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Episode 168 Chapter 28, Moog Analog Synthesizers, Part 1. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 28, Moog Analog Synthesizers, Part 1 from my book Electronic and Experimental music.   Playlist: EARLY MOOG RECORDINGS (BEFORE 1970)   Time Track Time Start Introduction –Thom Holmes 01:32 00:00 1.     Emil Richards and the New Sound Element, “Sapphire (September)” from Stones (1967). Paul Beaver played Moog and Clavinet on this album by jazz-pop mallet player Richards, who also contributed some synthesizer sounds. 02:21 01:44 2.     Mort Garson, “Scorpio” (1967) from Zodiac Cosmic Sounds (1967). Mort Garson and Paul Beaver. Incorporated Moog sounds among it menagerie of instruments. Garson went on to produce many solo Moog projects. 02:53 04:04 3.     Hal Blaine, “Kaleidoscope (March)” from Psychedelic Percussion(1967). Hal Blaine and Paul Beaver. Beaver provided Moog and other electronic treatments for this jazzy percussion album by drummer Blaine. 02:20 06:58 4.     The Electric Flag, “Flash, Bam, Pow” from The Trip soundtrack (1967). Rock group The Electric Flag. Moog by Paul Beaver. 01:27 09:18 5.     The Byrds, “Space Odyssey” (1968) from The Notorious Byrd Brothers (1968).  Produced by Gary Usher who was acknowledged for having included the Moog on this rock album, with tracks such as, “Goin' Back” (played by Paul Beaver), “Natural Harmony,” and unreleased track “Moog Raga.” 03:47 10:48 6.     The Monkees, “Daily Nightly” from Pisces, Aquarius, Capricorn, and Jones Ltd. (1967). Moog effects provided by Micky Dolenz of the Monkees and Paul Beaver. 02:29 14:40 7.     Jean Jacques Perrey and Gershon Kingsley, “The Savers,” a single taken from Kaleidoscopic Vibrations (1967). The first Moog album by this duo known for their electro-pop songs. 01:48 17:08 8.     Wendy Carlos, “Chorale Prelude "Wachet Auf" from Switched-On Bach (1968). The most celebrated Moog album of all time and still the gold standard for Moog Modular performances. 03:34 18:54 9.     Mike Melvoin, “Born to be Wild” from The Plastic Cow Goes Moooooog (1969). Moog programming by Paul Beaver and Bernie Krause. 03:03 22:28 10.   Sagittarius, “Lend Me a Smile” from The Blue Marble (1969). This was a studio group headed by Gary Usher, producer of The Byrds, who used the Moog extensively on this rock album. 03:09 25:30 11.   The Zeet Band, “Moogie Woogie” from the album Moogie Woogie(1969). Electronic boogie and blues by an ensemble including Paul Beaver, Erwin Helfer, Mark Naftalin, “Fastfingers” Finkelstein, and Norman Dayron. 02:43 28:40   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Uur 1 1.         It's been a long long time – Doris Day 2.         Kleiner Fratz – Herman van Veen 3.         One ray of shine – Alison Krauss & Union Station 4.         Avondland – Stef Bos & Koos Kombuis 5.         The shadow of your smile – Singers Unlimited & Oscar Peterson 6.         Life in a northern town – Justin Hayward & Mike Batt 7.         Je t'aimais, je t'aime, je t'aimerais – Francis Cabrel 8.         Ancient light – I'm With Her 9.         Ik ben blij – Toon Hermans 10.       Lieverd – Paul de Leeuw 11.       Casaco marron – Femke Smit & Mike del Ferro 12.       It's only a paper moon – Rosemary Clooney & John Pizzarelli 13.       The wrong direction – Passenger 14.       Sunny day – Lenny En De Wespen   Uur 2 1.         Dance with me – Orleans 2.         Black coffee – Peggy Lee 3.         Ten thousand miles – Leoni Jansen & Carel Kraayenhof 4.         Sonho meu – Maria Bethania & Gal Costa 5.         Simpel verlangen – Huub van der Lubbe 6.         Down to joy – Van Morrison 7.         Why – Annie Lennox 8.         De boom – Lenny En De Wespen 9.         Je n'aurais pas le temps – Michel Fugain 10.       La ballade des gens heureux – Gérard Lenorman & Zaz 11.       The truth and other things – Chip Taylor 12.       Don't take it that way – Raul Midon 13.       Crush – Jennifer Paige 14.       Maquina – Super db 15.       Pop corn – Gershon Kingsley

Episode 136 Sun Ra and Stockhausen—An Imaginary Encounter in Electronic Music Playlist   Time Track Time Start Introduction –Thom Holmes 14:28 00:00 Karlheinz Stockhausen,  “Es (It)” (1969) from Aus Den Sieben Tagen (from the Seven Days) (1973 Deutsche Grammophon). Composed by, electronics (Filters, Potentiometers), spoken voice, technician (Sound Direction), liner notes, Karlheinz Stockhausen; Elektronium, Harald Bojé; Piano, Aloys Kontarsky; Drums, Percussion (Tam-tam, Flexatone, Guero, Bamboo Flute, Jew's Harp, Rolf Gehlhaar; Drums, Percussion (Tam-tam, Flexatone, Guero, Jew's Harp, Alfred Alings; Viola, Johannes G. Fritsch. The Elektronium was an electronic instrument in the form of an accordion, invented by Hohner in 1952. From the cycle of compositions entitled Aus den Sieben Tagen. Es (10th May 1968). This is the complete cycle for the work consisting of 7 albums recorded at the Georg-Moller-Haus (Loge) in Darmstadt, from the 26th to 31st August 1969. This is different than the earlier recordings from Cologne that were released separately. Comes in a sturdy box together with a tri-lingual 20-page booklet. Each record is packed in its own cover. 23:04 14:30 Sun-Ra and his Astro Infinity Arkestra, “Space Probe” (1969) from My Brother The Wind Vol. 1 (2017 Cosmic Myth Records). Moog Modular Synthesizer solo, two keyboards, Sun Ra; Moog programming and mixing, Gershon Kingsley.” Recorded at Gershon Kingsley's New York studio before Sun Ra had acquired a prototype Minimoog from Bob Moog the following year. 17:45 37:30 Sun-Ra and his Astro Infinity Arkestra, “The Code Of Interdependence” (1969) from My Brother The Wind Vol. 1 (2017 Cosmic Myth Records). Moog Modular Synthesizer solo, two keyboards, Sun Ra; Moog programming and mixing, Gershon Kingsley; Drums, Danny Davis, John Gilmore; Oboe, Marshall Allen; Tenor Saxophone, John Gilmore. Recorded at Gershon Kingsley's New York studio before Sun Ra had acquired a prototype Minimoog from Bob Moog the following year. 16:50 55:16   Opening background music: Sun Ra and his Solar Myth Arkestra, “Seen Three Took Four” from The Solar-Myth Approach Vol. 1 (1970 Actuel). Piano, Minimoog, Electric Organ, Clavinet, Sun Ra; Tenor Saxophone, Percussion, John Gilmore; among a huge host of others. Introduction to the podcast voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Hors-série consacré aux musiques Easy Listening, en résonance au festival Easy Listening (Tours, 4-16 juin 2024) Musiques - Joe Meek, I Hear A New World (album I Hear A New World, Triump Records, 1960) - Stereolab, Metronomic Undeground (album Emperor Tomato Ketchup, Electra Records, 1996) - Mantovani and His Orchestra, Charmaine (Decca, 1951) - Terry Snyder and The All Stars, Whatever Lola Wants (album Persuasive Percussion, Command Records, 1959). - Russ Garcia and His Orchestra, Into Space (album Fantastica - Music From Outer Space, London records, 1958) - Attilio Mineo, The Queen City (album Man In Space With Sounds, World's Fair Records, 1962) - Dean Elliot and His Big Band, It's All Right With Me (album Zounds! What Sounds!, Capitol Records, 1962) - Jean-Jacques Perrey, E.V.A. (album Mood Indigo, Vanguard, 1970) - Gershon Kingsley, Pop Corn (album Music to Moog By, Audio Fidelity, 1969) ********************************************* Emission radiophonique sur les musiques contemporaines proposée par l'ensemble PTYX. Présentation : Jean-Baptiste Apéré réalisation, production, sans concession : ptyx fan club vnrpe (c) 2024

What was that Frankenstein music machine with all the dials, sliders, patch cords etc., that made other-worldly sounds that were supposed to resemble “real” instruments, like strings, horns and flutes, but didn't? It was the mighty Moog, invented by Cornell doctoral student and Theremin salesman, Robert Moog. He hooked up with musician-educator Herb Deutsch, developed the voltage regulation for oscillators and modulators, and the thing caught on.The first time most of us heard it was on Wendy Carlos' SWITCHED ON BACH record, which, by aligning itself to one of the world's most beloved composers, became a sensation in 1968, and was a defining feature of Stanley Kubrick's A Clockwork Orange.  Not long after that it became an absolute must have for the Prog matadors like Keith Emerson of ELP.  The Beatles also used it extensively on Abby Road, etc. The list goes on and on. Speaking for myself, I've always found the Moog and the electronic sounds it made cold and clinical (though fascinating). However, on this record its positively cuddly, and it makes me smile when I recall that it was used by the Muppets for the Swedish Chef routine.  Composed by Gershon Kingsley, this hit version of Popcorn was recorded by Stan Free of Hot Butter, and its lighter than air. 

Episode 171 looks at "Hey Jude", the White Album, and the career of the Beatles from August 1967 through November 1968. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifty-seven-minute bonus episode available, on "I Love You" by People!. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata Not really an error, but at one point I refer to Ornette Coleman as a saxophonist. While he was, he plays trumpet on the track that is excerpted after that. Resources No Mixcloud this week due to the number of songs by the Beatles. I have read literally dozens of books on the Beatles, and used bits of information from many of them. All my Beatles episodes refer to: The Complete Beatles Chronicle by Mark Lewisohn, All The Songs: The Stories Behind Every Beatles Release by Jean-Michel Guesdon, And The Band Begins To Play: The Definitive Guide To The Songs of The Beatles by Steve Lambley, The Beatles By Ear by Kevin Moore, Revolution in the Head by Ian MacDonald, and The Beatles Anthology. For this episode, I also referred to Last Interview by David Sheff, a longform interview with John Lennon and Yoko Ono from shortly before Lennon's death; Many Years From Now by Barry Miles, an authorised biography of Paul McCartney; and Here, There, and Everywhere: My Life Recording the Music of the Beatles by Geoff Emerick and Howard Massey. This time I also used Steve Turner's The Beatles: The Stories Behind the Songs 1967-1970. I referred to Philip Norman's biographies of John Lennon, George Harrison, and Paul McCartney, to Graeme Thomson's biography of George Harrison, Take a Sad Song by James Campion, Yoko Ono: An Artful Life by Donald Brackett, Those Were the Days 2.0 by Stephan Granados, and Sound Pictures by Kenneth Womack. Sadly the only way to get the single mix of “Hey Jude” is on this ludicrously-expensive out-of-print box set, but a remixed stereo mix is easily available on the new reissue of the 1967-70 compilation. The original mixes of the White Album are also, shockingly, out of print, but this 2018 remix is available for the moment. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, a quick note -- this episode deals, among other topics, with child abandonment, spousal neglect, suicide attempts, miscarriage, rape accusations, and heroin addiction. If any of those topics are likely to upset you, you might want to check the transcript rather than listening to this episode. It also, for once, contains a short excerpt of an expletive, but given that that expletive in that context has been regularly played on daytime radio without complaint for over fifty years, I suspect it can be excused. The use of mantra meditation is something that exists across religions, and which appears to have been independently invented multiple times, in multiple cultures. In the Western culture to which most of my listeners belong, it is now best known as an aspect of what is known as "mindfulness", a secularised version of Buddhism which aims to provide adherents with the benefits of the teachings of the Buddha but without the cosmology to which they are attached. But it turns up in almost every religious tradition I know of in one form or another. The idea of mantra meditation is a very simple one, and one that even has some basis in science. There is a mathematical principle in neurology and information science called the free energy principle which says our brains are wired to try to minimise how surprised we are --  our brain is constantly making predictions about the world, and then looking at the results from our senses to see if they match. If they do, that's great, and the brain will happily move on to its next prediction. If they don't, the brain has to update its model of the world to match the new information, make new predictions, and see if those new predictions are a better match. Every person has a different mental model of the world, and none of them match reality, but every brain tries to get as close as possible. This updating of the model to match the new information is called "thinking", and it uses up energy, and our bodies and brains have evolved to conserve energy as much as possible. This means that for many people, most of the time, thinking is unpleasant, and indeed much of the time that people have spent thinking, they've been thinking about how to stop themselves having to do it at all, and when they have managed to stop thinking, however briefly, they've experienced great bliss. Many more or less effective technologies have been created to bring about a more minimal-energy state, including alcohol, heroin, and barbituates, but many of these have unwanted side-effects, such as death, which people also tend to want to avoid, and so people have often turned to another technology. It turns out that for many people, they can avoid thinking by simply thinking about something that is utterly predictable. If they minimise the amount of sensory input, and concentrate on something that they can predict exactly, eventually they can turn off their mind, relax, and float downstream, without dying. One easy way to do this is to close your eyes, so you can't see anything, make your breath as regular as possible, and then concentrate on a sound that repeats over and over.  If you repeat a single phrase or word a few hundred times, that regular repetition eventually causes your mind to stop having to keep track of the world, and experience a peace that is, by all accounts, unlike any other experience. What word or phrase that is can depend very much on the tradition. In Transcendental Meditation, each person has their own individual phrase. In the Catholicism in which George Harrison and Paul McCartney were raised, popular phrases for this are "Lord Jesus Christ, Son of God, have mercy on me, a sinner" or "Hail, Mary, full of grace, the Lord is with you; blessed are you among women, and blessed is the fruit of your womb, Jesus. Holy Mary, Mother of God, pray for us sinners now and at the hour of our death. Amen." In some branches of Buddhism, a popular mantra is "_NAMU MYŌHŌ RENGE KYŌ_". In the Hinduism to which George Harrison later converted, you can use "Hare Krishna Hare Krishna, Krishna Krishna Hare Hare, Hare Rama Hare Rama, Rama Rama Hare Hare", "Om Namo Bhagavate Vāsudevāya" or "Om Gam Ganapataye Namaha". Those last two start with the syllable "Om", and indeed some people prefer to just use that syllable, repeating a single syllable over and over again until they reach a state of transcendence. [Excerpt: The Beatles, "Hey Jude" ("na na na na na na na")] We don't know much about how the Beatles first discovered Maharishi Mahesh Yogi, except that it was thanks to Pattie Boyd, George Harrison's then-wife. Unfortunately, her memory of how she first became involved in the Maharishi's Spiritual Regeneration Movement, as described in her autobiography, doesn't fully line up with other known facts. She talks about reading about the Maharishi in the paper with her friend Marie-Lise while George was away on tour, but she also places the date that this happened in February 1967, several months after the Beatles had stopped touring forever. We'll be seeing a lot more of these timing discrepancies as this story progresses, and people's memories increasingly don't match the events that happened to them. Either way, it's clear that Pattie became involved in the Spiritual Regeneration Movement a good length of time before her husband did. She got him to go along with her to one of the Maharishi's lectures, after she had already been converted to the practice of Transcendental Meditation, and they brought along John, Paul, and their partners (Ringo's wife Maureen had just given birth, so they didn't come). As we heard back in episode one hundred and fifty, that lecture was impressive enough that the group, plus their wives and girlfriends (with the exception of Maureen Starkey) and Mick Jagger and Marianne Faithfull, all went on a meditation retreat with the Maharishi at a holiday camp in Bangor, and it was there that they learned that Brian Epstein had been found dead. The death of the man who had guided the group's career could not have come at a worse time for the band's stability.  The group had only recorded one song in the preceding two months -- Paul's "Your Mother Should Know" -- and had basically been running on fumes since completing recording of Sgt Pepper many months earlier. John's drug intake had increased to the point that he was barely functional -- although with the enthusiasm of the newly converted he had decided to swear off LSD at the Maharishi's urging -- and his marriage was falling apart. Similarly, Paul McCartney's relationship with Jane Asher was in a bad state, though both men were trying to repair their damaged relationships, while both George and Ringo were having doubts about the band that had made them famous. In George's case, he was feeling marginalised by John and Paul, his songs ignored or paid cursory attention, and there was less for him to do on the records as the group moved away from making guitar-based rock and roll music into the stranger areas of psychedelia. And Ringo, whose main memory of the recording of Sgt Pepper was of learning to play chess while the others went through the extensive overdubs that characterised that album, was starting to feel like his playing was deteriorating, and that as the only non-writer in the band he was on the outside to an extent. On top of that, the group were in the middle of a major plan to restructure their business. As part of their contract renegotiations with EMI at the beginning of 1967, it had been agreed that they would receive two million pounds -- roughly fifteen million pounds in today's money -- in unpaid royalties as a lump sum. If that had been paid to them as individuals, or through the company they owned, the Beatles Ltd, they would have had to pay the full top rate of tax on it, which as George had complained the previous year was over ninety-five percent. (In fact, he'd been slightly exaggerating the generosity of the UK tax system to the rich, as at that point the top rate of income tax was somewhere around ninety-seven and a half percent). But happily for them, a couple of years earlier the UK had restructured its tax laws and introduced a corporation tax, which meant that the profits of corporations were no longer taxed at the same high rate as income. So a new company had been set up, The Beatles & Co, and all the group's non-songwriting income was paid into the company. Each Beatle owned five percent of the company, and the other eighty percent was owned by a new partnership, a corporation that was soon renamed Apple Corps -- a name inspired by a painting that McCartney had liked by the artist Rene Magritte. In the early stages of Apple, it was very entangled with Nems, the company that was owned by Brian and Clive Epstein, and which was in the process of being sold to Robert Stigwood, though that sale fell through after Brian's death. The first part of Apple, Apple Publishing, had been set up in the summer of 1967, and was run by Terry Doran, a friend of Epstein's who ran a motor dealership -- most of the Apple divisions would be run by friends of the group rather than by people with experience in the industries in question. As Apple was set up during the point that Stigwood was getting involved with NEMS, Apple Publishing's initial offices were in the same building with, and shared staff with, two publishing companies that Stigwood owned, Dratleaf Music, who published Cream's songs, and Abigail Music, the Bee Gees' publishers. And indeed the first two songs published by Apple were copyrights that were gifted to the company by Stigwood -- "Listen to the Sky", a B-side by an obscure band called Sands: [Excerpt: Sands, "Listen to the Sky"] And "Outside Woman Blues", an arrangement by Eric Clapton of an old blues song by Blind Joe Reynolds, which Cream had copyrighted separately and released on Disraeli Gears: [Excerpt: Cream, "Outside Woman Blues"] But Apple soon started signing outside songwriters -- once Mike Berry, a member of Apple Publishing's staff, had sat McCartney down and explained to him what music publishing actually was, something he had never actually understood even though he'd been a songwriter for five years. Those songwriters, given that this was 1967, were often also performers, and as Apple Records had not yet been set up, Apple would try to arrange recording contracts for them with other labels. They started with a group called Focal Point, who got signed by badgering Paul McCartney to listen to their songs until he gave them Doran's phone number to shut them up: [Excerpt: Focal Point, "Sycamore Sid"] But the big early hope for Apple Publishing was a songwriter called George Alexander. Alexander's birth name had been Alexander Young, and he was the brother of George Young, who was a member of the Australian beat group The Easybeats, who'd had a hit with "Friday on My Mind": [Excerpt: The Easybeats, "Friday on My Mind"] His younger brothers Malcolm and Angus would go on to have a few hits themselves, but AC/DC wouldn't be formed for another five years. Terry Doran thought that Alexander should be a member of a band, because bands were more popular than solo artists at the time, and so he was placed with three former members of Tony Rivers and the Castaways, a Beach Boys soundalike group that had had some minor success. John Lennon suggested that the group be named Grapefruit, after a book he was reading by a conceptual artist of his acquaintance named Yoko Ono, and as Doran was making arrangements with Terry Melcher for a reciprocal publishing deal by which Melcher's American company would publish Apple songs in the US while Apple published songs from Melcher's company in the UK, it made sense for Melcher to also produce Grapefruit's first single, "Dear Delilah": [Excerpt: Grapefruit, "Dear Delilah"] That made number twenty-one in the UK when it came out in early 1968, on the back of publicity about Grapefruit's connection with the Beatles, but future singles by the band were much less successful, and like several other acts involved with Apple, they found that they were more hampered by the Beatles connection than helped. A few other people were signed to Apple Publishing early on, of whom the most notable was Jackie Lomax. Lomax had been a member of a minor Merseybeat group, the Undertakers, and after they had split up, he'd been signed by Brian Epstein with a new group, the Lomax Alliance, who had released one single, "Try as You May": [Excerpt: The Lomax Alliance, "Try As You May"] After Epstein's death, Lomax had plans to join another band, being formed by another Merseybeat musician, Chris Curtis, the former drummer of the Searchers. But after going to the Beatles to talk with them about them helping the new group financially, Lomax was persuaded by John Lennon to go solo instead. He may later have regretted that decision, as by early 1968 the people that Curtis had recruited for his new band had ditched him and were making a name for themselves as Deep Purple. Lomax recorded one solo single with funding from Stigwood, a cover version of a song by an obscure singer-songwriter, Jake Holmes, "Genuine Imitation Life": [Excerpt: Jackie Lomax, "Genuine Imitation Life"] But he was also signed to Apple Publishing as a songwriter. The Beatles had only just started laying out plans for Apple when Epstein died, and other than the publishing company one of the few things they'd agreed on was that they were going to have a film company, which was to be run by Denis O'Dell, who had been an associate producer on A Hard Day's Night and on How I Won The War, the Richard Lester film Lennon had recently starred in. A few days after Epstein's death, they had a meeting, in which they agreed that the band needed to move forward quickly if they were going to recover from Epstein's death. They had originally been planning on going to India with the Maharishi to study meditation, but they decided to put that off until the new year, and to press forward with a film project Paul had been talking about, to be titled Magical Mystery Tour. And so, on the fifth of September 1967, they went back into the recording studio and started work on a song of John's that was earmarked for the film, "I am the Walrus": [Excerpt: The Beatles, "I am the Walrus"] Magical Mystery Tour, the film, has a mixed reputation which we will talk about shortly, but one defence that Paul McCartney has always made of it is that it's the only place where you can see the Beatles performing "I am the Walrus". While the song was eventually relegated to a B-side, it's possibly the finest B-side of the Beatles' career, and one of the best tracks the group ever made. As with many of Lennon's songs from this period, the song was a collage of many different elements pulled from his environment and surroundings, and turned into something that was rather more than the sum of its parts. For its musical inspiration, Lennon pulled from, of all things, a police siren going past his house. (For those who are unfamiliar with what old British police sirens sounded like, as opposed to the ones in use for most of my lifetime or in other countries, here's a recording of one): [Excerpt: British police siren ca 1968] That inspired Lennon to write a snatch of lyric to go with the sound of the siren, starting "Mister city policeman sitting pretty". He had two other song fragments, one about sitting in the garden, and one about sitting on a cornflake, and he told Hunter Davies, who was doing interviews for his authorised biography of the group, “I don't know how it will all end up. Perhaps they'll turn out to be different parts of the same song.” But the final element that made these three disparate sections into a song was a letter that came from Stephen Bayley, a pupil at Lennon's old school Quarry Bank, who told him that the teachers at the school -- who Lennon always thought of as having suppressed his creativity -- were now analysing Beatles lyrics in their lessons. Lennon decided to come up with some nonsense that they couldn't analyse -- though as nonsensical as the finished song is, there's an underlying anger to a lot of it that possibly comes from Lennon thinking of his school experiences. And so Lennon asked his old schoolfriend Pete Shotton to remind him of a disgusting playground chant that kids used to sing in schools in the North West of England (and which they still sang with very minor variations at my own school decades later -- childhood folklore has a remarkably long life). That rhyme went: Yellow matter custard, green snot pie All mixed up with a dead dog's eye Slap it on a butty, nice and thick, And drink it down with a cup of cold sick Lennon combined some parts of this with half-remembered fragments of Lewis Carrol's The Walrus and the Carpenter, and with some punning references to things that were going on in his own life and those of his friends -- though it's difficult to know exactly which of the stories attached to some of the more incomprehensible bits of the lyrics are accurate. The story that the line "I am the eggman" is about a sexual proclivity of Eric Burdon of the Animals seems plausible, while the contention by some that the phrase "semolina pilchard" is a reference to Sgt Pilcher, the corrupt policeman who had arrested three of the Rolling Stones, and would later arrest Lennon, on drugs charges, seems less likely. The track is a masterpiece of production, but the release of the basic take on Anthology 2 in 1996 showed that the underlying performance, before George Martin worked his magic with the overdubs, is still a remarkable piece of work: [Excerpt: The Beatles, "I am the Walrus (Anthology 2 version)"] But Martin's arrangement and production turned the track from a merely very good track into a masterpiece. The string arrangement, very much in the same mould as that for "Strawberry Fields Forever" but giving a very different effect with its harsh cello glissandi, is the kind of thing one expects from Martin, but there's also the chanting of the Mike Sammes Singers, who were more normally booked for sessions like Englebert Humperdinck's "The Last Waltz": [Excerpt: Engelbert Humperdinck, "The Last Waltz"] But here were instead asked to imitate the sound of the strings, make grunting noises, and generally go very far out of their normal comfort zone: [Excerpt: The Beatles, "I am the Walrus"] But the most fascinating piece of production in the entire track is an idea that seems to have been inspired by people like John Cage -- a live feed of a radio being tuned was played into the mono mix from about the halfway point, and whatever was on the radio at the time was captured: [Excerpt: The Beatles, "I am the Walrus"] This is also why for many decades it was impossible to have a true stereo mix of the track -- the radio part was mixed directly into the mono mix, and it wasn't until the 1990s that someone thought to track down a copy of the original radio broadcasts and recreate the process. In one of those bits of synchronicity that happen more often than you would think when you're creating aleatory art, and which are why that kind of process can be so appealing, one bit of dialogue from the broadcast of King Lear that was on the radio as the mixing was happening was *perfectly* timed: [Excerpt: The Beatles, "I am the Walrus"] After completing work on the basic track for "I am the Walrus", the group worked on two more songs for the film, George's "Blue Jay Way" and a group-composed twelve-bar blues instrumental called "Flying", before starting production. Magical Mystery Tour, as an idea, was inspired in equal parts by Ken Kesey's Merry Pranksters, the collective of people we talked about in the episode on the Grateful Dead who travelled across the US extolling the virtues of psychedelic drugs, and by mystery tours, a British working-class tradition that has rather fallen out of fashion in the intervening decades. A mystery tour would generally be put on by a coach-hire company, and would be a day trip to an unannounced location -- though the location would in fact be very predictable, and would be a seaside town within a couple of hours' drive of its starting point. In the case of the ones the Beatles remembered from their own childhoods, this would be to a coastal town in Lancashire or Wales, like Blackpool, Rhyl, or Prestatyn. A coachload of people would pay to be driven to this random location, get very drunk and have a singsong on the bus, and spend a day wherever they were taken. McCartney's plan was simple -- they would gather a group of passengers and replicate this experience over the course of several days, and film whatever went on, but intersperse that with more planned out sketches and musical numbers. For this reason, along with the Beatles and their associates, the cast included some actors found through Spotlight and some of the group's favourite performers, like the comedian Nat Jackley (whose comedy sequence directed by John was cut from the final film) and the surrealist poet/singer/comedian Ivor Cutler: [Excerpt: Ivor Cutler, "I'm Going in a Field"] The film also featured an appearance by a new band who would go on to have great success over the next year, the Bonzo Dog Doo-Dah Band. They had recorded their first single in Abbey Road at the same time as the Beatles were recording Revolver, but rather than being progressive psychedelic rock, it had been a remake of a 1920s novelty song: [Excerpt: The Bonzo Dog Doo-Dah Band, "My Brother Makes the Noises For the Talkies"] Their performance in Magical Mystery Tour was very different though -- they played a fifties rock pastiche written by band leaders Vivian Stanshall and Neil Innes while a stripper took off her clothes. While several other musical sequences were recorded for the film, including one by the band Traffic and one by Cutler, other than the Beatles tracks only the Bonzos' song made it into the finished film: [Excerpt: The Bonzo Dog Doo-Dah Band, "Death Cab for Cutie"] That song, thirty years later, would give its name to a prominent American alternative rock band. Incidentally the same night that Magical Mystery Tour was first broadcast was also the night that the Bonzo Dog Doo-Dah Band first appeared on a TV show, Do Not Adjust Your Set, which featured three future members of the Monty Python troupe -- Eric Idle, Michael Palin, and Terry Jones. Over the years the careers of the Bonzos, the Pythons, and the Beatles would become increasingly intertwined, with George Harrison in particular striking up strong friendships and working relationships with Bonzos Neil Innes and "Legs" Larry Smith. The filming of Magical Mystery Tour went about as well as one might expect from a film made by four directors, none of whom had any previous filmmaking experience, and none of whom had any business knowledge. The Beatles were used to just turning up and having things magically done for them by other people, and had no real idea of the infrastructure challenges that making a film, even a low-budget one, actually presents, and ended up causing a great deal of stress to almost everyone involved. The completed film was shown on TV on Boxing Day 1967 to general confusion and bemusement. It didn't help that it was originally broadcast in black and white, and so for example the scene showing shifting landscapes (outtake footage from Stanley Kubrick's Dr. Strangelove, tinted various psychedelic colours) over the "Flying" music, just looked like grey fuzz. But also, it just wasn't what people were expecting from a Beatles film. This was a ramshackle, plotless, thing more inspired by Andy Warhol's underground films than by the kind of thing the group had previously appeared in, and it was being presented as Christmas entertainment for all the family. And to be honest, it's not even a particularly good example of underground filmmaking -- though it looks like a masterpiece when placed next to something like the Bee Gees' similar effort, Cucumber Castle. But there are enough interesting sequences in there for the project not to be a complete failure -- and the deleted scenes on the DVD release, including the performances by Cutler and Traffic, and the fact that the film was edited down from ten hours to fifty-two minutes, makes one wonder if there's a better film that could be constructed from the original footage. Either way, the reaction to the film was so bad that McCartney actually appeared on David Frost's TV show the next day to defend it and, essentially, apologise. While they were editing the film, the group were also continuing to work in the studio, including on two new McCartney songs, "The Fool on the Hill", which was included in Magical Mystery Tour, and "Hello Goodbye", which wasn't included on the film's soundtrack but was released as the next single, with "I Am the Walrus" as the B-side: [Excerpt: The Beatles, "Hello Goodbye"] Incidentally, in the UK the soundtrack to Magical Mystery Tour was released as a double-EP rather than as an album (in the US, the group's recent singles and B-sides were added to turn it into a full-length album, which is how it's now generally available). "I Am the Walrus" was on the double-EP as well as being on the single's B-side, and the double-EP got to number two on the singles charts, meaning "I am the Walrus" was on the records at number one and number two at the same time. Before it became obvious that the film, if not the soundtrack, was a disaster, the group held a launch party on the twenty-first of December, 1967. The band members went along in fancy dress, as did many of the cast and crew -- the Bonzo Dog Doo-Dah Band performed at the party. Mike Love and Bruce Johnston of the Beach Boys also turned up at the party, and apparently at one point jammed with the Bonzos, and according to some, but not all, reports, a couple of the Beatles joined in as well. Love and Johnston had both just met the Maharishi for the first time a couple of days earlier, and Love had been as impressed as the Beatles were, and it may have been at this party that the group mentioned to Love that they would soon be going on a retreat in India with the guru -- a retreat that was normally meant for training TM instructors, but this time seemed to be more about getting celebrities involved. Love would also end up going with them. That party was also the first time that Cynthia Lennon had an inkling that John might not be as faithful to her as she previously supposed. John had always "joked" about being attracted to George Harrison's wife, Patti, but this time he got a little more blatant about his attraction than he ever had previously, to the point that he made Cynthia cry, and Cynthia's friend, the pop star Lulu, decided to give Lennon a very public dressing-down for his cruelty to his wife, a dressing-down that must have been a sight to behold, as Lennon was dressed as a Teddy boy while Lulu was in a Shirley Temple costume. It's a sign of how bad the Lennons' marriage was at this point that this was the second time in a two-month period where Cynthia had ended up crying because of John at a film launch party and been comforted by a female pop star. In October, Cilla Black had held a party to celebrate the belated release of John's film How I Won the War, and during the party Georgie Fame had come up to Black and said, confused, "Cynthia Lennon is hiding in your wardrobe". Black went and had a look, and Cynthia explained to her “I'm waiting to see how long it is before John misses me and comes looking for me.” Black's response had been “You'd better face it, kid—he's never gonna come.” Also at the Magical Mystery Tour party was Lennon's father, now known as Freddie Lennon, and his new nineteen-year-old fiancee. While Hunter Davis had been researching the Beatles' biography, he'd come across some evidence that the version of Freddie's attitude towards John that his mother's side of the family had always told him -- that Freddie had been a cruel and uncaring husband who had not actually wanted to be around his son -- might not be the whole of the truth, and that the mother who he had thought of as saintly might also have had some part to play in their marriage breaking down and Freddie not seeing his son for twenty years. The two had made some tentative attempts at reconciliation, and indeed Freddie would even come and live with John for a while, though within a couple of years the younger Lennon's heart would fully harden against his father again. Of course, the things that John always resented his father for were pretty much exactly the kind of things that Lennon himself was about to do. It was around this time as well that Derek Taylor gave the Beatles copies of the debut album by a young singer/songwriter named Harry Nilsson. Nilsson will be getting his own episode down the line, but not for a couple of years at my current rates, so it's worth bringing that up here, because that album became a favourite of all the Beatles, and would have a huge influence on their songwriting for the next couple of years, and because one song on the album, "1941", must have resonated particularly deeply with Lennon right at this moment -- an autobiographical song by Nilsson about how his father had left him and his mother when he was a small boy, and about his own fear that, as his first marriage broke down, he was repeating the pattern with his stepson Scott: [Excerpt: Nilsson, "1941"] The other major event of December 1967, rather overshadowed by the Magical Mystery Tour disaster the next day, was that on Christmas Day Paul McCartney and Jane Asher announced their engagement. A few days later, George Harrison flew to India. After John and Paul had had their outside film projects -- John starring in How I Won The War and Paul doing the soundtrack for The Family Way -- the other two Beatles more or less simultaneously did their own side project films, and again one acted while the other did a soundtrack. Both of these projects were in the rather odd subgenre of psychedelic shambolic comedy film that sprang up in the mid sixties, a subgenre that produced a lot of fascinating films, though rather fewer good ones. Indeed, both of them were in the subsubgenre of shambolic psychedelic *sex* comedies. In Ringo's case, he had a small role in the film Candy, which was based on the novel we mentioned in the last episode, co-written by Terry Southern, which was in itself a loose modern rewriting of Voltaire's Candide. Unfortunately, like such other classics of this subgenre as Anthony Newley's Can Heironymus Merkin Ever Forget Mercy Humppe and Find True Happiness?, Candy has dated *extremely* badly, and unless you find repeated scenes of sexual assault and rape, ethnic stereotypes, and jokes about deformity and disfigurement to be an absolute laugh riot, it's not a film that's worth seeking out, and Starr's part in it is not a major one. Harrison's film was of the same basic genre -- a film called Wonderwall about a mad scientist who discovers a way to see through the walls of his apartment, and gets to see a photographer taking sexy photographs of a young woman named Penny Lane, played by Jane Birkin: [Excerpt: Some Wonderwall film dialogue ripped from the Blu-Ray] Wonderwall would, of course, later inspire the title of a song by Oasis, and that's what the film is now best known for, but it's a less-unwatchable film than Candy, and while still problematic it's less so. Which is something. Harrison had been the Beatle with least involvement in Magical Mystery Tour -- McCartney had been the de facto director, Starr had been the lead character and the only one with much in the way of any acting to do, and Lennon had written the film's standout scene and its best song, and had done a little voiceover narration. Harrison, by contrast, barely has anything to do in the film apart from the one song he contributed, "Blue Jay Way", and he said of the project “I had no idea what was happening and maybe I didn't pay enough attention because my problem, basically, was that I was in another world, I didn't really belong; I was just an appendage.” He'd expressed his discomfort to his friend Joe Massot, who was about to make his first feature film. Massot had got to know Harrison during the making of his previous film, Reflections on Love, a mostly-silent short which had starred Harrison's sister-in-law Jenny Boyd, and which had been photographed by Robert Freeman, who had been the photographer for the Beatles' album covers from With the Beatles through Rubber Soul, and who had taken most of the photos that Klaus Voorman incorporated into the cover of Revolver (and whose professional association with the Beatles seemed to come to an end around the same time he discovered that Lennon had been having an affair with his wife). Massot asked Harrison to write the music for the film, and told Harrison he would have complete free rein to make whatever music he wanted, so long as it fit the timing of the film, and so Harrison decided to create a mixture of Western rock music and the Indian music he loved. Harrison started recording the music at the tail end of 1967, with sessions with several London-based Indian musicians and John Barham, an orchestrator who had worked with Ravi Shankar on Shankar's collaborations with Western musicians, including the Alice in Wonderland soundtrack we talked about in the "All You Need is Love" episode. For the Western music, he used the Remo Four, a Merseybeat group who had been on the scene even before the Beatles, and which contained a couple of classmates of Paul McCartney, but who had mostly acted as backing musicians for other artists. They'd backed Johnny Sandon, the former singer with the Searchers, on a couple of singles, before becoming the backing band for Tommy Quickly, a NEMS artist who was unsuccessful despite starting his career with a Lennon/McCartney song, "Tip of My Tongue": [Excerpt: Tommy Quickly, "Tip of My Tongue"] The Remo Four would later, after a lineup change, become Ashton, Gardner and Dyke, who would become one-hit wonders in the seventies, and during the Wonderwall sessions they recorded a song that went unreleased at the time, and which would later go on to be rerecorded by Ashton, Gardner, and Dyke. "In the First Place" also features Harrison on backing vocals and possibly guitar, and was not submitted for the film because Harrison didn't believe that Massot wanted any vocal tracks, but the recording was later discovered and used in a revised director's cut of the film in the nineties: [Excerpt: The Remo Four, "In the First Place"] But for the most part the Remo Four were performing instrumentals written by Harrison. They weren't the only Western musicians performing on the sessions though -- Peter Tork of the Monkees dropped by these sessions and recorded several short banjo solos, which were used in the film soundtrack but not in the soundtrack album (presumably because Tork was contracted to another label): [Excerpt: Peter Tork, "Wonderwall banjo solo"] Another musician who was under contract to another label was Eric Clapton, who at the time was playing with The Cream, and who vaguely knew Harrison and so joined in for the track "Ski-ing", playing lead guitar under the cunning, impenetrable, pseudonym "Eddie Clayton", with Harrison on sitar, Starr on drums, and session guitarist Big Jim Sullivan on bass: [Excerpt: George Harrison, "Ski-ing"] But the bulk of the album was recorded in EMI's studios in the city that is now known as Mumbai but at the time was called Bombay. The studio facilities in India had up to that point only had a mono tape recorder, and Bhaskar Menon, one of the top executives at EMI's Indian division and later the head of EMI music worldwide, personally brought the first stereo tape recorder to the studio to aid in Harrison's recording. The music was all composed by Harrison and performed by the Indian musicians, and while Harrison was composing in an Indian mode, the musicians were apparently fascinated by how Western it sounded to them: [Excerpt: George Harrison, "Microbes"] While he was there, Harrison also got the instrumentalists to record another instrumental track, which wasn't to be used for the film: [Excerpt: George Harrison, "The Inner Light (instrumental)"] That track would, instead, become part of what was to be Harrison's first composition to make a side of a Beatles single. After John and George had appeared on the David Frost show talking about the Maharishi, in September 1967, George had met a lecturer in Sanskrit named Juan Mascaró, who wrote to Harrison enclosing a book he'd compiled of translations of religious texts, telling him he'd admired "Within You Without You" and thought it would be interesting if Harrison set something from the Tao Te Ching to music. He suggested a text that, in his translation, read: "Without going out of my door I can know all things on Earth Without looking out of my window I can know the ways of heaven For the farther one travels, the less one knows The sage, therefore Arrives without travelling Sees all without looking Does all without doing" Harrison took that text almost verbatim, though he created a second verse by repeating the first few lines with "you" replacing "I" -- concerned that listeners might think he was just talking about himself, and wouldn't realise it was a more general statement -- and he removed the "the sage, therefore" and turned the last few lines into imperative commands rather than declarative statements: [Excerpt: The Beatles, "The Inner Light"] The song has come in for some criticism over the years as being a little Orientalist, because in critics' eyes it combines Chinese philosophy with Indian music, as if all these things are equally "Eastern" and so all the same really. On the other hand there's a good argument that an English songwriter taking a piece of writing written in Chinese and translated into English by a Spanish man and setting it to music inspired by Indian musical modes is a wonderful example of cultural cross-pollination. As someone who's neither Chinese nor Indian I wouldn't want to take a stance on it, but clearly the other Beatles were impressed by it -- they put it out as the B-side to their next single, even though the only Beatles on it are Harrison and McCartney, with the latter adding a small amount of harmony vocal: [Excerpt: The Beatles, "The Inner Light"] And it wasn't because the group were out of material. They were planning on going to Rishikesh to study with the Maharishi, and wanted to get a single out for release while they were away, and so in one week they completed the vocal overdubs on "The Inner Light" and recorded three other songs, two by John and one by Paul. All three of the group's songwriters brought in songs that were among their best. John's first contribution was a song whose lyrics he later described as possibly the best he ever wrote, "Across the Universe". He said the lyrics were “purely inspirational and were given to me as boom! I don't own it, you know; it came through like that … Such an extraordinary meter and I can never repeat it! It's not a matter of craftsmanship, it wrote itself. It drove me out of bed. I didn't want to write it … It's like being possessed, like a psychic or a medium.” But while Lennon liked the song, he was never happy with the recording of it. They tried all sorts of things to get the sound he heard in his head, including bringing in some fans who were hanging around outside to sing backing vocals. He said of the track "I was singing out of tune and instead of getting a decent choir, we got fans from outside, Apple Scruffs or whatever you call them. They came in and were singing all off-key. Nobody was interested in doing the tune originally.” [Excerpt: The Beatles, "Across the Universe"] The "jai guru deva" chorus there is the first reference to the teachings of the Maharishi in one of the Beatles' records -- Guru Dev was the Maharishi's teacher, and the phrase "Jai guru dev" is a Sanskrit one which I've seen variously translated as "victory to the great teacher", and "hail to the greatness within you". Lennon would say shortly before his death “The Beatles didn't make a good record out of it. I think subconsciously sometimes we – I say ‘we' though I think Paul did it more than the rest of us – Paul would sort of subconsciously try and destroy a great song … Usually we'd spend hours doing little detailed cleaning-ups of Paul's songs, when it came to mine, especially if it was a great song like ‘Strawberry Fields' or ‘Across The Universe', somehow this atmosphere of looseness and casualness and experimentation would creep in … It was a _lousy_ track of a great song and I was so disappointed by it …The guitars are out of tune and I'm singing out of tune because I'm psychologically destroyed and nobody's supporting me or helping me with it, and the song was never done properly.” Of course, this is only Lennon's perception, and it's one that the other participants would disagree with. George Martin, in particular, was always rather hurt by the implication that Lennon's songs had less attention paid to them, and he would always say that the problem was that Lennon in the studio would always say "yes, that's great", and only later complain that it hadn't been what he wanted. No doubt McCartney did put in more effort on his own songs than on Lennon's -- everyone has a bias towards their own work, and McCartney's only human -- but personally I suspect that a lot of the problem comes down to the two men having very different personalities. McCartney had very strong ideas about his own work and would drive the others insane with his nitpicky attention to detail. Lennon had similarly strong ideas, but didn't have the attention span to put the time and effort in to force his vision on others, and didn't have the technical knowledge to express his ideas in words they'd understand. He expected Martin and the other Beatles to work miracles, and they did -- but not the miracles he would have worked. That track was, rather than being chosen for the next single, given to Spike Milligan, who happened to be visiting the studio and was putting together an album for the environmental charity the World Wildlife Fund. The album was titled "No One's Gonna Change Our World": [Excerpt: The Beatles, "Across the Universe"] That track is historic in another way -- it would be the last time that George Harrison would play sitar on a Beatles record, and it effectively marks the end of the period of psychedelia and Indian influence that had started with "Norwegian Wood" three years earlier, and which many fans consider their most creative period. Indeed, shortly after the recording, Harrison would give up the sitar altogether and stop playing it. He loved sitar music as much as he ever had, and he still thought that Indian classical music spoke to him in ways he couldn't express, and he continued to be friends with Ravi Shankar for the rest of his life, and would only become more interested in Indian religious thought. But as he spent time with Shankar he realised he would never be as good on the sitar as he hoped. He said later "I thought, 'Well, maybe I'm better off being a pop singer-guitar-player-songwriter – whatever-I'm-supposed-to-be' because I've seen a thousand sitar-players in India who are twice as better as I'll ever be. And only one of them Ravi thought was going to be a good player." We don't have a precise date for when it happened -- I suspect it was in June 1968, so a few months after the "Across the Universe" recording -- but Shankar told Harrison that rather than try to become a master of a music that he hadn't encountered until his twenties, perhaps he should be making the music that was his own background. And as Harrison put it "I realised that was riding my bike down a street in Liverpool and hearing 'Heartbreak Hotel' coming out of someone's house.": [Excerpt: Elvis Presley, "Heartbreak Hotel"] In early 1968 a lot of people seemed to be thinking along the same lines, as if Christmas 1967 had been the flick of a switch and instead of whimsy and ornamentation, the thing to do was to make music that was influenced by early rock and roll. In the US the Band and Bob Dylan were making music that was consciously shorn of all studio experimentation, while in the UK there was a revival of fifties rock and roll. In April 1968 both "Peggy Sue" and "Rock Around the Clock" reentered the top forty in the UK, and the Who were regularly including "Summertime Blues" in their sets. Fifties nostalgia, which would make occasional comebacks for at least the next forty years, was in its first height, and so it's not surprising that Paul McCartney's song, "Lady Madonna", which became the A-side of the next single, has more than a little of the fifties about it. Of course, the track isn't *completely* fifties in its origins -- one of the inspirations for the track seems to have been the Rolling Stones' then-recent hit "Let's Spend The Night Together": [Excerpt: The Rolling Stones, "Let's Spend the Night Together"] But the main source for the song's music -- and for the sound of the finished record -- seems to have been Johnny Parker's piano part on Humphrey Lyttleton's "Bad Penny Blues", a hit single engineered by Joe Meek in the fifties: [Excerpt: Humphrey Lyttleton, "Bad Penny Blues"] That song seems to have been on the group's mind for a while, as a working title for "With a Little Help From My Friends" had at one point been "Bad Finger Blues" -- a title that would later give the name to a band on Apple. McCartney took Parker's piano part as his inspiration, and as he later put it “‘Lady Madonna' was me sitting down at the piano trying to write a bluesy boogie-woogie thing. I got my left hand doing an arpeggio thing with the chord, an ascending boogie-woogie left hand, then a descending right hand. I always liked that, the  juxtaposition of a line going down meeting a line going up." [Excerpt: The Beatles, "Lady Madonna"] That idea, incidentally, is an interesting reversal of what McCartney had done on "Hello, Goodbye", where the bass line goes down while the guitar moves up -- the two lines moving away from each other: [Excerpt: The Beatles, "Hello Goodbye"] Though that isn't to say there's no descending bass in "Lady Madonna" -- the bridge has a wonderful sequence where the bass just *keeps* *descending*: [Excerpt: The Beatles, "Lady Madonna"] Lyrically, McCartney was inspired by a photo in National Geographic of a woman in Malaysia, captioned “Mountain Madonna: with one child at her breast and another laughing into her face, sees her quality of life threatened.” But as he put it “The people I was brought up amongst were often Catholic; there are lots of Catholics in Liverpool because of the Irish connection and they are often religious. When they have a baby I think they see a big connection between themselves and the Virgin Mary with her baby. So the original concept was the Virgin Mary but it quickly became symbolic of every woman; the Madonna image but as applied to ordinary working class woman. It's really a tribute to the mother figure, it's a tribute to women.” Musically though, the song was more a tribute to the fifties -- while the inspiration had been a skiffle hit by Humphrey Lyttleton, as soon as McCartney started playing it he'd thought of Fats Domino, and the lyric reflects that to an extent -- just as Domino's "Blue Monday" details the days of the week for a weary working man who only gets to enjoy himself on Saturday night, "Lady Madonna"'s lyrics similarly look at the work a mother has to do every day -- though as McCartney later noted  "I was writing the words out to learn it for an American TV show and I realised I missed out Saturday ... So I figured it must have been a real night out." The vocal was very much McCartney doing a Domino impression -- something that wasn't lost on Fats, who cut his own version of the track later that year: [Excerpt: Fats Domino, "Lady Madonna"] The group were so productive at this point, right before the journey to India, that they actually cut another song *while they were making a video for "Lady Madonna"*. They were booked into Abbey Road to film themselves performing the song so it could be played on Top of the Pops while they were away, but instead they decided to use the time to cut a new song -- John had a partially-written song, "Hey Bullfrog", which was roughly the same tempo as "Lady Madonna", so they could finish that up and then re-edit the footage to match the record. The song was quickly finished and became "Hey Bulldog": [Excerpt: The Beatles, "Hey Bulldog"] One of Lennon's best songs from this period, "Hey Bulldog" was oddly chosen only to go on the soundtrack of Yellow Submarine. Either the band didn't think much of it because it had come so easily, or it was just assigned to the film because they were planning on being away for several months and didn't have any other projects they were working on. The extent of the group's contribution to the film was minimal – they were not very hands-on, and the film, which was mostly done as an attempt to provide a third feature film for their United Artists contract without them having to do any work, was made by the team that had done the Beatles cartoon on American TV. There's some evidence that they had a small amount of input in the early story stages, but in general they saw the cartoon as an irrelevance to them -- the only things they contributed were the four songs "All Together Now", "It's All Too Much", "Hey Bulldog" and "Only a Northern Song", and a brief filmed appearance for the very end of the film, recorded in January: [Excerpt: Yellow Submarine film end] McCartney also took part in yet another session in early February 1968, one produced by Peter Asher, his fiancee's brother, and former singer with Peter and Gordon. Asher had given up on being a pop star and was trying to get into the business side of music, and he was starting out as a producer, producing a single by Paul Jones, the former lead singer of Manfred Mann. The A-side of the single, "And the Sun Will Shine", was written by the Bee Gees, the band that Robert Stigwood was managing: [Excerpt: Paul Jones, "And the Sun Will Shine"] While the B-side was an original by Jones, "The Dog Presides": [Excerpt: Paul Jones, "The Dog Presides"] Those tracks featured two former members of the Yardbirds, Jeff Beck and Paul Samwell-Smith, on guitar and bass, and Nicky Hopkins on piano. Asher asked McCartney to play drums on both sides of the single, saying later "I always thought he was a great, underrated drummer." McCartney was impressed by Asher's production, and asked him to get involved with the new Apple Records label that would be set up when the group returned from India. Asher eventually became head of A&R for the label. And even before "Lady Madonna" was mixed, the Beatles were off to India. Mal Evans, their roadie, went ahead with all their luggage on the fourteenth of February, so he could sort out transport for them on the other end, and then John and George followed on the fifteenth, with their wives Pattie and Cynthia and Pattie's sister Jenny (John and Cynthia's son Julian had been left with his grandmother while they went -- normally Cynthia wouldn't abandon Julian for an extended period of time, but she saw the trip as a way to repair their strained marriage). Paul and Ringo followed four days later, with Ringo's wife Maureen and Paul's fiancee Jane Asher. The retreat in Rishikesh was to become something of a celebrity affair. Along with the Beatles came their friend the singer-songwriter Donovan, and Donovan's friend and songwriting partner, whose name I'm not going to say here because it's a slur for Romani people, but will be known to any Donovan fans. Donovan at this point was also going through changes. Like the Beatles, he was largely turning away from drug use and towards meditation, and had recently written his hit single "There is a Mountain" based around a saying from Zen Buddhism: [Excerpt: Donovan, "There is a Mountain"] That was from his double-album A Gift From a Flower to a Garden, which had come out in December 1967. But also like John and Paul he was in the middle of the breakdown of a long-term relationship, and while he would remain with his then-partner until 1970, and even have another child with her, he was secretly in love with another woman. In fact he was secretly in love with two other women. One of them, Brian Jones' ex-girlfriend Linda, had moved to LA, become the partner of the singer Gram Parsons, and had appeared in the documentary You Are What You Eat with the Band and Tiny Tim. She had fallen out of touch with Donovan, though she would later become his wife. Incidentally, she had a son to Brian Jones who had been abandoned by his rock-star father -- the son's name is Julian. The other woman with whom Donovan was in love was Jenny Boyd, the sister of George Harrison's wife Pattie.  Jenny at the time was in a relationship with Alexis Mardas, a TV repairman and huckster who presented himself as an electronics genius to the Beatles, who nicknamed him Magic Alex, and so she was unavailable, but Donovan had written a song about her, released as a single just before they all went to Rishikesh: [Excerpt: Donovan, "Jennifer Juniper"] Donovan considered himself and George Harrison to be on similar spiritual paths and called Harrison his "spirit-brother", though Donovan was more interested in Buddhism, which Harrison considered a corruption of the more ancient Hinduism, and Harrison encouraged Donovan to read Autobiography of a Yogi. It's perhaps worth noting that Donovan's father had a different take on the subject though, saying "You're not going to study meditation in India, son, you're following that wee lassie Jenny" Donovan and his friend weren't the only other celebrities to come to Rishikesh. The actor Mia Farrow, who had just been through a painful divorce from Frank Sinatra, and had just made Rosemary's Baby, a horror film directed by Roman Polanski with exteriors shot at the Dakota building in New York, arrived with her sister Prudence. Also on the trip was Paul Horn, a jazz saxophonist who had played with many of the greats of jazz, not least of them Duke Ellington, whose Sweet Thursday Horn had played alto sax on: [Excerpt: Duke Ellington, "Zweet Zursday"] Horn was another musician who had been inspired to investigate Indian spirituality and music simultaneously, and the previous year he had recorded an album, "In India," of adaptations of ragas, with Ravi Shankar and Alauddin Khan: [Excerpt: Paul Horn, "Raga Vibhas"] Horn would go on to become one of the pioneers of what would later be termed "New Age" music, combining jazz with music from various non-Western traditions. Horn had also worked as a session musician, and one of the tracks he'd played on was "I Know There's an Answer" from the Beach Boys' Pet Sounds album: [Excerpt: The Beach Boys, "I Know There's an Answer"] Mike Love, who co-wrote that track and is one of the lead singers on it, was also in Rishikesh. While as we'll see not all of the celebrities on the trip would remain practitioners of Transcendental Meditation, Love would be profoundly affected by the trip, and remains a vocal proponent of TM to this day. Indeed, his whole band at the time were heavily into TM. While Love was in India, the other Beach Boys were working on the Friends album without him -- Love only appears on four tracks on that album -- and one of the tracks they recorded in his absence was titled "Transcendental Meditation": [Excerpt: The Beach Boys, "Transcendental Meditation"] But the trip would affect Love's songwriting, as it would affect all of the musicians there. One of the few songs on the Friends album on which Love appears is "Anna Lee, the Healer", a song which is lyrically inspired by the trip in the most literal sense, as it's about a masseuse Love met in Rishikesh: [Excerpt: The Beach Boys, "Anna Lee, the Healer"] The musicians in the group all influenced and inspired each other as is likely to happen in such circumstances. Sometimes, it would be a matter of trivial joking, as when the Beatles decided to perform an off-the-cuff song about Guru Dev, and did it in the Beach Boys style: [Excerpt: The Beatles, "Spiritual Regeneration"] And that turned partway through into a celebration of Love for his birthday: [Excerpt: The Beatles, "Spiritual Regeneration"] Decades later, Love would return the favour, writing a song about Harrison and their time together in Rishikesh. Like Donovan, Love seems to have considered Harrison his "spiritual brother", and he titled the song "Pisces Brothers": [Excerpt: Mike Love, "Pisces Brothers"] The musicians on the trip were also often making suggestions to each other about songs that would become famous for them. The musicians had all brought acoustic guitars, apart obviously from Ringo, who got a set of tabla drums when George ordered some Indian instruments to be delivered. George got a sitar, as at this point he hadn't quite given up on the instrument, and he gave Donovan a tamboura. Donovan started playing a melody on the tamboura, which is normally a drone instrument, inspired by the Scottish folk music he had grown up with, and that became his "Hurdy-Gurdy Man": [Excerpt: Donovan, "Hurdy Gurdy Man"] Harrison actually helped him with the song, writing a final verse inspired by the Maharishi's teachings, but in the studio Donovan's producer Mickie Most told him to cut the verse because the song was overlong, which apparently annoyed Harrison. Donovan includes that verse in his live performances of the song though -- usually while doing a fairly terrible impersonation of Harrison: [Excerpt: Donovan, "Hurdy Gurdy Man (live)"] And similarly, while McCartney was working on a song pastiching Chuck Berry and the Beach Boys, but singing about the USSR rather than the USA, Love suggested to him that for a middle-eight he might want to sing about the girls in the various Soviet regions: [Excerpt: The Beatles, "Back in the USSR"] As all the guitarists on the retreat only had acoustic instruments, they were very keen to improve their acoustic playing, and they turned to Donovan, who unlike the rest of them was primarily an acoustic player, and one from a folk background. Donovan taught them the rudiments of Travis picking, the guitar style we talked about way back in the episodes on the Everly Brothers, as well as some of the tunings that had been introduced to British folk music by Davey Graham, giving them a basic grounding in the principles of English folk-baroque guitar, a style that had developed over the previous few years. Donovan has said in his autobiography that Lennon picked the technique up quickly (and that Harrison had already learned Travis picking from Chet Atkins records) but that McCartney didn't have the application to learn the style, though he picked up bits. That seems very unlike anything else I've read anywhere about Lennon and McCartney -- no-one has ever accused Lennon of having a surfeit of application -- and reading Donovan's book he seems to dislike McCartney and like Lennon and Harrison, so possibly that enters into it. But also, it may just be that Lennon was more receptive to Donovan's style at the time. According to McCartney, even before going to Rishikesh Lennon had been in a vaguely folk-music and country mode, and the small number of tapes he'd brought with him to Rishikesh included Buddy Holly, Dylan, and the progressive folk band The Incredible String Band, whose music would be a big influence on both Lennon and McCartney for the next year: [Excerpt: The Incredible String Band, "First Girl I Loved"] According to McCartney Lennon also brought "a tape the singer Jake Thackray had done for him... He was one of the people we bumped into at Abbey Road. John liked his stuff, which he'd heard on television. Lots of wordplay and very suggestive, so very much up John's alley. I was fascinated by his unusual guitar style. John did ‘Happiness Is A Warm Gun' as a Jake Thackray thing at one point, as I recall.” Thackray was a British chansonnier, who sang sweetly poignant but also often filthy songs about Yorkshire life, and his humour in particular will have appealed to Lennon. There's a story of Lennon meeting Thackray in Abbey Road and singing the whole of Thackray's song "The Statues", about two drunk men fighting a male statue to defend the honour of a female statue, to him: [Excerpt: Jake Thackray, "The Statues"] Given this was the music that Lennon was listening to, it's unsurprising that he was more receptive to Donovan's lessons, and the new guitar style he learned allowed him to expand his songwriting, at precisely the same time he was largely clean of drugs for the first time in several years, and he started writing some of the best songs he would ever write, often using these new styles: [Excerpt: The Beatles, "Julia"] That song is about Lennon's dead mother -- the first time he ever addressed her directly in a song, though  it would be far from the last -- but it's also about someone else. That phrase "Ocean child" is a direct translation of the Japanese name "Yoko". We've talked about Yoko Ono a bit in recent episodes, and even briefly in a previous Beatles episode, but it's here that she really enters the story of the Beatles. Unfortunately, exactly *how* her relationship with John Lennon, which was to become one of the great legendary love stories in rock and roll history, actually started is the subject of some debate. Both of them were married when they first got together, and there have also been suggestions that Ono was more interested in McCartney than in Lennon at first -- suggestions which everyone involved has denied, and those denials have the ring of truth about them, but if that was the case it would also explain some of Lennon's more perplexing behaviour over the next year. By all accounts there was a certain amount of finessing of the story th

Lee and Leah are teasing their cinematic sweet tooth this week when they bite into the sexy thriller "Sugar Cookies" (1973), directed by Theodore Gershuny, and co-written by future head of Troma, Lloyd Kaufman. Does this otherwise low-budget and poorly-made film have anything to offer other than the lovely nude bodies of the stars Mary Woronov and Lynn Lowry? Is this the progenitor of the sexy thrillers we'd see twenty years later on late night cable and direct-to-video VHS? Is it deserving of the "X" rating it originally got? Who the fuck is "Gus" and why the hell are we following him out of nowhere? Also, Leah has some rants this week and the host respond to comments (including one that's critical of one of our episodes) and talk about what they've watches as of late. "Sugar Cookies" IMDB  Featured Music: "All American Boy" by Gershon Kingsley and "Sally, Go 'Round the Roses" by The Jaynetts.

- Episode 25: Synth pop- Wir klären in dieser Folge ein für alle Mal:Was war die musikalische Revolution beim Synth PopWer hat man Synth Pop in den USA genannt?Und wie in Großbritannien?Was ist das große Dilemma von Depeche Mode?Was kann man heute von Synth Pop lernen?- Wie immer ein paar Fun Facts zur Folge:Popcorn wurde 1969 von Gershon Kingsley geschrieben für das Album "Music to Moog by", populär wurde es allerdings in der Coverversion von Hot Butter.Im Jahr 2010 hat selbst der dänische Koch in der Muppet Show hat Popcorn einmal interpretiert.Die Ex- oder vielleicht doch Partnerin von Elan Musk, "Grimes" war früher auch Synth pop MusikerinUnsere eigene Synth pop Bands waren Second Decay und No comment, später mit Rehberg dann auch gemeinsam.- LinksPodcasts: https://disko80.buzzsprout.comRSS-Feed: https://feeds.buzzsprout.com/1754816.rssHomepage: http://www.purwienundkowa.comAktuelle CD von Purwien & Kowa: https://ffm.to/puk5Bandit EP von Purwien & Kowa: https://ffm.to/bandit12Musik von Purwien & Kowa: https://purwienkowa.bandcamp.comBücher von Purwien & Kowa: https://amzn.to/2W9Ftj8Hörbuch zu Pommes! Porno! Popstar!: https://amzn.to/3J8DVcVSpotify Playlist Episode 25: https://spoti.fi/3u4kX2c

Gershon Kingsley Microfreak 4.0 Korg Opsix 2.0 y más #sintetizadores #tecnología #musica

Episode 8 Band on the Run – the origin of a hit song Part 2Join us in Part 2 of our story where we investigate the challenges that Paul faced in recording his hit song Band on the Run; his life-threatening encounter, abandonment, culture shock, and using the new instruments of the 60s and 70s. We also investigate how Band on the Run is somehow connected to the song Desperado by the Eagles! So settle in for Part 2 of our narrative. You will be intrigued by a series of revelations that you will find entertaining and informative!Band on the Run, Paul and Linda McCartney; performed by Joe Anastasi and Mike SugarDrama-pizza, Mike Sugar; performed by Mike SugarDramockumystery Tour, Mike Sugar; performed by Mike SugarSuspenseful Stridi, Mike Sugar; performed by Mike SugarHotel (Theme), Henry Mancini; performed by Mike SugarAm Be Into Background, Mike Sugar; performed by Mike SugarAbandon The Run (interstitial rabbit hole), based on Paul and Linda McCartney's Band On the Run, rearranged and performed by Mike SugarGoodbye, Paul McCartney; performed by Stroll Down Penny Lane (Joe Anastasi, Mike Sugar, Winter, Mark Abbott, Matt Twain)Two Part Invention in D Minor, J.S. Bach; performed by Mike SugarI Want You (She's So Heavy), Lennon and McCartney; performed by Mike SugarThus Mooged MaccaThustra, Richard Strauss, Paul McCartney, Phil Medley and Bert Berns; [Twist and Shout, Band on the Run, and Also Sprach Zarathustra] mashed up and performed by Mike SugarMaxwell's Silver Hammer, Lennon and McCartney; performed by Joe Anastasi and Mike SugarKalider Story, Mike Sugar; performed by Mike SugarBaroque Inn, Mike Sugar; performed by Mike SugarSuperstition, Stevie Wonder; performed by Mike SugarShe Drives Me Crazy, Roland Gift, David Steele; performed by Joe Anastasi and Mike SugarPopcorn, Gershon Kingsley; performed by Mike SugarFrankenstein; Edgar Winter: performed by Mike SugarMy Love, Paul and Linda McCartney; performed by Joe Anastasi and Mike SugarWhats' My Line, Charles Fox; performed by Mike SugarThe Good the Bad and the Ugly Theme; Ennio Morricone, performed by Mike SugarDesperado, Glenn Frey and Don Henley; performed by Joe Anastasi and Mike SugarPenny Lane, Lennon and McCartney; performed by Joe Anastasi, Mike Sugar, Winter, and Mark Abbott of Stroll Down Penny LaneThe End, Lennon and McCartney; performed by Joe Anastasi, Mike Sugar, Winter, Mark Abbott, Matt Twain of Stroll Down Penny LaneSources:Paul McCartney, the Life, Philip Norman; Little Brown and Company; 2016Here, There and Everywhere, Geoff Emerick and Howard Massey; Gotham Books; New York; 2006McCartney, Christopher Sandford; Carroll and Graf Publishers; 2006Band on the Run, a History of Paul McCartney and Wings, Garry McGee; Taylor Trade Publishing; 2003Fab, an intimate life of Paul McCartney; Howard Sounes; Da Capo Press; 2010Recording the Beatles; Kevin Ryan and Brian Kehew; Curvebender; 2006.Songwriting Secrets of the Beatles, Dominic Pedler; Omnibus Press; 2003The Beatles Anthology; Chronicle Books; San Francisco; 2000Funeral takes place of former Wings guitarist Henry McCullough, David Roy; The Irish News; June 19, 2016Paul McCartney pays tribute to 'super-talented' Wings guitarist Henry McCullough, Nick Levine; nme.com; June 15, 2016Paul McCartney and Wings, Band on the Run; Paul McCartney Archive Collection; Deluxe EditionThe Beatles play with the Moog Synthesizer, 1969; Elena the Beatles photosBand on the Run: Moog or ARP? / Fab Forum; www.beatlesbible.comMoog synthesizer; WikipediaMinimoog; WikipediaFab Four FAQ: Everything Left to Know about the Beatles – and More!, Stuart Shea and Robert Rodriguez; Hal Leonard; 2007McCartney, songwriter, Howard Elson; W.H. Allen; 1986

Stroll Down Penny Lane Episode 8 Band on the Run – the origin of a hit song Part 2 Join us in Part 2 of our story where we investigate the challenges that Paul faced in recording his hit song Band on the Run; his life-threatening encounter, abandonment, culture shock, and using the new instruments of the 60s and 70s. We also investigate how Band on the Run is somehow connected to the song Desperado by the Eagles! So settle in for Part 2 of our narrative. You will be intrigued by a series of revelations that you will find entertaining and informative! Band on the Run, Paul and Linda McCartney; performed by Joe Anastasi and Mike Sugar Drama-pizza, Mike Sugar; performed by Mike Sugar Dramockumystery Tour, Mike Sugar; performed by Mike Sugar Suspenseful Stridi, Mike Sugar; performed by Mike Sugar Hotel (Theme), Henry Mancini; performed by Mike Sugar Am Be Into Background, Mike Sugar; performed by Mike Sugar Abandon The Run (interstitial rabbit hole), based on Paul and Linda McCartney's Band On the Run, rearranged and performed by Mike Sugar Goodbye, Paul McCartney; performed by Stroll Down Penny Lane (Joe Anastasi, Mike Sugar, Winter, Mark Abbott, Matt Twain) Two Part Invention in D Minor, J.S. Bach; performed by Mike Sugar I Want You (She's So Heavy), Lennon and McCartney; performed by Mike Sugar Thus Mooged MaccaThustra, Richard Strauss, Paul McCartney, Phil Medley and Bert Berns; [Twist and Shout, Band on the Run, and Also Sprach Zarathustra] mashed up and performed by Mike Sugar Maxwell's Silver Hammer, Lennon and McCartney; performed by Joe Anastasi and Mike Sugar Kalider Story, Mike Sugar; performed by Mike Sugar Baroque Inn, Mike Sugar; performed by Mike Sugar Superstition, Stevie Wonder; performed by Mike Sugar She Drives Me Crazy, Roland Gift, David Steele; performed by Joe Anastasi and Mike Sugar Popcorn, Gershon Kingsley; performed by Mike Sugar Frankenstein; Edgar Winter: performed by Mike Sugar My Love, Paul and Linda McCartney; performed by Joe Anastasi and Mike Sugar Whats' My Line, Charles Fox; performed by Mike Sugar The Good the Bad and the Ugly Theme; Ennio Morricone, performed by Mike Sugar Desperado, Glenn Frey and Don Henley; performed by Joe Anastasi and Mike Sugar Penny Lane, Lennon and McCartney; performed by Joe Anastasi, Mike Sugar, Winter, and Mark Abbott of Stroll Down Penny Lane The End, Lennon and McCartney; performed by Joe Anastasi, Mike Sugar, Winter, Mark Abbott, Matt Twain of Stroll Down Penny Lane Sources: Paul McCartney, the Life, Philip Norman; Little Brown and Company; 2016 Here, There and Everywhere, Geoff Emerick and Howard Massey; Gotham Books; New York; 2006 McCartney, Christopher Sandford; Carroll and Graf Publishers; 2006 Band on the Run, a History of Paul McCartney and Wings, Garry McGee; Taylor Trade Publishing; 2003 Fab, an intimate life of Paul McCartney; Howard Sounes; Da Capo Press; 2010 Recording the Beatles; Kevin Ryan and Brian Kehew; Curvebender; 2006. Songwriting Secrets of the Beatles, Dominic Pedler; Omnibus Press; 2003 The Beatles Anthology; Chronicle Books; San Francisco; 2000 Funeral takes place of former Wings guitarist Henry McCullough, David Roy; The Irish News; June 19, 2016 Paul McCartney pays tribute to 'super-talented' Wings guitarist Henry McCullough, Nick Levine; nme.com; June 15, 2016 Paul McCartney and Wings, Band on the Run; Paul McCartney Archive Collection; Deluxe Edition The Beatles play with the Moog Synthesizer, 1969; Elena the Beatles photos Band on the Run: Moog or ARP? / Fab Forum; www.beatlesbible.com Moog synthesizer; Wikipedia Minimoog; Wikipedia Fab Four FAQ: Everything Left to Know about the Beatles – and More!, Stuart Shea and Robert Rodriguez; Hal Leonard; 2007 McCartney, songwriter, Howard Elson; W.H. Allen; 1986 Learn more about your ad choices. Visit megaphone.fm/adchoices

Your calls! Happy Birthday to Charlie Daniels, an update about the latest with In & Out Burger in the Napa area tonight, Pat and Producer Kendall love DJs, Halloween songs, Satanist wins in battle to change school district dress code.. and a big Happy Birthday to the legendary Gershon Kingsley!

Episode 15 Electronic Jazz, Part 3: Early Synthesizer Jazz Adding a new expressive instrument to jazz. Playlist: Don Sebeskey, “Water Brother” from The Distant Galaxy, 1968. Arranged By, Conductor, Moog Synthesizer – Don Sebesky Clavinet – Warren Bernhardt Bass – Chuck Rainey Drums – Donald McDonald Electronic Effects– Rick Horton Burton Greene, “Slurp!” from Presenting Burton Greene, 1968. Piano, Harp [Piano Harp], Harpsichord [Electric], Voice [Chants], Moog Synthesizer, Written-By, Arranged By, Conductor– Burton Greene Alto Saxophone, Trumpet – Byard Lancaster Bass – Steve Tintweiss Percussion – Shelly Rusten Ornette Coleman, “Man on the Moon,” a single released in 1969. Alto Saxophone, Producer, Arranged By – Ornette Coleman Bass – Charlie Haden Drums – Ed Blackwell Electronics [Bell Telephone synthesizer] – Emmanuel Ghent Tenor Saxophone – Dewey Redman Trumpet – Don Cherry Jon Appleton & Don Cherry, “OBA” from ‎Human Music, 1970 Flute [Wood, Bamboo, Metal], Kalimba, Drums [Earthquake], Cornet [Traditional Mouthpiece and Bassoon Reed], Producer, Composed By – Don Cherry Synthesizer, Electronics, Producer, Composed By – Jon Appleton Realized at the Bregman Electronic Music Studio, Dartmouth College, Hanover (New Hampshire, USA). Paul Bley, “Mr. Joy” from The Paul Bley Synthesizer Show, 1971 ARP 2500 Synthesizer, RMI Electric Piano – Paul Bley Bass –Glenn Moore Drums –Steve Hass Composed By – Annette Peacock Herbie Hancock, “Quasar” from Crossings, 1972 Electric Piano, Piano, Mellotron, Percussion – Herbie Hancock Moog Synthesizer – Patrick Gleason Bass Trombone, Tenor Trombone, Trombone [Alto Trombone], Percussion – Julian Priester Congas – Victor Pontoja Drums, Percussion – Billy Hart Electric Bass, Bass, Percussion – Buster Williams Soprano Saxophone, Bass Clarinet, Piccolo Flute, Percussion, Alto Flute – Bennie Maupin Trumpet, Flugelhorn, Percussion – Eddie Henderson Voice – Candy Love, Della Horne, Sandra Stevens, Scott Beach, Victoria Domagalski Moog and mellotron recorded at Different Fur Trading Company, San Francisco. Herbie Hancock, “Spank-A-Lee” from Thrust, 1974. Fender Rhodes electric piano, Clavinet [Hohner D-6], ARP Odyssey Synthesizer, ARP Soloist, ARP 2600, ARP String] – Herbie Hancock Drums – Mike Clark Electric Bass – Paul Jackson Percussion – Bill Summers Soprano Saxophone, Tenor Saxophone, Bass Clarinet, Alto Flute – Bennie Maupin Synthesizers recorded at Different Fur Trading Company, San Francisco. Mahavishnu Orchestra, “Celestial Terrestrial Commuters” from Birds of Fire, 1973 Guitar – John McLaughlin Keyboards, Minimoog Synthesizer – Jan Hammer Violin – Jerry Goodman Bass – Rick Laird Drums – Billy Cobham Mahavishnu Orchestra / John McLaughlin, “Inner Worlds Part 1 and 2” from Inner Worlds, 1976 Guitar, Effects [Frequency Shifter], Guitar Synthesizer, E-mu Synthesizer/Sequencer] – John McLaughlin Bass Guitar [Brassmaster Bass] – Ralphe Armstrong Drums, Gong, Timpani [Tympani] – Narada Michael Walden Synthesizer [String], Synthesizer, Customized Polyphonic Mini-Moog, Steiner-Parker Synth – Stu Goldberg Thanks for Bob Moog for his help. Chris Swansen, “Moondog, Can You Hear Me?” from Album II, 1975 Synthesizers [Moog ICA Performance, Moog Mark III, Badger Polyphonic], Effects [Bode Ring Modulator and Frequency Shifter], Electronics [Badger Frequency Spectrum Generator], Tape [Scully Tape Recorders, Dolby A Noise Reduction System], Producer – Chris Swansen Effects [Modulation] – Jon Weiss Engineer [Technical Assistance] – Bill Hemsath Synthesizer [Moog Polyphonic] – Don Croker Miroslav Vitous, “Synthesizers Dance” from ‎Magical Shepherd, 1976 Bass, Guitar, Minimoog Synthesizer – Miroslav Vitous Drums – Jack DeJohnette Fender Rhodes electric piano, ARP Odyssey Synthesizer – Herbie Hancock Percussion – Airto Moreira Sun Ra and his Intergalactic Research Arkestra, “Space Probe” from private recording, November 1969. Moog Modular Synthesizer - Sun Ra Later officially released in 1974 on an album Recorded at Gershon Kingsley studio in New York.   The Archive Mix in which I play two additional tracks at the same time to see what happens. Here are two additional tracks of electronic jazz and synthesizers:   Paul Bley, “Improvisie” from Improvisie, 1971. ARP 2500 synthesizer and RMI electric piano. Herbie Hancock, “Sleeping Giant” from Crossings, 1972. Moog Modular synthesizer by Patrick Gleeson.   For more information, read my book: Electronic and Experimental Music (sixth edition), by Thom Holmes (Routledge 2020).   Also see my paper, Thom Holmes (2018): The Roots of Electronic Jazz, 1950–1970, in Jazz Perspectives

A mix featuring tracks from 1975, taken from the series, A Decade of Sound 1970s. The Lunar Saloon Every Friday from 10P - 12A PST 99.1 FM Long Beach Streaming at KLBP.org Air date : September 4, 2020 -=-=-=-=-=-=-=-=-=- Philippe Besombes, La Ville, Libra Ananda Shankar, The River, Ananda Shankar And His Music Electro Keyboard Orchestra, The Heated Point, Electro Keyboard Orchestra Romolo Grano, Gianni Oddi, Kukumbe, Kilimangiaro Oscar Rocchi E Il Suo Modern Sound, Ortica, Erbe Selvatiche Frank And The Top Ten, Frank Mantis Group, Orchestra Gus Brendel, Night Clipper, Turn On The Mystic Moods, Honey Trippin', Erogenous Isotope, Crunch Cake, Al Foster Band, Night Of The Wolf (Psychemagik edit), Psychemagik Archive 2009-2017 Hidden Strength, Hustle On Up (To The Bump) (Extend Disco Version), Hustle On Up (Do The Bump) Joe "Spitfire" - Nicosia & C. Industria Musicale, Discobra, Discobra Demis Roussos, Action Lady, Souvenirs North South East West, Anxiety, Gargantua / Anxiety Crown Heights Affair, Dreaming A Dream, Dreaming A Dream Cate Brothers, Union Man, Union Man Yumi Arai = 荒井由実, Cobalt Hour, Cobalt Hour Jacky Chalard, Super Man Super Cool, Super Man Super Cool Hawkwind, Spiral Galaxy 28948, Warrior On The Edge Of Time Sadistic Mika Band, Funkee Mahjong, Hot! Menu Black Blowing Flowers, Human Glow, Human Glow / Üsküdarra El Gusano, Journey Of The Mind, Fantasia Del Barrio Norah, Nobody Gotta Be Home Tonight, Nobody Gotta Be Home Tonight BLO, Don't Pull Me The Form Under Me, Step Three Owen Marshall, Planet Funk, Captain Puff In The Naked Truth Okay Temiz, Denizaltı Rüzgarları, Bosporus Bridges - A Wide Selection Of Turkish Jazz And Funk 1968-1978 Vytas Brenner, Caracas para Locos, Jayeche Novalis, Es Farbte Sich Die Wiese Grun, Novalis Phoenix, Phoenix, Cantofabule David Axelrod, Ken Russell, Seriously Deep Jerzy Milian, Street 2000, Orkiestra Rozrywkowa PRiTV W Katowicach Bernard Fevre, Mister Green, Suspense Jean-Jacques Perrey & Gershon Kingsley, The Little Man From Mars, The Essential Perrey & Kingsley Patrick Cowley & Candida Royalle, Candida Cosmica, Candida Cosmica

Автрорская программа Николая Крупатина "Откуда Ноты Растут" на Matryoshka Radio выходит в эфир с 2015 года. Программа о музыке и музыкантах. Первая Эфирная Русскоязычная Развлекательная радиостанция в Лондоне Matryoshka Radio основана в 2015 году. В настоящее время радиостанция остаётся полностью независимой коммерческой радиостанцией, не входящей ни в один из радиохолдингов. В рамках реализации проекта Matryoshka Radio Global, кроме эфира в наиболее перспективном цифровом эфирном формате DAB в Лондоне, в 2018-м году радиостанция организовала эфирное вещание в городах Glasgow (Scotland) и Marbella (Spain). Откуда Ноты Растут История создания композиции Popcorn Gershon Kingsley - Popcorn Edward Simoni - Popcorn Откуда Ноты Растут

Автрорская программа Николая Крупатина "Откуда Ноты Растут" на Matryoshka Radio выходит в эфир с 2015 года. Программа о музыке и музыкантах. Первая Эфирная Русскоязычная Развлекательная радиостанция в Лондоне Matryoshka Radio основана в 2015 году. В настоящее время радиостанция остаётся полностью независимой коммерческой радиостанцией, не входящей ни в один из радиохолдингов. В рамках реализации проекта Matryoshka Radio Global, кроме эфира в наиболее перспективном цифровом эфирном формате DAB в Лондоне, в 2018-м году радиостанция организовала эфирное вещание в городах Glasgow (Scotland) и Marbella (Spain). Откуда Ноты Растут История создания композиции Popcorn Gershon Kingsley - Popcorn Edward Simoni - Popcorn Откуда Ноты Растут

Tom Waits [00:51] "Romeo Is Bleeding" Blue Valentine Asylum Records 6E-162 1978 Probably should have done some content editing on that last bit, but ah well... so it goes. Bob Wills and his Texas Playboys [05:43] "Roly-Poly" Bob Wills Special Harmony HS 11358 1969 Good ol' Tommy Duncan on vocals, with Bob hollerin as he does so well. First recorded in 1946 and reached number three on the charts. Bobbie Gentry and Glen Campbell [08:21] "Mornin' Glory" Bobbie Gentry & Glen Campbell Captiol Records ST 2928 1968 A classic record featuring a classic duo. The Gentry-penned Mornin' Glory stands out as a winner and was the first single from this album. Eddie Jefferson [11:14] "Psychedelic Sally" Body and Soul Prestige PR 7619 1968 Some very groovy bop from Eddie Jefferson, with James Moody on sax, Dave Burns on trumpet, Barry Harris on piano, Steve Davis on bass and Bill English on drums. The Clean [14:49] "Billy 2" Boodle Boodle Boodle Flying Nun Records FN 003 1981 Track one, side one from easily my most favorite EP ever. Booker T & the M.G.'s [17:16] "Sing a Simple Song" The Booker T. Set Stax Records STS 2009 1969 A mighty fine rendition of the Sly & the Family Stone classic. Gershon Kingsley & Michael Shapiro [19:56] "(excerpt)" Boom! Boom! Crack! Ping! The Sounds of Early America Peter Pan Records 8143 This is what passed for history in the mid-1970s. Did you know that the crew of the Mayflower referred to the Puritans as psalm-singing puke-stockings. Kris Kristofferson [24:00] "Little Girl Lost" Border Lord Monument KZ 31302 1972 Winsome, losesome. Thanks Kris. Bruce Springsteen [28:23] "I'm Goin' Down" Born in the USA Columbia QC 38653 1984 Hout! Pretty fine single that made it to number 9 on the Hot 100 from the multi-platinum Born in the USA. Charlie Byrd [31:51] "Bim Bom" Bossa Nova Pelos Passaros Riverside Records RS 9436 1962 A fine quick little Gilberto number considered to be the first bossa nova song. The Dave Brubeck Quartet [33:40] "Cantiga Nova Swing" Bossa Nova USA Columbia CS 8798 1963 The bossa nova bandwagon continues with this outing from Brubeck and co. Boston [36:27] "Rock & Roll Band" Boston Epic 34188 1976 Woof. Well, I support somewhere someone hasn't heard this highly varnished solipsism. Thin White Rope [40:34] "Waking Up" Bottom Feeders Zippo Records ZANE 005 1987 A fine quirky jerky number from Davis CA's very own Thin White Rope. Belle & Sebastian [43:20s] "Sleep the Clock Around" The Boy with the Arab Strap Matador OLE 311-1 1998 I'd say that was a pretty good follow up to the previous track. Divinyls [48:14] "Boys in Town" Boys in Town Chrysalis SPRO 225 1982 Some early-eighties antipodean angst. Brass Construction [51:05] "Ha Cha Cha" Brass Construction II United Artists Records UA-LA677-G 1976 Hotcha cha funk from Brooklyn. Where is Brass Construction 1, III, IV, 5 and 6? Presumably in a bin somewhere, waiting to be found. Music behind the DJ: "Faded Love" by Buck Owens and his Buckaroos

Recordamos a Gershon Kingsley, un compositor estadounidense contemporáneo de origen judío-alemán quien falleció el pasado 10 de diciembre

On this Radio Radar, we chat about a return of a guitar hero ( John Frusciante) , the cancellation of a festival, the life of a synth legend (Gershon Kingsley ) and an update on Tame Impala.:::Ondioline::::: https://www.youtube.com/watch?v=05sAxt8zNZI&t= :::::Jean Jaques Perrey::::: https://www.youtube.com/watch?v=dXTGN_St-ho :::::Moog Synth::::: https://www.youtube.com/watch?v=n3K_fZDvINs&t= ::(When I say 25 hundred I meant to say 25 Thousand, why would it get cheaper.. my bad - Adrian)

Actualités Locales :- Retour sur la mobilisation du 17 décembre contre le projet de réforme des retraites - Fréquentation de plus en plus forte des Restos du Coeur par la population étudiante- Budget de la région Normandie :"des investissements mais un budget maitrisé"- Démos - orchestre d'enfants montés par la Philharmonie de Paris en partenariat avec les acteurs du Havre Seine métropole- Charlie Dalin, lauréat de la Transat, retour sur la traversée et annocne des prochains objectifsActualités Culturelles : - Décès de Gershon Kingsley, auteur de Popcorn, du premier hit électronique - Une platine vinyle inspirée de saturne

Bandana breaks in honour of MadGibbs, plus new music from Strategy with Reece Williams, RoQy TyRaid and DJ Green Lantern, Jansport J, ocnotes, Scrimshire and Georgia Anne Muldrow, Joker Starr, Micall Parknsun, Known Shaz, katbrownsugar, The Family Daptone, Kuartz, Lorn, El. Train, Yosi Horikawa, Myele Manzanza, Juno, Joe Armon-Jones and more. Track listing: Strategy – Trinity Way ft Reece Williams BANDANA BREAKS: Frank Dukes – Gregorian Wee – Teach Me How Walt Barr – Free Spirit RD Burman – Dance Music The Heliocentrics – Noises and Conversations Gershon Kingsley – Rebirth Starshine – All I Need Is You —— Rex Suru – Na Control Joker Starr – Man’s So Shabba Shabba Remix ft King Dani Bliss (Prod. by Xidontli) Known Shaz – Know You Jansport J feat. Faith Evans – Love Like This ocnotes – Radio Nat Turner Scrimshire – Thru You feat. Georgia Anne Muldrow The Family Daptone – Hey Brother (Do Unto Others) katbrownsugar – Brown Sugar Kuartz – Geisha Eyes / Bamboo In The Moonlight Kuartz – .Last Shadow / Shinobi Freddie Gibbs & Madlib – Soul Right Micall Parknsun & Mr Thing – Klingon Face Remix ft Essa, Joker Starr and Jehst Altered Tapes – Pharcyde – ReRunnin’ (Altered Tapes Uptempo VIP) Verequete e O Conjunto Uirapurú – Da Garrafa uma Pinga Lorn – Timesink / Through The Fire Yosi Horikawa – Crossing El. Train – Never Be Mine Freddie Gibbs and Madlib – Half Manne Half Cocaine Luther Davis Group – You Can Be A Star RoQy TyRaid & DJ Green Lantern – Iwmao Juno – Automation Myele Manzanza – Itaru’s Phone Booth Joe Armon-Jones – Icy Roads (Stacked)

Автрорская программа Николая Крупатина "Откуда Ноты Растут" на Matryoshka Radio выходит в эфир с 2015 года. Программа о музыке и музыкантах. ПерваяЭфирнаяРусскоязычнаяРазвлекательнаярадиостанцияв ЛондонеMatryoshkaRadioоснованав2015году. Внастоящеевремярадиостанцияостаётсяполностьюнезависимой коммерческойрадиостанцией,невходящейниводиниз радиохолдингов.ВрамкахреализациипроектаMatryoshkaRadio Global,кромеэфиравнаиболееперспективномцифровомэфирном форматеDABвЛондоне,в2018-мгодурадиостанцияорганизовала эфирноевещаниевгородахGlasgow(Scotland)иMarbella(Spain). Открывающий джингл "Откуда Ноты Растут" История создания композиции "Pop Corn" Gershon Kingsley - Pop Corn Закрывающий джингл "Откуда Ноты Растут" Edward Simoni - Popcorn

Автрорская программа Николая Крупатина "Откуда Ноты Растут" на Matryoshka Radio выходит в эфир с 2015 года. Программа о музыке и музыкантах. ПерваяЭфирнаяРусскоязычнаяРазвлекательнаярадиостанцияв ЛондонеMatryoshkaRadioоснованав2015году. Внастоящеевремярадиостанцияостаётсяполностьюнезависимой коммерческойрадиостанцией,невходящейниводиниз радиохолдингов.ВрамкахреализациипроектаMatryoshkaRadio Global,кромеэфиравнаиболееперспективномцифровомэфирном форматеDABвЛондоне,в2018-мгодурадиостанцияорганизовала эфирноевещаниевгородахGlasgow(Scotland)иMarbella(Spain). Открывающий джингл "Откуда Ноты Растут" История создания композиции "Pop Corn" Gershon Kingsley - Pop Corn Закрывающий джингл "Откуда Ноты Растут" Edward Simoni - Popcorn

The Rites of Moog, a mix by https://soundcloud.com/shadow_factory Accompanying Video: https://www.dailymotion.com/video/x84jlqd Tracklist Artist/Track/Release,Year of release Alan Hawkshaw – The Silent Witness, Opening Title (with excerpt from the programme narrated by Kenneth More) – The Silent Witness, 1978 Malcolm Cecil, Robert Margouleff (TONTO) – Christ, When I Leave This Life - Caldera : A Moog Mass, 1970 Romuald Vandelle (Le group de recherches musicales de la R.T.F) – Crucifixion [excerpt] - Musique Expérimentale, 1962 Gershon Kingsley – Maven on the Moog no. 5 – God is a Moog, 2005 Bruce Haack – Stand up Lazarus – Electric Lucifer II, circa 1979 Gershon Kingsley – The Jewish Experience pt. 2 – God is a Moog, 2005 Terry Wallace and his Interstellar Moog Sounds (Eric Siday) – Heaven in their Minds - Moog Superstar, 1974 Delia Derbyshire – Amor Dei – 50 Years of Religious Broadcasting, 1974 White Noise ‎– An Electric Storm The Black Mass: An Electric Storm In Hell - An Electric Storm, 1969 Anton LeVay – Hymn Of The Satanic Empire, Or The Battle Hymn Of The Apocalypse – Satanic Mass, 2005 Lucifer(Mort Garson) - Exorcism – Black Mass, 1971 The Eccentronic Reaseach Council – If You Want To Worship - Go To Church - Johnny Rocket, Narcissist & Music Machine... I'm Your Biggest Fan, 2015 Graeme Miller & Steve Shill - Midwinter Rites – The Moomins, 2017 Boards of Canada – From One Source All Things Depend – Geogaddi, 2002 Mike Oldfield – Incantations Part 2 (excerpt) – Incantations, 1978 Notes “So straight it's freaky. Or so freaky that it's straight. And when was the last time you had a talk with The Man Upstairs?” (Billboard Magazine review of Caldera : A Moog Mass, November 14, 1970). I've been thinking about this mix for some time. I'm not sure when it came together in my mind, but over the past couple of years I've been actively collecting pieces that fit into the theme of religious or occult inspired music created with electronics. Depending on where you view it from, that people would use synthesizers to produce music which is inspired by the supernatural either makes no sense at all or seems inevitable. No sense, because the electronic music has always been associated with the future, technology and science. But, inevitable because whether treated ironically, in all seriousness or done just for the hell of it, the supernatural is unreal and electronic music is, or at least was in the early years, equally uncanny. Gershon Kingsley, Eric Siday, Mort Garson and the chaps behind TONTO were all early adopters of the Moog. They all took different roads, but all went through their own rites for one reason or another. The cult of Delia Derbyshire throws up black magic and old folks backed by the sound of a gothic alter piece. I love all this. It's just so weird and wonderful and unexpected that I had to put it all together. I pulled in some newer gear by The Eccentronic Research Council and Boards of Canada who seem to be onto all of this. There's also some serious Satanism from ‘Frisco, original musique concrete from France and in turns sublime and paganistic TV soundtrack work from Leeds and, err, Leeds! Finally things get a bit cult-like and sin-full. Read the comments for more details!

http://www.attractionchecklist.com - The Main Street Electrical Parade has made it's triumphant return to Disneyland and Attraction Checklist was there!  On this episode you'll hear audio recorded on January 19, 2017, the night the parade made its big return!  Joining the fun is Paul of Window to the Magic - http://www.windowtothemagic.com - and after the parade we give you our thoughts on this returning attraction! Bonus content for this episode is available to the Saturday Morning Media Patreon Patrons.  Support the show and get fun Bonus content over at http://www.patreon.com/saturdaymorningmedia Intro Bumper by Paul of the Window to the Magic - http://www.windowtothemagic.com INTRO TRANSCRIPT Welcome to Attraction Checklist. This time we’ve got something every special for you, the return of the Main Street Electrical Parade to Disneyland park!  This audio was recorded on January 19, 2017 as the parade made it’s return to it’s birthplace at a special premiere event.  The parade is currently describe in the guide by saying Catch this classic nighttime parade filled with fanciful floats and toe-tappin’ tunes for a limited time―it fades away June 18, 2017!  As this is a parade, it is open to all ages and there is no height requirement, though if you want to see the parade up front you’ll want to snag a viewing spot along the parade route early. Before we experience this spectacular festival pagent of nighttime magic and imagination. 1. The Main Street Electrical Parade debuted at Disneyland on June 17, 1972 and it ran at the park until November 25, 1996. 2.  The parade was created to be a West Coast version of the Electrical Water Pageant that has run at Walt Disney World in Florida since October 26, 1971.  The Water Pagent features barges with light up screens depicting a sea serpent, jumping dolphins, a turtle and more.  Instead of traveling down Main Street, these floats travel on barges on the Seven Seas Lagoon. 3.  According to then director of show development  Ronald Miziker, all 500,000 light bulbs in the original parade needed to be hand-tinted which required dipping each on in the appropriate colored paint. 4. The Main Street Electrical parade is known for its iconic music.  The underlying theme is called Baroque Hoedown and was originally created by early synthesizer pioneers Jean-Jaques Perrey and Gershon Kingsley. 5.  The Main Street Electrical parade was the firs tin Disney Park history to use an automated parade show control program that allowed the parade route to have different radio activated zones that allowed for float specific music and sound to be triggered as the floats passed by.  This si a technique still used in Disney parks today. Now it’s time to sit back and enjoy the return of the Main Street Electrical parade as it returns to Disneyland for the first time in over 20 years.  Watching the parade with me is the man who inspired this very podcast you’re listening to, Window To the Magic’s Paul Barrie and after the parade we will discuss out thoughts on this returning attraction.  Once again, this is a binaural recording so if you have headphones put them in as we enjoy the Main Street Electrical Parade! FOLLOW US http://www.facebook.com/attractionchecklist http://www.facebook.com/saturdaymorningmedia http://www.twitter.com/SaturdayMMedia https://plus.google.com/+Saturdaymorningmedia https://www.linkedin.com/company/saturday-morning-media http://www.youtube.com/user/SaturdayMorningMedia?sub_confirmation=1 FOLLOW GRANT http://www.MrGrant.com http://www.twitter.com/toasterboy https://instagram.com/throwingtoasters/ Sources: WIKIPEDIA https://en.wikipedia.org/wiki/Main_Street_Electrical_Parade https://en.wikipedia.org/wiki/Electrical_Water_Pageant DISNEYLAND WEBSITE https://disneyland.disney.go.com/entertainment/disneyland/electrical-parade/ LA TIMES http://www.latimes.com/travel/themeparks/la-tr-disneyland-main-street-electrical-parade-20161212-story.html Show ©2017 Saturday Morning Media/Grant Baciocco

In this episode I present series synopses and theme music of five of the most popular game shows to air on American daytime and prime time television, starting with the few venerable game shows that are still running today. Here are the five shows (and 26 themes) I'm featuring: THE PRICE IS RIGHT (1956-1965; 1972-present) [1956-1961 Weekly Nighttime opening & closing themes] [1961-1964 Weekly Nighttime opening & closing themes] [1972-present Weekday Daytime opening & closing themes] LET'S MAKE A DEAL (1963-1977; 1980; 1984-1986; 1990-1991; 2003; 2009-present) [1967-1977 Weekly Nighttime opening & closing themes] [1984-1986 Weekday Daytime opening theme] [1990-1991 Weekday Daytime opening theme] [2009-present Weekday Daytime opening theme] -Commercial Break- JEOPARDY! (1964-1975; 1978-1979; 1984-present) [1964-1975 Weekday Daytime opening & closing themes] [1984-present Weekday Nighttime opening & closing themes] WHEEL OF FORTUNE (1975-present) [1975-1983 Weekday Daytime opening & closing themes] [1989-1994 Weekday Nighttime opening & closing themes] [2002-2006 Weekday Nighttime opening theme] -Commercial Break- FAMILY FEUD (1976-1985; 1988-1995; 1999-present) [1975-1985 Weekday Daytime opening & closing themes] [1994-1995 Weekday Nighttime opening & closing themes] [2006-2010 Weekday Nighttime opening theme] [2010-present Weekday Nighttime opening theme] In keeping with the fun nature of this episode's focus, I've included vintage commercials for classic board games such as Operation, Battleship, Mouse Trap, and Gnip Gnop. And you'll also have fun listening to some ads that my podcasting friends provided to me to promote their own great podcasts; be sure to check them out. Many, many thanks to Zerbinator for his continued support. His encouragement and expertise are very much appreciated by me. You can find all of his fun-to-listen-to podcasts here, including my favorite, "Please Stand By." And I'd also like especially to thank him for providing the opening and closing theme music for Tube Tunes; all of his fantastic music can be found here. And, again, thanks are in order for him for providing TUBE TUNES with the "We'll Be Right Back" drops heard during the podcast. Thanks, Burford. I would also like to again thank Rob "Flack" O'Hara and Sean Johnson for adding TUBE TUNES to The Throwback Network. It's a great place to find just about any retro-themed podcast you can think of. Please check out the network here. I also need to thank the Free Music Archive for the following musical artists and songs that were used in this episode under the Creative Commons License: "The Savers" by Jean-Jacques Perrey and Gershon Kingsley (used as the theme music for THE JOKER'S WILD), "Animal Booster Kiss" by The Cow Goes Moo, and "Happy Jambo" by Angel Garcia. Finally, my thanks to Ferg of The Atari 2600 Game by Game Podcast. His inspiration and dedication to covering every game cartridge ever made for the Atari 2600 (I think over 1000 of them!) is what gave me the courage to begin this podcast. And his continued support and promotion of TUBE TUNES on his excellent podcast is greatly appreciated by yours truly. Please, check out his podcast, even if you're not an Atari 2600 collector; or at least visit his website here. Next Episode: "S02E04: Best of the Millennium" (available January 2017)

Patron saint of the show, Jean-Jacques Perrey, recently moved on from this planet to spend eternity with the stars. His music was a perfect example of all the things we love at PMB: humour, virtuosity, ping-pong stereo, the Moog synthesizer, … Continue reading →

En este episodio de Perpetuum Mobile rescatamos composiciones y piezas de la música realizada con sintetizadores desde 1969 hasta 1979. La selección no es exhaustiva porque iremos haciendo más episodios dedicados a esta época. En este episodio el sintetizador Moog tiene una importante presencia a través de Gershon Kingsley, Wendy Carlos e Isao Tomita. Luego recogemos piezas de Vangelis, Jean Michel Jarre y The Alan Parsons Project para acabar con un clásico de Joel Fajerman.

Corny released September 14, 2016 "Wopcorn Time" was blablabla, blablabla, blablabla, blablabla & blabla blaad @ The Flarkbase, Groningen, NL. "Popcorn" is an early synthpop instrumental, composed by Gershon Kingsley in 1969 and first appearing on his album Music to Moog By.

It’s time to polish your conductor’s baton, dear listener, as we bring you an all-classical edition of the show. Featuring work by Borodin, Bach, Beethoven. Mozart, Grieg, Dvorak, Wagner and Debussy, arranged for Moog synthesizer, big band, disco symphony orchestra, … Continue reading →

It’s all about new beginnings on this week’s show. So prepare to set yourself some ambitious targets for 2014 as we bring you a selection of highly motivational music. Listen now: Download the MP3 The Music 1. The Simonsound: It’s … Continue reading →

Following on from our exploration of the world of commerce last week we’ve decided it’s time to dive into the deep end and have a whole show scrutinising (and gently tickling the ribs of) the world’s major faiths (and some … Continue reading →

We are always alert when cosmic alignments suggest themes for the show. Of late we have found ourselves enjoying that classic Gershon Kingsley tune, Popcorn, and in particular some moustache-twirling interpretations of said tune. We thought it appropriate to devote … Continue reading →

The 80's vibes can be felt on street. In the spirit of the moment, I've decided to dig around the archive and the web for any local interrelated electronica to the 80's. Firstly a track 'Komputer Muzik' from Fransisca Peter that not quit seems to fit in most of her album (it was never intended to be an electronica music) but the 80's music vibe and the presence of Kraftwerks are an undeniable influence. Secondly, leaping to year 2000, 2005 to be exact. One of the Malaysian godfather of electronic music: Syko G, have released an album called 'Rave-Olusi', its a double cd packed with 'pedas remixs' and an original of several top malaysian artist back in the 80's and late 80's. In this podcast, i'm previewing one my (nostalgic) tracks by Syko G remixs upon 'meniti titian usang by Search'. And lastly, a track by Hotbutter called 'Popcorn' (originally composed by Moog godfather - Gershon Kingsley, used as the intermission & intro by TV Pendidikan Malaysia.

  Rare Frequency Podcast 38: The Late Edition 1 Stock, Hausen and Walkman, "Wunderbar" Organ Transplants, Vol. 1 (Hot Air) CD 2 Pom Pom, "Untitled 13" 32 (Pom Pom) CD 2009 3 Monoton, "Numerique" Eight Lost Tracks (Oral) CD 2009 4 Claudio Rocchi, "Ritmi" Suoni di Frontiera (Die Schachtel) CD 2009 5 The Dirty Spoons, "One of these Days" Playtime (Track 0) mp3 2009 6 Erdem Helvacioglu, "Dance of Fire" Wounded Breath (Aucourant) CD 2009 7 Hecker, "ASA 3" Acid in the Style of David Tudor (Editions Mego) CD 2009 8 Demons, "Empty Being" Invisible Darkness (

Mouselounge Podcast Show #025 – May 16th, 2007 (((HEADPHONES STRONGLY RECOMMENDED))) This week, the Mouse Lounge meanders (with apologies to Jeff From Houston) down Main Street USA! Also on the show, a full docket of Disney News from our departments Entertainment, Theme Parks East, Theme Parks West, and Business. Each week, in From the Vault we sample a clip from a classic Disney film, short, television or radio program, or Disneyland Record: This week in keeping with the theme of the show, from 1941 we listen to a classic Mickey Mouse short, The Nifty Nineties! Each week we present a high definition ride-through from a Disney Park East and a Disney Park West. This week in Disney Parks West, we present our featured attraction, Great Moments with Mr. Lincoln. This is the classic version of the show with the original Paul Frees narration. From the Disney Family Museum; discover what went into the making of Main Street, USA. From Disney Parks East, we head over to the Magic Kingdom and take in The Toontown Tuners and The Hook and Ladder Company performing live where else, on Main Street! Each week we feature a unique take on Disney music. On this podcast, enjoy a look into the making of the music from The Main Street Electrical Parade. Included are interviews with Baroque Hoedown composers, Jean-Jacque Perrey and Gershon Kingsley, synthesizer designer, Robert Moog, Yes keyboardist, Rick Wakeman, show producer, Don Dorsey, and much more. For the shows finale, dont miss the Mouse Lounge Main Street Electrical Parade Mega Mix, followed immediately by, Tokyo Disneylands MSEP, Dreamlights! Enjoy! Gary Chambers 206-909-7427 The Mouse Lounge http://www.mouselounge.com Subscribe to our write a review about the Mouse Lounge Podcast: http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=180696323

Selections from Selichot by Emma Gottlieb with Joyce Rozensweig on piano, and A Prelude to the Lost Legacy: The music of Samuel Adler, Charles Davidson, Jack Gottlieb, Gershon Kingsley, Bonia Shur, and Yehudi Wyner by Alissa Goodkin with Joyce Rosenzweig on piano, Pedro d'Aquino on organ and pinao, and Ross Wolman, tenor.