Podcast appearances and mentions of Graham Gouldman

“If we did something that was too drab, too normal, too obvious, we'd say, ‘Nah, let's give it a kick in the ass.'” That's how Kevin Godley describes the approach of his former band, 10cc, and his drive for creativity and art has not abated. Godley was 10cc's angelic-voiced drummer who would go on to make inventive music and groundbreaking videos with Godley & Creme. In Pt. 1 of this illuminating conversation, Godley explains how Lol Creme, Graham Gouldman, Eric Stewart and he—all strong songwriters and singers—formed 10cc near Manchester, England, and figured out who would do what. They stretched out on such Godley-Creme songs as “Somewhere in Hollywood” and "Une Nuit a Paris" (which perhaps inspired Queen's “Bohemian Rhapsody”), but the popularity of “I'm Not in Love” had unintended consequences. What was it about the new song that Stewart and Gouldman played for Godley and Creme that blew apart the songwriting teams for good?

Juliet and Terence on: John Lennon and The Royal Mint; a way too easy pop quiz; being fooled by Spotify; Graham Gouldman at Cadogan Hall; and farewell to Jesse Colin Young; Adie Lillywhite; and Andy Peebles. {the 'magic' amulet}

This week on the Rockonteurs podcast, we are delighted to welcome a true legend to the show. Musician, singer and songwriter Graham Nash. It's impossible to understate his impact on the music we love and the influence he has had on us and so many others. We could do a whole episode on his time with The Hollies, let alone Crosby, Stills and Nash and another on Crosby, Stills, Nash and Young. With tales that stretch from Manchester to Laurel Canyon, from Mama Cass to Joni Mitchell, from David Gilmour to Graham Gouldman. This is a special one. Graham is touring the UK in October and you can find out more at: www.grahamnash.com/tourInstagram @rockonteurs @officialgrahamnash @guyprattofficial @garyjkemp @gimmesugarproductionsEmail us at: rockonteurschannel@gmail.comListen to the podcast and watch some of our latest episodes, including the recent Bryan Ferry show on our Rockonteurs YouTube channel.YouTube: https://www.youtube.com/@rockonteursFacebook: https://www.facebook.com/RockonteursTikTok: https://www.tiktok.com/@therockonteursProduced for WMG UK by Ben Jones at Gimme Sugar Productionswww.gimmesugar.co.uk Hosted on Acast. See acast.com/privacy for more information.

This week on the Rockonteurs podcast, we are delighted to welcome a true legend to the show. Musician, singer and songwriter Graham Nash. It's impossible to understate his impact on the music we love and the influence he has had on us and so many others. We could do a whole episode on his time with The Hollies, let alone Crosby, Stills and Nash and another on Crosby, Stills, Nash and Young. With tales that stretch from Manchester to Laurel Canyon, from Mama Cass to Joni Mitchell, from David Gilmour to Graham Gouldman. This is a special one. Graham is touring the UK in October and you can find out more at: www.grahamnash.com/tourInstagram @rockonteurs @officialgrahamnash @guyprattofficial @garyjkemp @gimmesugarproductionsEmail us at: rockonteurschannel@gmail.comListen to the podcast and watch some of our latest episodes, including the recent Bryan Ferry show on our Rockonteurs YouTube channel.YouTube: https://www.youtube.com/@rockonteursFacebook: https://www.facebook.com/RockonteursTikTok: https://www.tiktok.com/@therockonteursProduced for WMG UK by Ben Jones at Gimme Sugar Productionswww.gimmesugar.co.uk Hosted on Acast. See acast.com/privacy for more information.

Send us a textCharles and Grham interview 10cc's Graham Gouldman ahead of his latest tour with his band, Heart Full of Songs.The band line-up comprises Graham, 10cc live band members Iain Hornal and Keith Hayman, and Dave Cobby.In 2014 Graham was inducted into the Songwriter's Hall of Fame – an arm of America's National Academy of Music. Fellow inductees include Noel Coward, Burt Bacharach, John Lennon, Paul McCartney, Bob Dylan, Elton John and Sting.Graham's songwriting credits over the last 60 years include The Yardbirds, The Hollies, Herman's Hermits and 10cc. In 2024 Graham released a new solo album called I Have Notes which includes collaborations with Brian May, Ringo Starr, Hank Marvin and Albert Lee.Charles and Graham round off the episode with a quick discussion about the recent BAFTA Awards and the latest news about the planned National Poetry Centre.Keep in touch with Two Big Egos in a Small Car:X@2big_egosFacebook@twobigegos

Juliet and Terence with: a Presidential quiz; toxic boybands; demise of WH Smith; Graham Gouldman's rethink on lyrics; and farewell to Marianne Faithfull. {Venus and Mars}

La nit de Nadal

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

“There was no Command-Zed back then!” John Wood engineered or produced some of the most magical, timeless and affecting records ever made - by Nick Drake, John Martyn, the McGarrigles, Fairport Convention, Sandy Denny, John Cale, Squeeze and many more. He's 85 now and looks back here at a luminous career that started with mastering singles at Decca and transferred to Sound Techniques, the mecca he co-founded in an old cowshed in Chelsea when takes were spontaneous and even the tape-op was part of the performance. He misses those days, when albums were organic and the labels had less control, and talks here about … … “the age when sound had perspective and seemed three-dimensional”. … Nick Drake's confidence and his guiding lights - eg the Beach Boys and Randy Newman (“who I'd never heard of”). And his final nighttime sessions. … the way Fairport recorded – “We're only going to do it once” – and why they could make three albums a year. …managing the girls in the Incredible String Band, “especially when Licorice played drums”. … John Cale in “maniac mode” and his sudden and unexpected friendship with Nick Drake. … Cale and Nico at the Chelsea Hotel. … and why ‘Geoff Muldaur Is Having A Wonderful Time' was the job he remembers the fondest. Also mentioned: the Downliners Sect, Judy Collins, The Marmalade, Graham Gouldman and Squeeze. John's got nothing to plug and just wanted to talk to us. Thanks, John, and bless your cotton socks.Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

“There was no Command-Zed back then!” John Wood engineered or produced some of the most magical, timeless and affecting records ever made - by Nick Drake, John Martyn, the McGarrigles, Fairport Convention, Sandy Denny, John Cale, Squeeze and many more. He's 85 now and looks back here at a luminous career that started with mastering singles at Decca and transferred to Sound Techniques, the mecca he co-founded in an old cowshed in Chelsea when takes were spontaneous and even the tape-op was part of the performance. He misses those days, when albums were organic and the labels had less control, and talks here about … … “the age when sound had perspective and seemed three-dimensional”. … Nick Drake's confidence and his guiding lights - eg the Beach Boys and Randy Newman (“who I'd never heard of”). And his final nighttime sessions. … the way Fairport recorded – “We're only going to do it once” – and why they could make three albums a year. …managing the girls in the Incredible String Band, “especially when Licorice played drums”. … John Cale in “maniac mode” and his sudden and unexpected friendship with Nick Drake. … Cale and Nico at the Chelsea Hotel. … and why ‘Geoff Muldaur Is Having A Wonderful Time' was the job he remembers the fondest. Also mentioned: the Downliners Sect, Judy Collins, The Marmalade, Graham Gouldman and Squeeze. John's got nothing to plug and just wanted to talk to us. Thanks, John, and bless your cotton socks.Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

“There was no Command-Zed back then!” John Wood engineered or produced some of the most magical, timeless and affecting records ever made - by Nick Drake, John Martyn, the McGarrigles, Fairport Convention, Sandy Denny, John Cale, Squeeze and many more. He's 85 now and looks back here at a luminous career that started with mastering singles at Decca and transferred to Sound Techniques, the mecca he co-founded in an old cowshed in Chelsea when takes were spontaneous and even the tape-op was part of the performance. He misses those days, when albums were organic and the labels had less control, and talks here about … … “the age when sound had perspective and seemed three-dimensional”. … Nick Drake's confidence and his guiding lights - eg the Beach Boys and Randy Newman (“who I'd never heard of”). And his final nighttime sessions. … the way Fairport recorded – “We're only going to do it once” – and why they could make three albums a year. …managing the girls in the Incredible String Band, “especially when Licorice played drums”. … John Cale in “maniac mode” and his sudden and unexpected friendship with Nick Drake. … Cale and Nico at the Chelsea Hotel. … and why ‘Geoff Muldaur Is Having A Wonderful Time' was the job he remembers the fondest. Also mentioned: the Downliners Sect, Judy Collins, The Marmalade, Graham Gouldman and Squeeze. John's got nothing to plug and just wanted to talk to us. Thanks, John, and bless your cotton socks.Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

David & Phil share stories with two amazing songwriters. Graham Gouldman wrote some of the greatest rock classics of The British Invasion as a teenager in The Sixties, before becoming a founding member of 10cc in The Seventies. Graham is currently leading 10cc on the Ultimate, Ultimate Greatest Hits Tour playing their first American dates in over three decades. Shelly Peiken is a major American songwriter, writing or co-writing smashes like "What A Girl Wants" and "Come On Over Baby" by Christina Aguilera, "Bitch" by Meredith Brooks, "Almost Doesn't Count" by Brandy, and one of David's favorite songs of all-time, "Human" recorded by The Pretenders. Shelly also wrote the 2016 book, "Confessions of a Serial Songwriter," Grammy nominated for Best Spoken Word Album. To learn more about Graham, go to https://www.grahamgouldman.info. To learn more about Shelly, go to https://www.shellypeiken.com. To learn more about building community through food and "Somebody Feed the People," visit the Philanthropy page at philrosenthalworld.com.

Graham is an English singer, musician and songwriter, best known as the co-lead singer and bassist of the art rock band 10cc. He has been the band's only constant member since its formation. In 1972, along with Eric Stewart, Kevin Godley and Lol Creme, he formed 10cc and enjoyed a string of Top 10 hits, including three No 1s - Rubber Bullets, I'm Not In Love and Dreadlock Holiday – along with Donna (No 2), Art For Art's Sake and Good Morning Judge (both reaching No 5), The Things We Do For Love and I'm Mandy Fly Me, and The Wall Street Shuffle.

Did America ever fully "get" 10cc? Their mix of perfect tunes with a biting sense of humor flew over the heads of many of us. Luckily, that didn't stop them from having a long and legendary career back in the UK. The only original member these days is the great Graham Gouldman, but he's taking the band on their first US tour in ages soon. He joins us this week to discuss his partnership with Andrew Gold to form Wax, his wonderful solo career (and new album, I Have Notes) working with other legends like Ringo Starr and Brian May, doing the Animalympics soundtrack, and more. We're lucky he's still at it, carrying the torch, and better than ever!  www.grahamgouldman.info www.patreon.com/thehustlepod

In this episode, we speak with founding member of 10cc, Graham Gouldman. We discuss their upcoming "Greatest Hits" Tour, Graham's great songs he wrote for other bands and artists, and his latest solo album, "I Have Notes".  

Musician Graham Gouldman performs live from his new album, as well as talking about his Lancashire upbringing and and playing in the band 10cc50 years ago Steven Spielberg was filming his adaptation of Peter Benchley's shark thriller Jaws - a problematic shoot that nonetheless resulted in a classic movie. Critic Larushka Ivan-Zadeh and writer Robert Lautner assess the film's legacy and look at the many shark attack movies that have followed in its wake, including new releases Something in the Water and Under Paris. And Will Tosh from the Globe Theatre in London discusses his new book Straight Acting: The Many Queer Lives of William Shakespeare.Presenter: Antonia Quirke Producer: Ciaran Bermingham

10cc is touring the U.S. this summer for the first time in decades. We discuss not only that band, we go deep into Graham's songwriting for the Yardbirds and Hollies and...See omnystudio.com/listener for privacy information.

In March Graham Gouldman and 10cc are coming your way and here he talks to David Hepworth about:- seeing Cliff and the original Shadows at his first live show- playing live in the sixties, when a band would plug all three guitars into the same amp- where he keeps his fifty guitars- what's going on when it all goes quiet on the 10.c.c. tour bus- the songs you have to play for the audience- the ones you play for yourself- what goes through his head every night when he's standing in the wings- the proper place to put 10 cc in an alphabetical record collectionFull tour dates here: https://www.10cc.world/eventsSubscribe to Word In Your Ear on Patreon for early - and ad-free - access to all of our content, and much more: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

In March Graham Gouldman and 10cc are coming your way and here he talks to David Hepworth about:- seeing Cliff and the original Shadows at his first live show- playing live in the sixties, when a band would plug all three guitars into the same amp- where he keeps his fifty guitars- what's going on when it all goes quiet on the 10.c.c. tour bus- the songs you have to play for the audience- the ones you play for yourself- what goes through his head every night when he's standing in the wings- the proper place to put 10 cc in an alphabetical record collectionFull tour dates here: https://www.10cc.world/eventsSubscribe to Word In Your Ear on Patreon for early - and ad-free - access to all of our content, and much more: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

In March Graham Gouldman and 10cc are coming your way and here he talks to David Hepworth about:- seeing Cliff and the original Shadows at his first live show- playing live in the sixties, when a band would plug all three guitars into the same amp- where he keeps his fifty guitars- what's going on when it all goes quiet on the 10.c.c. tour bus- the songs you have to play for the audience- the ones you play for yourself- what goes through his head every night when he's standing in the wings- the proper place to put 10 cc in an alphabetical record collectionFull tour dates here: https://www.10cc.world/eventsSubscribe to Word In Your Ear on Patreon for early - and ad-free - access to all of our content, and much more: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

This week on the podcast, we welcome Graham Gouldman to Rockonteurs. Graham has enjoyed an extensive career, starting out writing songs for The Yardbirds, The Hollies, and Herman's Hermits to name a few. Before embarking on a hugely successful career as a singer, guitarist, bass player and songwriter with 10cc. Their enduring classics include the seminal ‘I'm Not In Love', ‘Rubber Bullets' and ‘Dreadlock Holiday' plus many many more. A delightful man with some great stories to share.Find out more about our upcoming LIVE shows in 2024 and sign up for early access tickets at www.Rockonteurs.comRockonteurs is produced by Ben Jones and Ian Callaghan for Gimme Sugar Productions. Hosted on Acast. See acast.com/privacy for more information.

This week on the podcast, we welcome Graham Gouldman to Rockonteurs. Graham has enjoyed an extensive career, starting out writing songs for The Yardbirds, The Hollies, and Herman's Hermits to name a few. Before embarking on a hugely successful career as a singer, guitarist, bass player and songwriter with 10cc. Their enduring classics include the seminal ‘I'm Not In Love', ‘Rubber Bullets' and ‘Dreadlock Holiday' plus many many more. A delightful man with some great stories to share.Find out more about our upcoming LIVE shows in 2024 and sign up for early access tickets at www.Rockonteurs.comRockonteurs is produced by Ben Jones and Ian Callaghan for Gimme Sugar Productions. Hosted on Acast. See acast.com/privacy for more information.

talking REM and music trivia also Graham Gouldman songs plus disliked albums and a Stanley Jordan clip --- Send in a voice message: https://podcasters.spotify.com/pod/show/perry--dedovitch/message

We talk about the song writer Graham Gouldman, who supplied the Hollies with some great hits, including Bus Stop – when he was only 15 years old.

Esta semana, en Islas de Robinson, una suerte de "sueño de una noche de verano", enlazando clásicos entre 1968 y 1969. Suenan: THE IDLE RACE - "THE LADY WHO SAID SHE COULD FLY" ("BIRTHDAY PARTY", 1968) / FRABJOY & RUNCIBLE SPOON - "CHAPLIN HOUSE" ("FRABJOUS DAYS: THE SECRET WORLD OF GODLEY & CREME", 1967-69)/ GRAHAM GOULDMAN - "PAWNBROKER" ("THE GRAHAM GOULDMAN THING", 1968) / BARRY RYAN - "WHAT'S THAT SLEEPING IN MY BED" ("BARRY RYAN SINGS PAUL RYAN", 1968) / MARK ERIC - "MOVE WITH THE DAWN" ("A MIDSUMMER'S DAY DREAM", 1969) / FAMILY TREE - "SIMPLE LIFE" ("MISS BUTTERS", 1968) / NILSSON - "DON'T LEAVE ME" ("AERIAL BALLET" 1968) / RANDY NEWMAN - "LOVE STORY (YOU AND ME)" ("RANDY NEWMAN", 1968) / SCOTT WALKER - "THE BRIDGE" ("SCOTT 2", 1968) / DAVID ACKLES - "BE MY FRIEND" ("DAVID ACKLES", 1968) / BERGEN WHITE - "SECOND'S LOVER SONG" ("FOR WOMEN ONLY", 1970) / GORDON LIGHTFOOT - "SOMETHING VERY SPECIAL" ("DID SHE MENTION MY NAME", 1968) / ARTHUR - "OPEN UP THE DOOR" ("DREAMS AND IMAGES", 1968) / BOBBIE GENTRY - "COURTYARD" ("THE DELTA SWEETE", 1968) / TIM BUCKLEY - "DREAM LETTER" ("HAPPY SAD", 1969)Escuchar audio

This week's show, after a lil 1971 Stones croon: brand new Slowdive, Desario, Flyying Colours, J. Robbins, Film School, Colored Lights, and Hurry, plus Graham Gouldman, Beau Brummels, Alton Ellis, Charlie Rich, The Jokers, Herb Alpert & the Tijuana Bra...

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

It's St Valentine's Day, and a chance for Jeff to show his sensitive side!  Other than cars and protest songs, rock'n'roll is ALL ABOUT love songs! We talk about love songs, songs about sex, songs mourning lost love, break-up songs, songs that aren't really about love at all, and look at a couple of massive hits that are best considered rubbish. Our Album You Must Hear Before You Die is one of the greats - “Born in the USA”, Bruce Springsteen's 7th album. The title track alone, regularly cited by right wing politicians in the US as an example of American superiority, is in fact one of the most biting comments on the way the USA uses then discards people.  The boys also have another look at NFTs with the help of Formula 1 driver, Max Verstappen. Looking at investing? You'll feel much more confident with the help of Jeff and the ever-surprising Max.  References:  Clive Palmer, “We're Not Gonna Take It”, Twisted Sister, “Khe Sanh”, Cold Chisel, “Dancing in the Dark”, Blinded by the Light, Annie Leibovitz, Bruce Springsteen “Live:  1975-1985", Globite School Bag, “My Boyfriend's Back”, Queen, “Crazy Little Thing Called Love”, Elvis Presley, "Can't Help Falling in Love", “Love Me Tender”, Claudia Jung, “Was Kann Mein Herz Dafur”, Jackie Wilson, "(Your Love Keeps Lifting Me) Higher and Higher", Crowded House, Neil Finn, “It's only natural”, “I Hope I Never”, Olivia Newton-John, “I Honestly Love You”, Unit 4 + 2, “Concrete and Clay”, Martin Plaza, The Beatles, “I Want to Hold Your Hand”, “All you need is love”, “Here, There and Everywhere”, Paul McCartney, “Maybe I'm Amazed”, “My Love”, John Lennon, “Oh Yoko”, “Jealous Guy”, George Harrison,  “Something”, 10cc, “I'm Not in Love”, Graham Gouldman, “The Things We Do for Love”, Carpenters, “Close to you”, Nick Cave, “Into Your Arms”, Bob Dylan, “If Not for You”, Buzzcocks, “Ever Fallen in Love”, David Bowie, “‘Heroes”, Troggs, “Love is all around me”, Warren Zevon, “Empty-Handed Heart”, ” Reconsider me”, U2, “With or Without You”, The Hugo & Luigi Chorus, The Rolling Stones, “Wild Horses”, Badfinger, “Without You”, Prince, Sinead O'Connor, “Nothing Compares 2 U”, Gotye, “Just somebody That I used to Know”, ABBA, “Knowing Me, Knowing You”, “Mamma Mia”, Taylor Swift, Linda Ronstadt, “You're No Good”, REM, “The One I Love”, The Police, “Roxanne”, Dolly Parton, “I Will Always Love You”, Tina Turner, “What's love got to do with it?”, Tom Jones, “Delilah” Love Songs PlaylistSomebody that I Used to Know Video GotyeWalk off the Earth Beatle MedleyWalk off the Earth Gotye

Graham Gouldman talks about 10cc's The Ultimate Greatest Hits Tour show, playing with Ringo Starr, The Mockingbirds, Andrew The post Graham Gouldman – 10cc appeared first on The Strange Brew  .

British musician and prolific songwriter GRAHAM GOULDMAN has been at the forefront of the music industry for more than 50 years. Best known as the founder, lead singer and bassist for art rock band 10cc, Graham has written countless hit records for bands including The Yardbirds, Herman's Hermits and The Hollies for whom he penned the song"Bus Stop” in 1966. That song became their first American hit. In 1972 Graham founded 10cc with Eric Stewart, Kevin Godley, and Lol Creme. The band went on to become one of the most fascinating and popular groups of the 70's, scoring several huge (and eclectic) hits. In this week's episode, we meet Graham Gouldman to discover some his early influences, his unique song writing process and what lies behind some of his greatest works. I hope you enjoy my chat with Graham Gouldman. A man who genuinely surprised me with his down to earth nature and incredible humility. For more information about Graham check my website https://abreathoffreshair.com.au/episodes/november-28-2022/ Or Graham's website https://grahamgouldman.info/ Connect with me: Instagram: sandysbreathoffreshair Facebook: https://www.facebook.com/SandyKayePresents YouTube: https://www.youtube.com/channel/UCa_p5zKTRrIfpAtwXVKBQVw Twitter: @sandykpresents LinkedIn: https://www.linkedin.com/company/2653174/admin/ Website: www.abreathoffreshair.com.au

In autumn 2022, residents of Hornet Heaven reveal what made them fall in love with Watford FC. The songs used in this episode are: Can't Help Falling In Love - written by Hugo Peretti, Luigi Creatore, and George David Weiss and published by Gladys Music, Inc. The instrumental performances are by Welder Dias (piano), Daniel Jang (violin), Brooklyn Duo (piano and cello), Chris Ulrey (electric guitar), James Bartholomew (fingerstyle guitar), Anton Van Oosbree (accordion), and Sylvain Lemaire (epic orchestra).  I'm Not In Love - written by Eric Stewart and Graham Gouldman, with an instrumental performance by Mick Beaulieu.

Today's guest is the incredible KEVIN GODLEY!! Kevin's career spans such a wide course, as part of Hotlegs he had a number 2 hit in the UK and then along with Lol Creme, Graham Gouldman and Eric Stewart formed 10CC who went on to score 5 top 10 albums in the UK, 3 number 1 singles and 8 other top 10 hits too! He and Lol then left to form Godley and Creme and scored a couple more top 10 singles before switching their attention to making music videos. As video producers they worked with U2, Paul McCartney, George Harrison, INXS, Duran Duran, Elton John, The Police, ASIA and so many others!This is a fascinating chat with a very talented man!

Today's guest is the incredible KEVIN GODLEY!!Kevin's career spans such a wide course, as part of Hotlegs he had a number 2 hit in the UK and then along with Lol Creme, Graham Gouldman and Eric Stewart formed 10CC who went on to score 5 top 10 albums in the UK, 3 number 1 singles and 8 other top 10 hits too! He and Lol Creme then left to form Godley and Creme and scored a couple more top 10 singles before switching their attention permanently to making music videos. As video producers they worked with U2, Paul McCartney, INXS, Status Quo, Elton John, The Police, ASIA and so many others!This is a fascinating chat with a very talented man!

On this episode of THE CLASSIC METAL SHOW, Neeley and Chris talk about a show called "Interviewing The Legends" featuring an interviewer named Ray Shasho. It doesn't go very well. Please SUBSCRIBE, click the notification bell, leave a comment or a like, and share this episode! **NOTE: Everything said here, and on every episode of all of our shows are 100% the opinions of the hosts. Nothing is stated as fact. Do your own research to see if their opinions are true or not.**

Bill has been a hit-making country songwriter for his duo Foster and Lloyd as well as artists like Martina McBride and Trisha Yearwood, but his true love has been power pop, starting with Sgt. Arms (our intro song is the 1982 single, "Caught in Traffic," a 1982 single) through his 10+ solo albums. We discuss the title track from Don't Kill the Messenger (2020), "What Time Won't Heal" (co-written with Graham Gouldman) from Working the Long Game (2018), and "Off and Running" a track from the expanded version of his first solo album Feeling the Elephant (1987). End song: "Rough Edges" by Cimarron 615 (a 2022 take on a song that he wrote with Rusty Young and Radney Foster for the band Poco). More at billlloydmusic.net. Hear more Nakedly Examined Music. Like our Facebook page. Support us on Patreon. Supporters will get a bonus song with more discussion with Bill about his collaborations and formative projects. Sponsors: Upgrade your showering at nebia.com/nem (code NEM). Get 15% off at at MasterClass.com/examined.

Bill has been a hit-making country songwriter for his duo Foster and Lloyd as well as artists like Martina McBride and Trisha Yearwood, but his true love has been power pop, starting with Sgt. Arms (our intro song is the 1982 single, "Caught in Traffic," a 1982 single) through his 10+ solo albums. We discuss the title track from Don't Kill the Messenger (2020), "What Time Won't Heal" (co-written with Graham Gouldman) from Working the Long Game (2018), and "Off and Running" a track from the expanded version of his first solo album Feeling the Elephant (1987). End song: "Rough Edges" by Cimarron 615 (a 2022 take on a song that he wrote with Rusty Young and Radney Foster for the band Poco). More at billlloydmusic.net. Hear more Nakedly Examined Music. Like our Facebook page. Support us on Patreon. Supporters will get a bonus song with more discussion with Bill about his collaborations and formative projects. Sponsors: Upgrade your showering at nebia.com/nem (code NEM). Get 15% off at at MasterClass.com/examined.

This episode is part of Pledge Week 2022. Every day this week, I'll be posting old Patreon bonus episodes of the podcast which will have this short intro. These are short, ten- to twenty-minute bonus podcasts which get posted to Patreon for my paying backers every time I post a new main episode -- there are well over a hundred of these in the archive now. If you like the sound of these episodes, then go to patreon.com/andrewhickey and subscribe for as little as a dollar a month or ten dollars a year to get access to all those bonus episodes, plus new ones as they appear. Click below for the transcript Transcript Today's backer-only episode is an extra-long one -- it runs about as long as some of the shorter main episodes -- but it also might end up containing material that gets repeated in the main podcast at some point, because a lot of British rock and pop music gets called, often very incorrectly, music-hall, and so the subject of the music halls is one that may well have to be explained in a future episode. But today we're going to look at one of the very few pop hits of the sixties that is incontrovertibly based in the music-hall tradition -- Herman's Hermits singing "I'm Henry the Eighth, I Am": [Excerpt: Herman's Hermits, "I'm Henry the Eighth, I Am"] The term "music hall" is one that has been widely misused over the years. People talk about it as being a genre of music, when it's anything but. Rather, the music hall -- which is the British equivalent of the American vaudeville -- was the most popular form of entertainment, first under that name and then under the name "variety", for more than a century, only losing its popularity when TV and rock-and-roll between them destroyed the market for it. Even then, TV variety shows rooted in the music hall continued, explicitly until the 1980s, with The Good Old Days, and implicitly until the mid-1990s. As you might imagine, for a form of entertainment that lasted over a hundred years, there's no such thing as "music-hall music" as a singular thing, any more than there exists a "radio music" or a "television music". Many music-hall acts were non-musical performers -- comedians, magicians, acrobats, and so forth -- but among those who did perform music, there were all sorts of different styles included, from folk song to light opera, to ragtime, and especially minstrel songs -- the songs of Stephen Foster were among the very first transatlantic hits. We obviously don't have any records from the first few decades of the music hall, but we do have sheet music, and we know that the first big British hit song was "Champagne Charlie", originally performed by George Leybourne, and here performed by Derek B Scott, a professor of critical musicology at the university of Leeds: [Excerpt: Derek B. Scott, "Champagne Charlie"] If you've ever heard the phrase "the Devil has all the best tunes", that song is why. William Booth, the founder of the Salvation Army, set new lyrics to it and made it into a hymn, and when asked why, he replied "Why should the Devil have all the good tunes?" The phrase had been used earlier, but it was Booth who popularised it. "Champagne Charlie" also has rather morbid associations, because it was sung by the crowd at the last public execution in Britain, so it often gets used in horror and mystery films set in Victorian London, so chances are if you recognised the song it's because you've heard it in a film about Jack the Ripper or Jekyll and Hyde. But the music hall, like all popular entertainment, demanded a whole stream of new material. The British Tin Pan Alley publishers and songwriters who wrote much of the early British rock and roll we've looked at started out in music hall, and almost every British popular song up until the rise of jazz, and most after that until the fifties, was performed in the music halls. We do have recordings from the later part of the music-hall era, of course, and they show what a wide variety of music was performed there, from pitch-black comedy songs like "Murders", by George Grossmith, the son of the co-writer of Diary of a Nobody: [Excerpt: George Grossmith, "Murders"] To sing-along numbers like "Waiting at the Church" by Vesta Victoria: [Excerpt: Vesta Victoria, "Waiting at the Church"] And one of the most-recorded music-hall performers, Harry Champion, a London performer who sang very wordy songs, at a fast tempo, usually with a hornpipe rhythm and often about food, like "A Little Bit of Cucumber" or his most famous song "Boiled Beef and Carrots": [Excerpt: Harry Champion, "Boiled Beef and Carrots"] But one that wasn't about food, and was taken a bit slower than his normal patter style, was "I'm Henry the VIII I Am": [Excerpt: Harry Champion, "I'm Henry VIII, I Am"] (Incidentally, the song as written on the sheet music has "Henery" rather than "Henry", and most people sing it "Enery", but the actual record by Champion uses "Henry" on the label, as does the Hermits' version, so that's what I'm going with). Fifty years after Champion, the song was recorded by Joe Brown. We've talked about Brown before in the main podcast, but for those of you who don't remember, he's one of the best British rock and roll musicians of the fifties, and still performing today, and he has a real love of pre-war pop songs, and he would perform them regularly with his band, the Bruvvers. Those of you who've heard the Beatles performing "Sheikh of Araby" on their Decca audition, they're copying Brown's version of that song -- George Harrison was a big fan of Brown. Brown's version of "I'm Henry the Eighth I Am" gave it a rock and roll beat, and dropped the verse, leaving only the refrain: [Excerpt: Joe Brown and the Bruvvers, "I'm Henry the Eighth I Am"] Enter Herman's Hermits, four years later. In 1964, Herman's Hermits, a beat group from Manchester led by singer Peter Noone, had signed with Mickie Most and had a UK number one with "I'm Into Something Good", a Goffin and King song originally written for Earl-Jean of the Cookies: [Excerpt: Herman's Hermits, "I'm Into Something Good"] That would be their only UK number one, though they'd have several more top ten hits over here. It only made number thirteen in the US, but their second US single (not released as a single over here), "Can't You Hear My Heartbeat", went to number two in the States. From that point on, the group's career would diverge enormously between the US and the UK -- half their US hits were never released as singles in the UK, and vice versa. Several records, like their cover version of Sam Cooke's "Wonderful World", were released in both countries, but in general they went in two very different directions. In the UK they tended to release fairly normal beat-group records like "No Milk Today", written by Graham Gouldman, who was also writing hits for the Yardbirds and the Hollies: [Excerpt: Herman's Hermits, "No Milk Today"] That only charted in the US when it was later released as a B-side. Meanwhile, in the US, they pursued a very different strategy. Since the "British Invasion" was a thing, and so many British bands were doing well in the States partly because of the sheer novelty of them being British, Herman's Hermits based their career on appealing to American Anglophiles. This next statement might be a little controversial, even offensive to some listeners, so I apologise, but it's the truth. There is a large contingent of people in America who genuinely believe that they love Britain and British things, but who have no actual idea what British culture is actually like. They like a version of Britain that has been constructed entirely from pop-culture aimed at an American market, and have a staggeringly skewed vision of what Britain is actually like, one that is at best misguided and at worst made up of extremely offensive stereotypes. People who think they know all about the UK because they've spent a week going round a handful of tourist traps in central London and they've watched every David Tennant episode of Doctor Who. (Please note that I am not, here, engaging in reflex anti-Americanism, as so many British people do on this topic, because I know very well that there is an equally wrong kind of British person who worships a fictional America which has nothing to do with the real country -- as any American who has come over to the UK and seen cans of hot dog sausages in brine with "American style" and an American flag on the label will shudderingly attest. Fetishising of a country not one's own exists in every culture, and about every culture, whether it's American weebs who think they know about Japan or British Communists who were insistent that the Soviet Union under Stalin was a utopia). For their US-only singles, most of which were massive hits, Herman's Hermits played directly to that audience. The group's first single in this style was "Mrs. Brown, You've Got a Lovely Daughter", written by the actor Trevor Peacock, now best known for playing Jim in The Vicar of Dibley, but at the time best known as a songwriter for groups like the Vernons Girls and  for writing linking material for Six-Five Special and Oh Boy! That song was written for a TV play and originally performed by the actor Tom Courtenay: [Excerpt: Tom Courtenay, "Mrs. Brown, You've Got a Lovely Daughter"] The Hermits copied Courtenay's record closely, down to Noone imitating Courtenay's vocals: [Excerpt: Herman's Hermits, "Mrs. Brown, You've Got a Lovely Daughter"] That became their first US number one, and the group went all-in on appealing to that particular market. Noone started singing, not in the pseudo-American style that, say, Mick Jagger sings in (and early-sixties Jagger is a perfect example of the British equivalent of those American Anglophiles, loving but not understanding Black America), and not in his own Manchester accent, but in a faked Cockney accent, doing what is essentially a bad impersonation of Anthony Newley. (Davy Jones, who like Noone was a Mancunian who had started his career in the Manchester-set soap opera Coronation Street, was also doing the same thing at the time, in his performances as the Artful Dodger in the Broadway version of Oliver! -- we'll talk more about Jones in future episodes of the main podcast, but he, like Noone, was someone who was taking aim at this market.) Noone's faked accent varied a lot, sometimes from syllable to syllable, and on records like "Mrs. Brown, You've Got a Lovely Daughter" and the Hermits' version of the old George Formby song "Leaning on a Lamp Post" he sounds far more Northern than on other songs -- fitting into a continuum of Lancashire novelty performers that stretched at least from Formby's father, George Formby senior, all the way to Frank Sidebottom. But on the Hermits' version of "I'm Henry the Eighth, I Am", Noone is definitely trying to sound as London as he can, and he and the group copy Joe Brown's arrangement: [Excerpt: Herman's Hermits, "I'm Henry the Eighth I Am"] That also became an American number one, and Herman's Hermits had truly found their niche. They spent the next three years making an odd mixture of catchy pop songs by writers like Graham Gouldman or PF Sloan, which became UK hits, and the very different type of music typified by "I'm Henry the Eighth I Am". Eventually, though, musical styles changed, and the group stopped having hits in either country. Peter Noone left the group in 1971, and they made some unsuccessful records without him before going on to the nostalgia circuit. Noone's solo career started relatively successfully, with a version of David Bowie's "Oh! You Pretty Things", backed by Bowie and the Spiders From Mars: [Excerpt: Peter Noone, "Oh! You Pretty Things"] That made the top twenty in the UK, but Noone had no further solo success. These days, there are two touring versions of Herman's Hermits -- in the US, Noone has toured as "Herman's Hermits featuring Peter Noone", with no other original members, since the 1980s. Drummer Barry Whitwham and lead guitarist Derek Leckenby kept the group going in the rest of the world until Leckenby's death in 1994 -- since then Whitwham has toured as Herman's Hermits without any other original members. Herman's Hermits may not have the respect that some of their peers had, but they had incredible commercial success at their height, made some catchy pop records, and became the first English group to realise there was a specific audience of Anglophiles in the US that they could market to. Without that, much of the subsequent history of music might have been very different.

And rightly so...

On June 18, along with four guests, we held a party for Paul McCartney on his 80th in front of a big crowd in the magical tented arena at Opera Holland Park in West London. This was a lot of fun from start to finish, fond memories, forgotten songs, new angles, personal meetings, fresh theories and fascinating unknown tales.In this second part of the show Danny Baker talks about a lost masterpiece, does the McCartney walk, fights the corner for some of his least loved songs, puts him in perspective, sings impressively and tells the Besame Mucho/TFI Friday story.And our last guest is Graham Gouldman who was writing big hits for the Hollies, the Yardbirds and many others in the ‘60s before he co-founded 10cc. How did songwriters react to a new Beatles single? What did he nick from Things We Said Today? What are the McCartney signatures? How is it humanly possible to play those bass parts and sing at the same time?This episode comes rammed with revelations about McCartney's life and songs and what he's meant to us over the years.Part One - https://shows.acast.com/word-in-your-ear-2/episodes/word-podcast-459-word-in-the-park-1 - features the broadcaster Geoff Lloyd and the writer Andy Miller.Subscribe to Word In Your Ear on Patreon and receive every future Word Podcast before the rest of the world - alongside a whole load more!: https://www.patreon.com/wordinyourear Get bonus content on Patreon See acast.com/privacy for privacy and opt-out information.

On June 18, along with four guests, we held a party for Paul McCartney on his 80th in front of a big crowd in the magical tented arena at Opera Holland Park in West London. This was a lot of fun from start to finish, fond memories, forgotten songs, new angles, personal meetings, fresh theories and fascinating unknown tales.In this second part of the show Danny Baker talks about a lost masterpiece, does the McCartney walk, fights the corner for some of his least loved songs, puts him in perspective, sings impressively and tells the Besame Mucho/TFI Friday story.And our last guest is Graham Gouldman who was writing big hits for the Hollies, the Yardbirds and many others in the ‘60s before he co-founded 10cc. How did songwriters react to a new Beatles single? What did he nick from Things We Said Today? What are the McCartney signatures? How is it humanly possible to play those bass parts and sing at the same time?This episode comes rammed with revelations about McCartney's life and songs and what he's meant to us over the years.Part One - https://shows.acast.com/word-in-your-ear-2/episodes/word-podcast-459-word-in-the-park-1 - features the broadcaster Geoff Lloyd and the writer Andy Miller.Subscribe to Word In Your Ear on Patreon and receive every future Word Podcast before the rest of the world - alongside a whole load more!: https://www.patreon.com/wordinyourear Get bonus content on Patreon See acast.com/privacy for privacy and opt-out information.

On June 18, along with four guests, we held a party for Paul McCartney on his 80th in front of a big crowd in the magical tented arena at Opera Holland Park in West London. This was a lot of fun from start to finish, fond memories, forgotten songs, new angles, personal meetings, fresh theories and fascinating unknown tales.In this second part of the show Danny Baker talks about a lost masterpiece, does the McCartney walk, fights the corner for some of his least loved songs, puts him in perspective, sings impressively and tells the Besame Mucho/TFI Friday story.And our last guest is Graham Gouldman who was writing big hits for the Hollies, the Yardbirds and many others in the ‘60s before he co-founded 10cc. How did songwriters react to a new Beatles single? What did he nick from Things We Said Today? What are the McCartney signatures? How is it humanly possible to play those bass parts and sing at the same time?This episode comes rammed with revelations about McCartney's life and songs and what he's meant to us over the years.Part One - https://shows.acast.com/word-in-your-ear-2/episodes/word-podcast-459-word-in-the-park-1 - features the broadcaster Geoff Lloyd and the writer Andy Miller.Subscribe to Word In Your Ear on Patreon and receive every future Word Podcast before the rest of the world - alongside a whole load more!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Among the things of great import we ran up the flagpole this week:- Why Baz Lurhmann's new movie will do for Elvis what Get Back's done for the Beatles. Highlights of our Word In Your Park show – what happened on Geoff Lloyd's McCartney radio special involving a flugelhorn? What was Andy Miller wearing and why? What obscure McCartney track did Danny Baker say was a masterpiece? What did Graham Gouldman nick from Things We Said Today when writing hits for the Hollies? The John Peel auction and the prices people paid for an Oz Obscenity Trial vest, copies of Sniffin' Glue and a postcard from John Lennon. Is punk the new pop memorabilia sweet spot?Why gigs are getting longer. How music hall shaped the first pop package tours. Dads and daughters at concerts. Plus patron birthday guest Andrew Stocks and a Fava's Day gift from Keith Adsley.-------Grab your EXCLUSIVE NordVPN Deal by going to nordvpn.com/yourear to get up a Huge Discount off your NordVPN Plan + 1 additional month for free + a bonus gift! It's completely risk free with Nord's 30 day money-back guarantee!-------Subscribe to Word In Your Ear on Patreon for a whole load of extra and exclusive content, benefits and rewards!: https://www.patreon.com/wordinyourear Get bonus content on Patreon See acast.com/privacy for privacy and opt-out information.

Among the things of great import we ran up the flagpole this week:- Why Baz Lurhmann's new movie will do for Elvis what Get Back's done for the Beatles. Highlights of our Word In Your Park show – what happened on Geoff Lloyd's McCartney radio special involving a flugelhorn? What was Andy Miller wearing and why? What obscure McCartney track did Danny Baker say was a masterpiece? What did Graham Gouldman nick from Things We Said Today when writing hits for the Hollies? The John Peel auction and the prices people paid for an Oz Obscenity Trial vest, copies of Sniffin' Glue and a postcard from John Lennon. Is punk the new pop memorabilia sweet spot?Why gigs are getting longer. How music hall shaped the first pop package tours. Dads and daughters at concerts. Plus patron birthday guest Andrew Stocks and a Fava's Day gift from Keith Adsley.-------Grab your EXCLUSIVE NordVPN Deal by going to nordvpn.com/yourear to get up a Huge Discount off your NordVPN Plan + 1 additional month for free + a bonus gift! It's completely risk free with Nord's 30 day money-back guarantee!-------Subscribe to Word In Your Ear on Patreon for a whole load of extra and exclusive content, benefits and rewards!: https://www.patreon.com/wordinyourear Get bonus content on Patreon See acast.com/privacy for privacy and opt-out information.

Among the things of great import we ran up the flagpole this week:- Why Baz Lurhmann's new movie will do for Elvis what Get Back's done for the Beatles. Highlights of our Word In Your Park show – what happened on Geoff Lloyd's McCartney radio special involving a flugelhorn? What was Andy Miller wearing and why? What obscure McCartney track did Danny Baker say was a masterpiece? What did Graham Gouldman nick from Things We Said Today when writing hits for the Hollies? The John Peel auction and the prices people paid for an Oz Obscenity Trial vest, copies of Sniffin' Glue and a postcard from John Lennon. Is punk the new pop memorabilia sweet spot?Why gigs are getting longer. How music hall shaped the first pop package tours. Dads and daughters at concerts. Plus patron birthday guest Andrew Stocks and a Fava's Day gift from Keith Adsley.-------Grab your EXCLUSIVE NordVPN Deal by going to nordvpn.com/yourear to get up a Huge Discount off your NordVPN Plan + 1 additional month for free + a bonus gift! It's completely risk free with Nord's 30 day money-back guarantee!-------Subscribe to Word In Your Ear on Patreon for a whole load of extra and exclusive content, benefits and rewards!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Joining Chris Difford for this episode is singer and songwriter Graham Gouldman, one quarter of the legendary, much loved British pop band 10cc. Growing up in Manchester, Graham quickly found his true calling with music, and he was still in his teens when he found his songs covered by bands like The Yardbirds and The Hollies. And then in forming 10cc with friends he would achieve his own hits - and lots of them. In this chat he talks about how his dad helped shape his early songs, 10cc's collaborative creative process, touring with Ringo Starr and working with Gary Barlow and McFly.

Paul and Sean were so glad to invite Henry back for another whistle-stop, rollicking ride through the rest of his career.   We kick off with The Christians, his best-known venture, with our analysis of their trademark harmonies, Motown influences and ‘gritty' messages. We have some tasty baked goodies to share with you too, notably a live performance from one of the band's very first gigs. We coo over two particular hits - both extremely beautiful and poignant. We listen heart in mouth as he describes the moment last December when he and the band completed a moving tribute to Iranian hostage Nazanin Zaghari-Ratcliffe. The reworked Christians song 'Naz Don't Cry' created a stir on social media just before Christmas 2021.   Despite Henry's solo career not kicking off in earnest until the start the last decade - at the tender age of 53 - he has no end of fantastic stories about his prolific activity as composer, collaborator and producer in the 90s and 00s, including Take That's Mark Owen, no less.    Signing once again to Island Records for his acclaimed album “The Chronicles of Modern Life”, followed some years later by  “The Last Mad Surge of Youth” and "Six of One & Half a Dozen of the Other” (with Les Glover), all three records show an emerging wryness, warmth and self-deprecation, and Henry is hilariously honest about his outlook on life, his music and getting older!   As an absolute treat for fans of 10cc and Graham Gouldman, we're thrilled to be able to share with you some of a pile of demo tapes Henry's shared with us. All feature him and Graham in the throes of collaboration, and *no one* has heard these!  Many of these terrific songs were largely intended for inclusion in the hit West End show Dreamboats and Petticoats. Other tapes are one-off recordings with such collaborators as John Campbell from It's Immaterial. They're terrific, and we're really looking forward to hearing new versions of some of them featured on Henry's forthcoming album ‘Beautiful Ruins'.      

Welcome to the first of our two knockabout chats with the irrepressible Henry Priestman. Famous for being The Christians' songwriter, he's less well-known for his early work with cult Liverpool post-punk outfits Yachts and fellow Merseysiders It's Immaterial, his prolific songwriting with luminaries galore, or his roles as producer and, more recently, solo artist. His stories about his musical adventures are astounding and hilarious in equal measure.   One of his frequent collaborators of course is one Graham Gouldman. We have a lovely sneaky peek at demos of some of the lovely songs he and Graham penned, both for album projects and in a small bedroom at Huntsham Court, during their EMI songwriter weeks.  It's so great being a fly on the wall at the moment these songs are premiered to their illustrious peers!   We were so proud to be able to bake, restore and capture a huge box of tapes that Henry sent us last year.  Some of them feature never-before heard live and studio recordings by the Christians, but we'll have to wait until next week to hear those!  In this episode, we focus on some impossibly rare demos by Yachts.  Mark Kermode and Henry's other fanatical followers will be over the moon.   And of course we have to ask Henry about 10cc and *that* triple album!  Fun like this surely can't be referred to as ‘work'!          

Paul and Sean had the pleasure of meeting the highly affable Paul Canning at his merchandise stall after his delightful support spot at Graham Gouldman's Heart Full of Songs gig in Manchester last autumn.   He's a talented multi-instrumentalist and singer, prolific songwriter and extremely adaptable singer with 10cc.  We are of course dying to know what it's like to be given the onerous task of being Eric, Lol and Kevin live on stage, and Paul's stories are riveting! There's a lovely story behind him crossing paths with the rest of the boys, too. You can hear our ‘10cc envy' in every second of this pod!   Much of the pod though looks into Paul's eclectic, interesting and very enjoyable solo catalogue. And he's popping out albums at a furious rate! All of them are a proper fruit basket of tasty influences (right up our street) and the songwriting's top-notch. On top of this, Paul has forged a successful sideline in acoustic covers, which have had no small success.     

Graham Gouldman's songs have been cut by the Yardbirds, Hollies Herman's Hermits and Wayne Fontana. He was also a member of The Mockingbirds, 10cc, Wax and Ringo Starr's band.

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