can do to support her kids as they uniquely need to be supported.This amazing woman has many insights to share and you'll be kicking yourself if you miss this episode.  The secret this week is…Swim To Your OWN Rhythm You'll Discover:A Big Misconception (4:17)What You Can NEVER Allow (6:22)The #1 Issue Autism Parents Face (14:22)What Young Adults With Autism Want (16:38)What to Allow Space For (23:09)What Would Have Been So Useful Early On (24:20)Why Learning Acceptance Early Matters So Much (28:19)A Huge Issue That Gets Little Attention (36:19) About Our Guest:Holly Robinson Peete is an American actress, singer and activist. She is known for her roles as Judy Hoffs on the Fox TV police drama 21 Jump Street, Vanessa Russell on the ABC sitcom Hangin' with Mr. Cooper, and Dr. Malena Ellis on the NBC/WB sitcom For Your Love. She also served as one of the original co-hosts of the CBS Daytime talk show, The Talk. Peete's children's book, My Brother Charlie, won her an NAACP Image Award for Outstanding Literary Work in March 2011. In 2012 the book was awarded the Dolly Gray Children's Literature Award.https://www.instagram.com/hollyrpeete/https://www.facebook.com/HollyRPeeteReferences In This Episode:Charlie Makes a Splash by Holly Robinson Peete and RJ PeeteMy Brother Charlie by Holly Robinson Peete and Ryan Elizabeth PeeteSame But Different by Holly Robinson PeeteNot My Boy by Rodney PeeteHollyRod Foundation hollyrod.orgAdditional Resources:Take The Quiz: What's YOUR Top Autism Parenting Blindspot?Free Resource: 33 Mistakes Most Autism Parents Make and How To Avoid ThemGot a Picky Eater? - this can helpTo learn more about Cass & Len, visit us at www.autismparentingsecrets.comBe sure to follow Cass & Len on InstagramIf you enjoyed this episode, share it with your friends.Don't forget to subscribe to the show on Apple Podcasts to get automatic episode updates for our "Autism Parenting Secrets!"And, finally, please take a minute to leave us an honest review and rating on Apple Podcasts. They really help us out when it comes to the ranking of the show and we read every single one of the reviews we get. Thanks for listening!

Film Florida Podcast Episode 94- Frank Pace is a 4-time Emmy Nominated Producer and Executive Producer with more than 700 episodes of network television to his credit. He's produced 16 pilots, 12 of which went to series. His credits include "Head of the Class," "Suddenly Susan," "George Lopez," "For Your Love," "Shake it Up," "Girl Meets World" and "Murphy Brown," just to name a few. Frank currently hosts his own podcast and he's a proud graduate of Jacksonville University. Audio editing by Rob Hill.

Screen capture of McCarty during our Zoom-based interview. Jim McCarty is one of the founding members of The Yardbirds, and he's recently published his second book, She Walks in Beauty: My Quest for the Bigger Picture. It's a journey that starts with the death of his wife Lizzie and then jumps back to earlier in his life, as he examines the various things that connect us to parts of the world that are just beyond our reach. I was hooked immediately when I began reading this book, and no doubt you will be too. There's a search for spirituality weaved among stories about his musical career with, and since, the Yardbirds, and how the two occasionally intertwined. You can order the book from this site, or you can check out all the usual outlets (but it's guaranteed to be in stock there). At any rate, because he's living in France and I'm living in Baltimore, he and I communicated via Skype. It was supposed to be Zoom, but he couldn't get it to work. Then I couldn't get it to work. So we bailed out and jumped over to Skype, where my camera wouldn't work but at least we could hear each other. I'm so glad we both persevered, because I think we had a fantastic conversation, and the date of the interview turned out to be important to both of us, for similar reasons. At one point we talk about the Krishna Das cover of "For Your Love", which I gave him a heads-up that I wanted to talk about, and it turns out that he was quite familiar with it, and a little bit more. There's a short clip in the interview but the whole thing is here, and worth a listen. It's probably in my Top Ten all-time tracks: Enjoy! Jim McCarty Official Website Yardbirds Official Website Sarcoma Foundation of America Click here to become a patron of the show.  (Sorry, no transcript for this episode.)

On this episode of The It's Only Rock And Roll Podcast, founding member and drummer of The Yardbirds, JIM McCARTY talks about the band's multi-decade career, starting out as England's most authentic rhythm & blues band, that gave rise to guitarists Eric Clapton, Jeff Beck, Jimmy Page, and helped usher in progressive and heavy rock. We discuss the backstory behind classics like “For Your Love” and “Dazed and Confused”, why Clapton really left the group, recording one of their hit singles at Sun Studios with Sam Philips, recollections surrounding the sudden death of lead singer Keith Relf, and the current success of The Yardbirds following their induction into The Rock & Roll Hall of Fame. ------------------------------------------------ ֎ For more on Jim McCarty and The Yardbirds including Tour Dates, News, Photos - http://www.jamesmccarty.com/ ֎ To purchase Jim McCarty's book “Nobody Told Me: My Life with The Yardbirds, Renaissance and Other Stories” - https://amzn.to/3AukwSg Visit the 'It's Only Rock And Roll PODCAST' online at: ● Homepage – http://www.ItsOnlyRockAndRollPodcast.com ● Facebook – http://www.facebook.com/ItsOnlyRockAndRollPodcast/ ● YouTube - https://www.youtube.com/channel/UCCFB7uJ3dg4IKSxsNny9Jiw/videos ● Audea.io - https://audea.io/ ● Instagram - @itsonlyrockandrollpodcast Be sure to check out our all-new OFFICIAL IORR PODCAST STORE! https://www.cafepress.com/iorrpodcast © 2022 Howlaround Productions. All rights reserved.

Harvey Brownstone conducts an in-depth interview with Melba Moore, Legendary Singer, Actress and Recording Artist About Harvey's guest: Today's guest is Melba Moore, the iconic, award-winning music superstar who's been dazzling audiences with her incredibly beautiful and soulful 5-octave voice since she burst on the scene in the late 60s in the original cast of the Broadway musical, “Hair”.    She then was one of the first Black women to win a Tony Award for Best Actress in a Musical, for her performance in “Purlie”.   She's hosted 2 television variety shows and appeared in hit movies like “All Dogs Go to Heaven” and “The Fighting Temptations”.  She was the first African American woman to play “Fantine” on Broadway in “Les Miserables”.  But ultimately, it's her FABULOUS voice that earned her THREE Grammy nominations and made her a music legend in songs like “Lean On Me," “This Is It," “You Stepped Into My Life," “Read My Lips”, "Love's Comin' At Ya," "Livin' For Your Love," "Falling", and "A Little Bit More" her #1 duet with Freddie Jackson.   She's recorded 28 spectacular albums, including 2 sensational live albums, and a beautiful duet album entitled, “The Gift of Love”.   And NOW, she's released her BRAND NEW album entitled, “Imagine”.  She's received numerous awards including a Drama Desk Award, the Ellis Island Award, the Artist Guild Award, and the NAACP Spingarn Award.  She's been inducted into the Official Rhythm & Blues Music Hall of Fame.  And her 5-decade career is being honoured with displays at the Grammy Museum, and the Smithsonian.   In August, she'll be presented with the Presidential Lifetime Achievement Award by President Joe Biden.    “Music is what God allows me to do," declares Melba Moore. Born into a musical family, music chose Melba. “Music was a centerpiece in my family. My parents were musicians and so were many of my aunts and uncles." Melba's father is the legendary big band leader Teddy Hill and her mother, Bonnie Davis, had a #1 hit on the R&B charts with the song “Don't Stop Now." Melba Moore's produced version of “Lift Every Voice and Sing" which was entered into the United States Congressional Record as the official Negro National Anthem in 1990, was just named an ‘American Aural Treasure,' by the National Recording Registry of the Library of Congress for Ms. Moore's co-produced recorded rendition of the anthem. For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ https://www.melbamoore.com/ https://www.instagram.com/melba1moore/ https://www.facebook.com/mooremelbahttps://www.youtube.com/user/MelbaMooreMusic #MelbaMoore  #harveybrownstoneinterviews

Donald Warren (D.W.) Moffett has had a long and illustrious career in show business with over 100 movies and TV credits, including starring roles in Friday Night Lights, For Your Love, Switched at Birth, Chicago Med & How To Commit Murder.Born in Highland Park, Illinois and a graduate of Stanford University, D.W. originally had no inclination to become an actor, as he actually set out on a career as a diplomat. A chance meeting with a group of friends started his career.Moffett learned his craft in stage productions in Chicago with John Malkovich and Gary Sinise before starring in the original New York City production of Larry Kramer's The Normal Heart in 1985. He subsequently starred in a Broadway production of The Boys of Winter. He made his feature film debut in Bob Rafelson's thriller, Black Widow, before portraying a serial killer in the thriller Lisa. Moffett had a supporting role in Bernardo Bertolucci's drama Stealing Beauty, and went on to star in the network series For Your Love  alongside Holly Robinson Peete and James Lesure.Other film credits include Steven Soderbergh's Traffic, which earned Moffett a Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion Picture, and the coming-of-age drama Thirteen.In 2017, Moffett was named Chairman of the School of Film and Television at Savannah School of Art's and Design.He is the father of International Superstar model, Lillie Stewart.Be sure to join Mick and Mook on June 1 for this extremely interesting interview. 

When last week's episode ended with Olivia Benson being taken captive by über-psychopath William Lewis, we knew that we'd be going deep into the darkest hour of SVU's storied run this week. This is 43 full minutes of torture porn so bleak and visceral that it's honestly shocking it aired on network television. Please prepare yourself for how messed up this episode is. Thankfully, Josh and Adam munch it up by talking about a diverse range of European arthouse classics you wouldn't want to bring a date to, our coffeeshop orders, and whether or not Pizza Boy exists within the Fur Humper Cinematic Universe. Oh, and lest we forget, Adam has an outlandishly bold theory which just might change the way you look at Olivia Benson forever. Enjoy! Music: Divorcio Suave - “Munchy Business” 18:16 - John Cale - "Fear Is A Man's Best Friend" from Fear (1974) 37:11 - Gwen McCrae - "90% Of Me Is You" from For Your Love (2012) 56:13 - Richard Strass - Berliner Philharmoniker - Karl Böhm - Also Sprach Zarathustra, Op. 30, TrV 176: I. Prelude (Sonnenaufgang) from R. Strauss: Tone Poems (1999) Thanks to our gracious Munchies on Patreon: Jeremy S, Jaclyn O, Pedro H, Amy Z, Emily L, Nikki B, Louise M, Whitney C, D Reduble, Tony B, and Zak B - y'all are the best! Be a Munchie, too! Support us on Patreon: patreon.com/munchmybenson Follow us on: Twitter, Facebook, Instagram, and Reddit (Adam's Twitter and Josh's Twitter) Check out Munch Merch: Zazzle Finally! Check out our guest appearances on: FMWL Pod and Chick-Lit at the Movies Visit Our Website: Munch My Benson Email the podcast: munchmybenson@gmail.com Next Week's Episode: Season 15, Episode 2 "Imprisoned Lives"

#95-91Intro/Outro: Gimme Some Lovin' by The Spencer Davis Group95. Bad Moon Rising by Creedence Clearwater Revival *94. The Times They Are A-Changing by Bob Dylan *93. It's a Man's Man's Man's World by James Brown92. For Your Love by The Yardbirds91. Suite: Judy Blue Eyes by Crosby, Stills and NashVote on your favorite songs from today's episodeVote on your favorite song from Week 4 of the 50's* - Previously played on the podcast

After a 10-year absence from Hollywood, Dedee Pfeiffer is back starring on the new David E. Kelley helmed drama, BIG SKY. The series is set in rural Montana where private detectives search for two sisters who have been kidnapped by a truck driver on a remote highway. After a successful first season, ABC has picked it up for season 2! During her recent time away from Hollywood, Pfeiffer has been hard at work earning a Bachelors Degree in Psychology at Pierce College, Valley College and California State University Northridge. It was at UCLA where she earned a Masters of Social Work. Her area of concentration includes mental illness, substance use and homelessness. Television fans will know this talented actress from her series regular roles on FOR YOUR LOVE with Holly Robinson Peete, Tamala Jones and James Lesure and from the award winning comedy series CYBILL opposite Cybill Shepherd and Christine Baranski. This series won a SAG Award for Outstanding Ensemble Series. Other notable small screen guest roles include but are not limited to ELLEN, SEINFELD, CSI, CSI:NEW YORK, WANTED, FRIENDS and ER. No stranger to the big screen, Pfeiffer also had impressive roles in the films RED SURF opposite George Clooney, FALLING DOWN with Michael Douglas, TUNE IN TOMORROW with Keanu Reeves and INTO THE NIGHT with Jeff Goldblum. Early in her career, she starred in the indie cult film VAMP with the legendary music icon, Grace Jones. In addition, she has dozens of other studio and independent films to her credits including producing the indie award-winning film LOREDO. The short film, THE TUB in which she starred and produced won multiple awards including a festival Best Actress Award. Dedee Pfeiffer, the single mother of two bright and talented young men is happy to be back working at her creative craft. She is eager to return to the living rooms of television fans everywhere with the highly anticipated fall premiere of BIG SKY. @dedeepfeifferofficial- Instagram John and George's Conversations are about film, music, health, and life. Two cousins from the Bronx who are bringing you entertainment through great conversations. Nothing complicated. Just good talk and some funny commentary. :) Join them LIVE every Tuesday at 8 pm EST 7PM Central https://lnkd.in/eRbxWUB You may also email them at counterpartspodcast@gmail.com. they love to hear from viewers!

DEEDEE PFEIFFER!! After a 10-year absence from Hollywood, Dedee Pfeiffer is back starring on the new David E. Kelley helmed drama, BIG SKY. The series is set in rural Montana where private detectives search for two sisters who have been kidnapped by a truck driver on a remote highway. After a successful first season, ABC has picked it up for season 2! During her recent time away from Hollywood, Pfeiffer has been hard at work earning a Bachelors Degree in Psychology at Pierce College, Valley College and California State University Northridge. It was at UCLA where she earned a Masters of Social Work. Her area of concentration includes mental illness, substance use and homelessness. Television fans will know this talented actress from her series regular roles on FOR YOUR LOVE with Holly Robinson Peete, Tamala Jones and James Lesure and from the award-winning comedy series CYBILL opposite Cybill Shepherd and Christine Baranski. This series won a SAG Award for Outstanding Ensemble Series. Other notable small-screen guest roles include but are not limited to ELLEN, SEINFELD, CSI, CSI:NEW YORK, WANTED, FRIENDS and ER. No stranger to the big screen, Pfeiffer also had impressive roles in the films RED SURF opposite George Clooney, FALLING DOWN with Michael Douglas, TUNE IN TOMORROW with Keanu Reeves and INTO THE NIGHT with Jeff Goldblum. Early in her career, she starred in the indie cult film VAMP with the legendary music icon, Grace Jones. In addition, she has dozens of other studio and independent films to her credits including producing the indie award-winning film LOREDO. The short film, THE TUB in which she starred and produced won multiple awards including a festival Best Actress Award. Dedee Pfeiffer, the single mother of two bright and talented young men is happy to be back working at her creative craft. She is eager to return to the living rooms of television fans everywhere with the highly anticipated fall premiere of BIG SKY. @dedeepfeifferofficial- Instagram About Counterparts: Join us for conversations about film, music, health, and life. Two cousins from the Bronx are bringing you entertainment through great conversations. Nothing complicated. Just good talk and some funny commentary. It's LIVE so bring your questions and commentary too! Join us LIVE every Tuesday at 8 pm EST 7PM Central https://lnkd.in/eRbxWUB Thank you for watching and supporting our channel! To further support and become part of our Counterparts Crew, Please visit our merch store! https://lnkd.in/egMwAmT You may also email us at counterpartspodcast@gmail.com. We love to hear from our viewers!

Name: Nikki ClarkeCurrent title: Founder/Host of the Nikki Clarke ShowCurrent organisation: The Nikki Clarke ShowNikki Clarke, is the founder, producer, and host of the multiple award-winning talk show, The Nikki Clarke Show on Afroglobal TV Network and on www.nikkiclarkenetwork.com. Nikki just recently launched her women's fashion line , Navaan. Nikki, an accomplished singer /songwriter, has released a gospel single entitled, “For Your Love”, Spring 2021. The music video for ” For Your Love” was featured September 2021 in the Canadian International Faith and Family Film Festival. Nikki is the Immediate Past President of the Ontario Black History Society. Nikki is an ordained lay pastor with over 25 years of experience as a community activist. Nikki is an honouree of the 100 Accomplished Black Canadian Women in 2022 and nominated 100 Dynamic Leaders for 2021 by Exeleon Magazine. Nikki is currently an MBA Candidate at the Australian Institute of Business. Nikki is the proud mother of 3 adult children.Resources mentioned in this episode:Free Download of The Leadership Survival Guide (10 World-Class Leaders Reveal Their Secrets)The Leadership Conversations PodcastThe Jonno White Leadership PodcastThe Leadership Question of the Day PodcastClarity Website7 Questions on Leadership SeriesWe'd Love To Interview YOU In Our 7 Questions On Leadership Series!Subscribe To Clarity's Mailing ListJonno White's eBook Step Up or Step OutJonno White's Book Step Up or Step Out (Amazon)

Maxwell had his first professional appearance as a drummer at the age of twelve; his career began with blues guitarist Jesse Ed Davis. He then belonged to The Third Avenue Blues Band, who produced an album with T-Bone Burnett in 1969. In 1972 he moved to Los Angeles with the band Andraé Crouch and the Disciples. There he also worked as a producer, including for The Winans and Andraé Crouch. He also founded the jazz formation Koinonia with Abraham Laboriel in 1980 and was musical director of various television shows such as The Jamie Foxx Show, Martin, Living Single, For Your Love, or amen. As an accompanist, he has worked on recordings by Cassandra Wilson, T-Bone Burnett, Ray Charles, Billy Preston, Quincy Jones, The Crusaders, The Nappy Roots, Freddie Hubbard, Anita Baker, and Luther Vandross. As a music producer, he worked on the soundtrack of films by the Coen brothers ( Ladykillers ) and John Turturro ( Romance & Cigarettes ) and was involved as a musician in the film Walk the Line. Maxwell is currently a member of the band Open hands with Abraham Laboriel, Justo Almario, and Greg Mathieson. In 2007 Bill Maxwell was inducted into the Oklahoma Jazz Hall of Fame. The Carl Jackson Podcast is available on Spotify. See new episodes every Tuesday night at 10/9c on CJC. CJC is available on LOCAL NOW, DistroTV channel 170, SimulTV channel 33, SelectTV channel 415, AtariVCS channel 33, and channel 54 on Tikilive in every city in America, Canada, and Latin America. Internationally you can watch on HedexTV and LimeX Broadcasting systems.

Best known for her long running role as Angie Lopez in the ABC hit series, George Lopez, Constance Marie has been delighting audiences for more than 25 years.  Constance, who first broke through as Marcela Quintanilla (mother of Selena Quintanilla) in the film Selena of 1997, will soon will be starring in the upcoming Amazon Prime's Latinx rom-com series, With Love, which premieres in December. Created and written by Gloria Calderon Kellett (One Day at a Time), the five-hour-long episodes are set during a different holiday. With Love follows the multi-generational Diaz family for 12 months, as they experience the highs and lows of life during some of the most heightened days of the year. .From 2011 to 2017, Marie had a starring role in the ABC Family/Freeform drama series Switched at Birth, portraying as Regina Vasquez, the birth mother of one of the girls and legal mother of the other. She has also starred in Law and Order True Crime, Spin City, CSI and For Your Love, amongst her litany of credits.Constance was awarded Best Actress Award by both the Imagine and the Alma Awards committees.  This promises to be another fun interview for Billy and Frank on A Mick A Mook and A Mic.

Harvey Brownstone conducts an in-depth interview with Diana Eden, Emmy nominated Costume Designer & Author of “Stars in their Underwear: My Unpredictable Journey from Broadway Dancer to Costume Designer for Some of Hollywood's Biggest Stars”.About Harvey's guest:Diana Eden is a costume designer for the stage, television, and film. She has been nominated for one Primetime Emmy Award and two Daytime Emmy Awards, an award-winning Costume Designer who has created costumes for many of Hollywood's biggest stars, such as George Clooney, Debra Messing, Kaley Cuoco, and many more! She has designed for dozens of prime time TV series, TV movies, pilots, films, and stage productions, in Hollywood, New York, and Las Vegas.Eden began dancing at the age of five and by the age of fifteen she was dancing with the National Ballet of Canada, for the company's touring performance of Swan Lake. She made her debut in the show's 1955 performance in Washington D.C. Eden grew too tall for ballet, despite being called "one of the National Ballet of Canada's most brilliant young dancers" by the Toronto Star.In 1974, Eden received a contract to provide some of the costumes for Ann-Margret and her dancers for her Las Vegas act at Caesar's Palace.  Eden began designing for additional stage shows as well.  In 1980 she became a designer full-time and continued to design for the stage, including shows produced for Broadway.  She also assisted Bob Mackie for the Las Vegas stage show Jubilee! as it entered the MGM Grand Hotel, working under Mackie at Elizabeth Courtney Designs. In 1984, she received a Los Angeles Drama Critics Circle Award for Costume Design for her work on the stage play Tamara.From 1985 to the series end in 1988, Eden was the resident designer for the television sitcom The Facts of Life, designing up to 40 original outfits per week for the show that featured a largely young female cast.  She also became the costume designer for the long-running television series Santa Barbara. In 1993 she was nominated for a Primetime Emmy Award for Outstanding Costumes for a Series for her work on the television series A League of Their Own.In the mid-1990s, Eden was the costume designer for the television drama Sweet Justice, the sitcom Ned and Stacey and the television show Family Law, which aired between 1999 and 2002.  She has also been the costume designer for the television soap opera Passions.  In both 2007 and 2008 she was nominated for an Outstanding Achievement in Costume Design for a Drama Series Daytime Emmy award for her work on the show.  Other shows Eden designed include The Tony Danza Show, For Your Love, and Ladies Man. Television and feature films she has designed include Making Contact, Stealing Christmas, and Stealing Las Vegas.For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/https://www.dianaedendesigns.com/https://www.facebook.com/dianaedendesigns/https://twitter.com/DianaEdenDesignhttps://www.youtube.com/user/dedenla1https://instagram.com/dedenla#DianaEden  #DianaEdenDesigns  #harveybrownstoneinterviews

This week's guest is the amazing, down-to-earth Holly Robinson Peete who you might recognize from her acting roles but has evolved through her personal experience into being a voice for her father, her son, and her community to become one of the most trusted advocates for consistent and reliable education, outreach and support for both Parkinson's and autism. Through Holly's father, Matthew Robinson, who served as producer and portrayed the original beloved character of 'Gordon' on the iconic children's program, "Sesame Street", Holly was exposed to the entertainment industry first-hand when as a four year-old, she appeared on television opposite her father. She knew at a young age that entertainment was her calling. Born in Philadelphia and raised in Los Angeles from the age of 10, Holly completed her undergraduate studies at the prestigious Sarah Lawrence College where she majored in Psychology and French. She spent her junior year studying abroad at Sorbonne University in France and became fluent in the language. Soon thereafter, with an introduction from her mother, powerhouse talent agent Delores Robinson, she landed a part opposite the newcomer Johnny Depp on the hit series, "21 Jump Street" and then went on to star in many other successful tv series including "Hangin' with Mr. Cooper" and "For Your Love". Holly has also been in thirteen Hallmark movies and, in early 2021, starred in the mystery mini-series, "Morning Show Mysteries" on Hallmark's Movies and Mysteries channel. In 1997, Holly and her husband, former NFL quarterback Rodney Peete, formed the HollyRod Foundation, inspired by her father's courageous battle with Parkinson's disease, with the mission to help improve the quality of life of people with Parkinson's. HollyRod's mission expanded to provide support and resources to those affected by autism after her eldest son was diagnosed. Most recently, the Foundation opened RJ's Place Vocational and Family Support Services Center in Los Angeles to provide training and job opportunities for young adults with Autism Spectrum Disorder (ASD) as well as support services to their families free-of-charge. In this episode, Holly and long-time family friend, host Brad Johnson share memories of Holly's journey, her upbringing and arrival in LA as a child, meeting her handsome star quarterback husband and how 21 Jump Street launched her acting career. She also discusses forming of the Hollyrod Foundation including the good work it's doing and it's well-known annual fundraising event, travel abroad with Magic Johnson, LL Cool J and Samuel Jackson families this summer and, finally, how she balances her busy life! * * * Please follow @CornerTableTalk on Instagram and Facebook For more information on host Brad Johnson or to join our mailing list, please visit: https://postandbeamhospitality.com/ For questions or comments, please e.mail: info@postandbeamhospitality.comSee omnystudio.com/listener for privacy information.See omnystudio.com/listener for privacy information.

Episode 126 of A History of Rock Music in Five Hundred Songs looks at “For Your Love", the Yardbirds, and the beginnings of heavy rock and the guitar hero.  Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "A Lover's Concerto" by the Toys. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, I've created a Mixcloud playlist, with full versions of all the songs excerpted in this episode. The Yardbirds have one of the most mishandled catalogues of all the sixties groups, possibly the most mishandled. Their recordings with Giorgio Gomelsky, Simon Napier-Bell and Mickie Most are all owned by different people, and all get compiled separately, usually with poor-quality live recordings, demos, and other odds and sods to fill up a CD's running time. The only actual authoritative compilation is the long out-of-print Ultimate! . Information came from a variety of sources. Most of the general Yardbirds information came from The Yardbirds by Alan Clayson and Heart Full of Soul: Keith Relf of the Yardbirds by David French. Simon Napier-Bell's You Don't Have to Say You Love Me is one of the most entertaining books about the sixties music scene, and contains several anecdotes about his time working with the Yardbirds, some of which may even be true. Some information about Immediate Records came from Immediate Records by Simon Spence, which I'll be using more in future episodes. Information about Clapton came from Motherless Child by Paul Scott, while information on Jeff Beck came from Hot Wired Guitar: The Life of Jeff Beck by Martin Power. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today, we're going to take a look at the early career of the band that, more than any other band, was responsible for the position of lead guitarist becoming as prestigious as that of lead singer. We're going to look at how a blues band launched the careers of several of the most successful guitarists of all time, and also one of the most successful pop songwriters of the sixties and seventies. We're going to look at "For Your Love" by the Yardbirds: [Excerpt: The Yardbirds, "For Your Love"] The roots of the Yardbirds lie in a group of schoolfriends in Richmond, a leafy suburb of London. Keith Relf, Laurie Gane, Paul Samwell-Smith and Jim McCarty were art-school kids who were obsessed with Sonny Terry and Jimmy Reed, and who would hang around the burgeoning London R&B scene, going to see the Rolling Stones and Alexis Korner in Twickenham and at Eel Pie Island, and starting up their own blues band, the Metropolis Blues Quartet. However, Gane soon left the group to go off to university, and he was replaced by two younger guitarists, Top Topham and Chris Dreja, with Samwell-Smith moving from guitar to bass. As they were no longer a quartet, they renamed themselves the Yardbirds, after a term Relf had found on the back of an album cover, meaning a tramp or hobo. The newly-named Yardbirds quickly developed their own unique style -- their repertoire was the same mix of Howlin' Wolf, Bo Diddley, Jimmy Reed and Chuck Berry as every other band on the London scene, but they included long extended improvisatory  instrumental sequences with Relf's harmonica playing off Topham's lead guitar. The group developed a way of extending songs, which they described as a “rave-up” and would become the signature of their live act – in the middle of a song they would go into a long instrumental solo in double-time, taking the song twice as fast and improvising heavily, before dropping back to the original tempo to finish the song off. These “rave-up” sections would often be much longer than the main song, and were a chance for everyone to show off their instrumental skills, with Topham and Relf trading phrases on guitar and harmonica. They were mentored by Cyril Davies, who gave them the interval spots at some of his shows -- and then one day asked them to fill in for him in a gig he couldn't make -- a residency at a club in Harrow, where the Yardbirds went down so well that they were asked to permanently take over the residency from Davies, much to his disgust. But the group's big break came when the Rolling Stones signed with Andrew Oldham, leaving Giorgio Gomelsky with no band to play the Crawdaddy Club every Sunday. Gomelsky was out of the country at his father's funeral when the Stones quit on him, and so it was up to Gomelsky's assistant Hamish Grimes to find a replacement. Grimes looked at the R&B scene and the choice came down to two bands -- the Yardbirds and Them. Grimes said it was a toss-up, but he eventually went for the Yardbirds, who eagerly agreed. When Gomelsky got back, the group were packing audiences in at the Crawdaddy and doing even better than the Stones had been. Soon Gomelsky wanted to become the Yardbirds' manager and turn the group into full-time musicians, but there was a problem -- the new school term was starting, Top Topham was only fifteen, and his parents didn't want him to quit school. Topham had to leave the group. Luckily, there was someone waiting in the wings. Eric Clapton was well known on the local scene as someone who was quite good on guitar, and he and Topham had played together for a long time as an informal duo, so he knew the parts -- and he was also acquainted with Dreja. Everyone on the London blues scene knew everyone else, although the thing that stuck in most of the Yardbirds' minds about Clapton was the time he'd seen the Metropolis Blues Quartet play and gone up to Samwell-Smith and said "Could you do me a favour?" When Samwell-Smith had nodded his assent, Clapton had said "Don't play any more guitar solos". Clapton was someone who worshipped the romantic image of the Delta bluesman, solitary and rootless, without friends or companions, surviving only on his wits and weighed down by troubles, and he would imagine himself that way as he took guitar lessons from Dave Brock, later of Hawkwind, or as he hung out with Top Topham and Chris Dreja in Richmond on weekends, complaining about the burdens he had to bear, such as the expensive electric guitar his grandmother had bought him not being as good as he'd hoped. Clapton had hung around with Topham and Dreja, but they'd never been really close, and he hadn't been considered for a spot in the Yardbirds when the group had formed. Instead he had joined the Roosters with Tom McGuinness, who had introduced Clapton to the music of Freddie King, especially a B-side called "I Love the Woman", which showed Clapton for the first time how the guitar could be more than just an accompaniment to vocals, but a featured instrument in its own right: [Excerpt: Freddie King, "I Love the Woman"] The Roosters had been blues purists, dedicated to a scholarly attitude to American Black music and contemptuous of pop music -- when Clapton met the Beatles for the first time, when they came along to an early Rolling Stones gig Clapton was also at, he had thought of them as "a bunch of wankers" and despised them as sellouts. After the Roosters had broken up, Clapton and McGuinness had joined the gimmicky Merseybeat group Casey Jones and his Engineers, who had a band uniform of black suits and cardboard Confederate army caps, before leaving that as well. McGuinness had gone on to join Manfred Mann, and Clapton was left without a group, until the Yardbirds called on him. The new lineup quickly gelled as musicians -- though the band did become frustrated with one quirk of Clapton's. He liked to bend strings, and so he used very light gauge strings on his guitar, which often broke, meaning that a big chunk of time would be taken up each show with Clapton restringing his guitar, while the audience gave a slow hand clap -- leading to his nickname, "Slowhand" Clap-ton. Two months after Clapton joined the group, Gomelsky got them to back Sonny Boy Williamson II on a UK tour, recording a show at the Crawdaddy Club which was released as a live album three years later: [Excerpt: The Yardbirds and Sonny Boy Williamson II, "Twenty-three Hours Too Long"] Williamson and the Yardbirds didn't get along though, either as people or as musicians. Williamson's birth name was Rice Miller, and he'd originally taken the name "Sonny Boy Williamson" to cash in on the fame of another musician who used that name, though he'd gone on to much greater success than the original, who'd died not long after the former Miller started using the name. Clapton, wanting to show off, had gone up to Williamson when they were introduced and said "Isn't your real name Rice Miller?" Williamson had pulled a knife on Clapton, and his relationship with the group didn't get much better from that point on. The group were annoyed that Williamson was drunk on stage and would call out songs they hadn't rehearsed, while Williamson later summed up his view of the Yardbirds to Robbie Robertson, saying "Those English boys want to play the blues so bad -- and they play the blues *so bad*!" Shortly after this, the group cut some demos on their own, which were used to get them a deal with Columbia, a subsidiary of EMI. Their first single was a version of Billy Boy Arnold's "I Wish You Would": [Excerpt: The Yardbirds, "I Wish You Would"] This was as pure R&B as a British group would get at this point, but Clapton was unhappy with the record -- partly because hearing the group in the studio made him realise how comparatively thin they sounded as players, and partly just because he was worried that even going into a recording studio at all was selling out and not something that any of the Delta bluesmen whose records he loved would do. He was happier with the group's first album, a live recording called Five Live Yardbirds that captured the sound of the group at the Marquee Club. The repertoire on that album was precisely the same as any of the other British R&B bands of the time -- songs by Howlin' Wolf, Bo Diddley, Chuck Berry, John Lee Hooker, Slim Harpo, Sonny Boy Williamson and the Isley Brothers -- but they were often heavily extended versions, with a lot of interplay between Samwell-Smith's bass, Clapton's guitar, and Relf's harmonica, like their five-and-a-half-minute version of Howlin' Wolf's "Smokestack Lightning": [Excerpt: The Yardbirds, "Smokestack Lightning"] "I Wish You Would" made number twenty-six on the NME chart, but it didn't make the Record Retailer chart which is the basis of modern chart compilations. The group were just about to go into the studio to cut their second single, a version of "Good Morning Little Schoolgirl", when Keith Relf collapsed. Relf had severe asthma and was also a heavy smoker, and his lung collapsed and he had to be hospitalised for several weeks, and it looked for a while as if he might never be able to sing or play harmonica again. In his absence, various friends and hangers-on from the R&B scene deputised for him -- Ronnie Wood has recalled being at a gig and the audience being asked "Can anyone play harmonica?", leading to Wood getting on stage with them, and other people who played a gig or two, or sometimes just a song or two, with them include Mick Jagger, Brian Jones, and Rod Stewart. Stewart was apparently a big fan, and would keep trying to get on stage with them -- according to Keith Relf's wife, "Rod Stewart would be sitting in the backroom begging to go on—‘Oh give us a turn, give us a turn.'” Luckily, Relf's lung was successfully reinflated, and he returned to singing, harmonica playing... and smoking. In the early months back with the group, he would sometimes have to pull out his inhaler in the middle of a word to be able to continue singing, and he would start seeing stars on stage. Relf's health would never be good, but he was able to carry on performing, and the future of the group was secured. What wasn't secure was the group's relationship with their guitarist. While Relf and Dreja had for a time shared a flat with Eric Clapton, he was becoming increasingly distant from the other members. Partly this was because Relf felt somewhat jealous of the fact that the audiences seemed more impressed with the group's guitarist than with him, the lead singer; partly it was because Giorgio Gomelsky had made Paul Samwell-Smith the group's musical director, and Clapton had never got on with Samwell-Smith and distrusted his musical instincts; but mostly it was just that the rest of the group found Clapton rather petty, cold, and humourless, and never felt any real connection to him. Their records still weren't selling, but they were popular enough on the local scene that they were invited to be one of the support acts for the Beatles' run of Christmas shows at the end of 1964, and hung out with the group backstage. Paul McCartney played them a new song he was working on, which didn't have lyrics yet, but which would soon become "Yesterday", but it was another song they heard that would change the group's career. A music publisher named Ronnie Beck turned up backstage with a demo he wanted the Beatles to hear. Obviously, the Beatles weren't interested in hearing any demos -- they were writing so many hits they were giving half of them away to other artists, why would they need someone else's song? But the Yardbirds were looking for a hit, and after listening to the demo, Samwell-Smith was convinced that a hit was what this demo was. The demo was by a Manchester-based songwriter named Graham Gouldman. Gouldman had started his career in a group called the Whirlwinds, who had released one single -- a version of Buddy Holly's "Look at Me" backed with a song called "Baby Not Like You", written by Gouldman's friend Lol Creme: [Excerpt: The Whirlwinds, "Baby Not Like You"] The Whirlwinds had split up by this point, and Gouldman was in the process of forming a new band, the Mockingbirds, which included drummer Kevin Godley. The song on the demo had been intended as the Mockingbirds' first single, but their label had decided instead to go with "That's How (It's Gonna Stay)": [Excerpt: The Mockingbirds, "That's How (It's Gonna Stay)"] So the song, "For Your Love", was free, and Samwell-Smith was insistent -- this was going to be the group's first big hit. The record was a total departure from their blues sound. Gouldman's version had been backed by bongos and acoustic guitar, and Samwell-Smith decided that he would keep the bongo part, and add, not the normal rock band instruments, but harpsichord and bowed double bass: [Excerpt: The Yardbirds, "For Your Love"] The only part of the song where the group's normal electric instrumentation is used is the brief middle-eight, which feels nothing like the rest of the record: [Excerpt: The Yardbirds, "For Your Love"] But on the rest of the record, none of the Yardbirds other than Jim McCarty play -- the verses have Relf on vocals, McCarty on drums, Brian Auger on harpsichord, Ron Prentice on double bass and Denny Piercy on bongos, with Samwell-Smith in the control room producing. Clapton and Dreja only played on the middle eight. The record went to number three, and became the group's first real hit, and it led to an odd experience for Gouldman, as the Mockingbirds were by this time employed as the warm-up act on the BBC's Top of the Pops, which was recorded in Manchester, so Gouldman got to see mobs of excited fans applauding the Yardbirds for performing a song he'd written, while he was completely ignored. Most of the group were excited about their newfound success, but Clapton was not happy. He hadn't signed up to be a member of a pop group -- he wanted to be in a blues band. He made his displeasure about playing on material like "For Your Love"  very clear, and right after the recording session he resigned from the group. He was convinced that they would be nothing without him -- after all, wasn't he the undisputed star of the group? -- and he immediately found work with a group that was more suited to his talents, John Mayall's Bluesbreakers. The Bluesbreakers at this point consisted of Mayall on keyboards and vocals, Clapton on guitar, John McVie on bass, and Hughie Flint on drums. For their first single with this lineup, they signed a one-record deal with Immediate Records, a new independent label started by the Rolling Stones' manager Andrew Oldham. That single was produced by Immediate's young staff producer, the session guitarist Jimmy Page: [Excerpt: John Mayall and the Bluesbreakers, "I'm Your Witch Doctor"] The Bluesbreakers had something of a fluid lineup -- shortly after that recording, Clapton left the group to join another group, and was replaced by a guitarist named Peter Green. Then Clapton came back, for the recording of what became known as the "Beano album", because Clapton was in a mood when they took the cover photo, and so read the children's comic the Beano rather than looking at the camera: [Excerpt: John Mayall's Bluesbreakers, "Bernard Jenkins"] Shortly after that, Mayall fired John McVie, who was replaced by Jack Bruce, formerly of the Graham Bond Organisation, but then Bruce left to join Manfred Mann and McVie was rehired. While Clapton was in the Bluesbreakers, he gained a reputation for being the best guitarist in London -- a popular graffito at the time was "Clapton is God" -- and he was at first convinced that without him the Yardbirds would soon collapse. But Clapton had enough self-awareness to know that even though he was very good, there were a handful of guitarists in London who were better than him. One he always acknowledged was Albert Lee, who at the time was playing in Chris Farlowe's backing band but would later become known as arguably the greatest country guitarist of his generation. But another was the man that the Yardbirds got in to replace him. The Yardbirds had originally asked Jimmy Page if he wanted to join the group, and he'd briefly been tempted, but he'd decided that his talents were better used in the studio, especially since he'd just been given the staff job at Immediate. Instead he recommended his friend Jeff Beck. The two had known each other since their teens, and had grown up playing guitar together, and sharing influences as they delved deeper into music. While both men admired the same blues musicians that Clapton did, people like Hubert Sumlin and Buddy Guy, they both had much more eclectic tastes than Clapton -- both loved rockabilly, and admired Scotty Moore and James Burton, and Beck was a huge devotee of Cliff Gallup, the original guitarist from Gene Vincent's Blue Caps. Beck also loved Les Paul and the jazz guitarist Barney Kessel, while Page was trying to incorporate some of the musical ideas of the sitar player Ravi Shankar into his playing. While Page was primarily a session player, Beck was a gigging musician, playing with a group called the Tridents, but as Page rapidly became one of the two first-call session guitarists along with Big Jim Sullivan, he would often recommend his friend for sessions he couldn't make, leading to Beck playing on records like "Dracula's Daughter", which Joe Meek produced for Screaming Lord Sutch and the Savages: [Excerpt: Screaming Lord Sutch and the Savages, "Dracula's Daughter"] While Clapton had a very straightforward tone, Beck was already experimenting with the few effects that were available at the time, like echoes and fuzztone. While there would always be arguments about who was the first to use feedback as a controlled musical sound, Beck is one of those who often gets the credit, and Keith Relf would describe Beck's guitar playing as being almost musique concrete. You can hear the difference on the group's next single. "Heart Full of Soul" was again written by Gouldman, and was originally recorded with a sitar, which would have made it one of the first pop singles to use the instrument. However, they decided to replace the sitar part with Beck playing the same Indian-sounding riff on a heavily-distorted guitar: [Excerpt: The Yardbirds, "Heart Full of Soul"] That made number two in the UK and the top ten in the US, and suddenly the world had a new guitar god, one who was doing things on records that nobody else had been doing. The group's next single was a double A-side, a third song written by Gouldman, "Evil Hearted You", coupled with an original by the group, "Still I'm Sad". Neither track was quite up to the standard of their previous couple of singles, but it still went to number three on the charts. From this point on, the group stopped using Gouldman's songs as singles, preferring to write their own material, but Gouldman had already started providing hits for other groups like the Hollies, for whom he wrote songs like “Bus Stop”: [Excerpt: The Hollies, “Bus Stop”] His group The Mockingbirds had also signed to Immediate Records, who put out their classic pop-psych single “You Stole My Love”: [Excerpt: The Mockingbirds, “You Stole My Love”] We will hear more of Gouldman later. In the Yardbirds, meanwhile, the pressure was starting to tell on Keith. He was a deeply introverted person who didn't have the temperament for stardom, and he was uncomfortable with being recognised on the street. It also didn't help that his dad was also the band's driver and tour manager, which meant he always ended up feeling somewhat inhibited, and he started drinking heavily to try to lose some of those inhibitions. Shortly after the recording of "Evil Hearted You", the group went on their first American tour, though on some dates they were unable to play as Gomelsky had messed up their work permits -- one of several things about Gomelsky's management of the group that irritated them. But they were surprised to find that they were much bigger in the US than in the UK. While the group had only released singles, EPs, and the one live album in the UK, and would only ever put out one UK studio album, they'd recorded enough that they'd already had an album out in the US, a compilation of singles, B-sides, and even a couple of demos, and that had been picked up on by almost every garage band in the country. On one of the US gigs, their opening act, a teenage group called the Spiders, were in trouble. They'd learned every song on that Yardbirds album, and their entire set was made up of covers of that material. They'd gone down well supporting every other major band that came to town, but they had a problem when it came to the Yardbirds. Their singer described what happened next: "We thought about it and we said, 'Look, we're paying tribute to them—let's just do our set.' And so, we opened for the Yardbirds and did all of their songs. We could see them in the back and they were smiling and giving us the thumbs up. And then they got up and just blew us off the stage—because they were the Yardbirds! And we just stood there going, 'Oh…. That's how it's done.' The Yardbirds were one of the best live bands I ever heard and we learned a lot that night." That band, and later that lead singer, both later changed their name to Alice Cooper. The trip to the US also saw a couple of recording sessions. Gomelsky had been annoyed at the bad drum sound the group had got in UK studios, and had loved Sam Phillips' drum sound on the old Sun records, so had decided to get in touch with Phillips and ask him to produce the group. He hadn't had a reply, but the group turned up at Phillips' new studio anyway, knowing that he lived in a flat above the studio. Phillips wasn't in, but eventually turned up at midnight, after a fishing trip, drunk. He wasn't interested in producing some group of British kids, but Gomelsky waved six hundred dollars at him, and he agreed. He produced two tracks for the group. One of those, "Mr. You're a Better Man Than I", was written by Mike Hugg of Manfred Mann and his brother: [Excerpt: The Yardbirds, "Mister, You're a Better Man Than I"] The backing track there was produced by Phillips, but the lead vocal was redone in New York, as Relf was also drunk and wasn't singing well -- something Phillips pointed out, and which devastated Relf, who had grown up on records Phillips produced. Phillips' dismissal of Relf also grated on Beck -- even though Beck wasn't close to Relf, as the two competed for prominence on stage while the rest of the band kept to the backline, Beck had enormous respect for Relf's talents as a frontman, and thought Phillips horribly unprofessional for his dismissive attitude, though the other Yardbirds had happier memories of the session, not least because Phillips caught their live sound better than anyone had. You can hear Relf's drunken incompetence on the other track they recorded at the session, their version of "Train Kept A-Rollin'", the song we covered way back in episode forty-four. Rearranged by Samwell-Smith and Beck, the Yardbirds' version built on the Johnny Burnette recording and turned it into one of the hardest rock tracks ever recorded to that point -- but Relf's drunk, sloppy, vocal was caught on the backing track. He later recut the vocal more competently, with Roy Halee engineering in New York, but the combination of the two vocals gives the track an unusual feel which inspired many future garage bands: [Excerpt: The Yardbirds, "Train Kept A-Rollin'"] On that first US tour, they also recorded a version of Bo Diddley's "I'm a Man" at Chess Studios, where Diddley had recorded his original. Only a few weeks after the end of that tour they were back for a second tour, in support of their second US album, and they returned to Chess to record what many consider their finest original. "Shapes of Things" had been inspired by the bass part on Dave Brubeck's "Pick Up Sticks": [Excerpt: Dave Brubeck Quartet, "Pick Up Sticks"] Samwell-Smith and McCarty had written the music for the song, Relf and Samwell-Smith added lyrics, and Beck experimented with feedback, leading to one of the first psychedelic records to become a big hit, making number three in the UK and number eleven in the US: [Excerpt: The Yardbirds, "Shapes of Things"] That would be the group's last record with Giorgio Gomelsky as credited producer -- although Samwell-Smith had been doing all the actual production work -- as the group were becoming increasingly annoyed at Gomelsky's ideas for promoting them, which included things like making them record songs in Italian so they could take part in an Italian song contest. Gomelsky was also working them so hard that Beck ended up being hospitalised with what has been variously described as meningitis and exhaustion. By the time he was out of the hospital, Gomelsky was fired. His replacement as manager and co-producer was Simon Napier-Bell, a young dilettante and scenester who was best known for co-writing the English language lyrics for Dusty Springfield's "You Don't Have to Say You Love Me": [Excerpt: Dusty Springfield, "You Don't Have to Say You Love Me"] The way Napier-Bell tells the story -- and Napier-Bell is an amusing raconteur, and his volumes of autobiography are enjoyable reads, but one gets the feeling that he will not tell the truth if a lie seems more entertaining -- is that the group chose him because of his promotion of a record he'd produced for a duo called Diane Ferraz and Nicky Scott: [Excerpt: Diane Ferraz and Nicky Scott, "Me and You"] According to Napier-Bell, both Ferraz and Scott were lovers of his, who were causing him problems, and he decided to get rid of the problem by making them both pop stars. As Ferraz was Black and Scott white, Napier-Bell sent photos of them to every DJ and producer in the country, and then when they weren't booked on TV shows or playlisted on the radio, he would accuse the DJs and producers of racism and threaten to go to the newspapers about it. As a result, they ended up on almost every TV show and getting regular radio exposure, though it wasn't enough to make the record a hit. The Yardbirds had been impressed by how much publicity Ferraz and Scott had got, and asked Napier-Bell to manage them. He immediately set about renegotiating their record contract and getting them a twenty-thousand-pound advance -- a fortune in the sixties. He also moved forward with a plan Gomelsky had had of the group putting out solo records, though only Relf ended up doing so. Relf's first solo single was a baroque pop song, "Mr. Zero", written by Bob Lind, who had been a one-hit wonder with "Elusive Butterfly", and produced by Samwell-Smith: [Excerpt: Keith Relf, "Mr. Zero"] Beck, meanwhile, recorded a solo instrumental, intended for his first solo single but not released until nearly a year later.  "Beck's Bolero" has Jimmy Page as its credited writer, though Beck claims to be a co-writer, and features Beck and Page on guitars, session pianist Nicky Hopkins, and Keith Moon of the Who on drums. John Entwistle of the Who was meant to play bass, but when he didn't show to the session, Page's friend, session bass player John Paul Jones, was called up: [Excerpt: Jeff Beck, "Beck's Bolero"] The five players were so happy with that recording that they briefly discussed forming a group together, with Moon saying of the idea "That will go down like a lead zeppelin". They all agreed that it wouldn't work and carried on with their respective careers. The group's next single was their first to come from a studio album -- their only UK studio album, variously known as Yardbirds or Roger the Engineer. "Over Under Sideways Down" was largely written in the studio and is credited to all five group members, though Napier-Bell has suggested he came up with the chorus lyrics: [Excerpt: The Yardbirds, "Over Under Sideways Down"] That became the group's fifth top ten single in a row, but it would be their last, because they were about to lose the man who, more than anyone else, had been responsible for their musical direction. The group had been booked to play an upper-class black-tie event, and Relf had turned up drunk. They played three sets, and for the first, Relf started to get freaked out by the fact that the audience were just standing there, not dancing, and started blowing raspberries at them. He got more drunk in the interval, and in the second set he spent an entire song just screaming at the audience that they could copulate with themselves, using a word I'm not allowed to use without this podcast losing its clean rating. They got him offstage and played the rest of the set just doing instrumentals. For the third set, Relf was even more drunk. He came onstage and immediately fell backwards into the drum kit. Only one person in the audience was at all impressed -- Beck's friend Jimmy Page had come along to see the show, and had thought it great anarchic fun. He went backstage to tell them so, and found Samwell-Smith in the middle of quitting the group, having finally had enough. Page, who had turned down the offer to join the group two years earlier, was getting bored of just being a session player and decided that being a pop star seemed more fun. He immediately volunteered himself as the group's new bass player, and we'll see how that played out in a future episode...

James Lesure - Actor, best known for roles on the NBC/The WB sitcom For Your Love, and NBC comedy-drama Las Vegas, Girlfriends' Guide to Divorce and Good Girls.James sits down with Billy and Frank to chat about his successful actor career spanning for more than 2 1/2 decades.