Podcast appearances and mentions of Graham Gouldman

Hello Friends! This time on show we're finally returning to the Fold-Down Chronicles, looking at a further three LPs originally issued in both mono and stereo, but with mono mixes that don't entirely deserve that title. With this in mind, today we will be covering the following albums: The Beach Boys - Beach Boys Concert (1964) Graham Gouldman - The Graham Gouldman Thing (1968) Michael Nesmith presents The Wichita Train Whistle Sings (1968) With original mono and stereo pressings and transfers in hand, we set to work understanding just how these discs were assembled in their mono presentations, as well as how the stereo mixes were approached to accommodate this. Despite the simple premise, we have a lot of fascinating things to dig into today. I want to thank Andrew Sandoval, Andrew Pemrich, and Dae Lims for their source assistance. Happy Listening, Frederick Patreon  Email  Instagram - @hypnoticfred 

Dags att starta tiokubikaren! När Ulf Henningsson och Åke Eriksson för fjärde gången letar pop i 60-talets Lancashire söker de efter byggstenarna till det som skulle komma att bli Manchesters största popbygge på 70-talet. Som vanligt görs häpnadsväckande upptäckter och på vägen stöter man på namn som Wayne Fontana, Whirlwinds, Mockingbirds, Blinkers, Yellow Bellow Room Boom, Graham Gouldman, Ohio Express och Frabjoy & Runciple  Spoon. På bilden: The Mindbenders från Manchester.

For his 80th birthday, a celebration of the incredible songwriting of Graham Gouldmanand just a taste of the songs he wrote for Herman’s Hermits, The Hollies, The Yardbirds and 10CC! (51 minutes)

For his 80th birthday, a celebration of the incredible songwriting of Graham Gouldmanand just a taste of the songs he wrote for Herman’s Hermits, The Hollies, The Yardbirds and 10CC! (51 minutes)

Miss Heard celebrates Season 7, Episode 349 with 10cc's haunting “I'm Not in Love.” From the band's origins in Manchester and their inventive, multi-instrumentalist lineup to the groundbreaking studio techniques that built the song's lush, looping vocal “wall of sound,” we explore how this unlikely hit came together. Written by Eric Stewart and Graham Gouldman and transformed by bold ideas from Kevin Godley and Lol Creme, the track nearly got scrapped before becoming a global success. We also dive into the band's history, creative tensions, and lasting legacy, including how a spontaneous whispered line, delivered by a studio secretary, became one of the song's most iconic moments. #missheardsonglyrics #missheardlyrics #misheardsonglyrics #10cc #ImNotinLove https://www.youtube.com/watch?v=STugQ0X1NoI https://en.wikipedia.org/wiki/I%27m_Not_in_Love https://en.wikipedia.org/wiki/Jonathan_King https://en.wikipedia.org/wiki/Godley_%26_Creme https://miamivice.fandom.com/wiki/Cry

In a market town seven miles south-east of Manchester, a recording studio opened above a shop in 1968 that became one of the most significant facilities in British music history. Strawberry Recording Studios in Stockport was where 10cc built their sound, where Paul McCartney brought Wings to record his brother Mike’s album, where Neil Sedaka revived his career, and where Joy Division and The Smiths made their early recordings. For a long time, much of this went unremarked. Peter Tattersall, the studio’s co-founder, and Peter Wadsworth, a music historian at the University of Manchester, discuss the history of Strawberry Studios. The soundproofing, Tattersall mentions, was worked out from books borrowed from Stockport Library. That detail tells you all you need to know. Further information strawberrynorth.co.uk Strawberry Studios Forever: Strawberry Studios, 10cc and the Birth of Manchester Music by Peter Tattersall with Peter Wadsworth is available in all good book shops Strawberry Studios Forever podcast tracks Support The Strange Brew Podcasts also available: Eric Stewart – Part 1, Eric Stewart – Part 2, Graham Gouldman, Kevin Godley, Harvey Lisberg, Mike McGear McCartney, Keith Hopwood – Herman’s Hermits This podcast is also available on Apple Podcasts, Spotify, YouTube, Google apps and all usual platforms If you like what I do please support me on Ko-fi The post Strawberry Studios Forever appeared first on The Strange Brew .

Matthew Bannister onNeil Sedaka the prolific songwriter who had Sixties hits with Oh Carol and Happy Birthday Sweet Sixteen and made a Seventies comeback with Solitaire and Love Will Keep Us Together. Graham Gouldman pays tribute. Drusilla Beyfus, the journalist best known for her books on etiquette. Her daughter Alexandra Shulman shares her memories.Professor Dame Carole Jordan, the leading astronomer who was an authority on the coronae of the sun and cool stars.And Ayatollah Ali Khamenei, the Supreme Leader of Iran for over thirty years who was killed in an air strike.Interviewee: Nazila Fathi Interviewee: Lisa Verrico Interviewee: Graham Gouldman Interviewee: Professor Mike Lockwood Interviewee: Alexandra ShulmanProducer: Gareth Nelson-Davies Assistant Producer: Ribika Moktan Researcher: Jesse Edwards Editor: Glyn TansleyArchive used: Revolution In Iran, BBC News, 11/02/1979; The death of Ayatolla Khomeni, BBC News, 04/06/1989; Iran street protests, BBC News, 1999 and 2009; Protests in Iran, BBC News, 29/06/2023; BBC News report, 01/03/2026; Neil Sedaka: King of Song, BBC Four, 28/10/2018; The Sky at Night: Exploring the ultraviolet sky, BBC 1, 07/05/1989; Drusilla Beyfus, recorded by Susan Irvine, 08/08/2018; Drusilla Beyfus interview, Castle in the Country, BBC Two, 18/03/2005; Drusilla Beyfus interview, Eight for Eight fifteen, BBC Radio 4, 12/06/1988;

Á þessum árstíma eru kylfingar um allt land að verða alveg viðþolslausir að bíða eftir vorinu og að geta farið út á golfvelli landsins að elta litlu hvítu boltana. Reyndar nýta sífellt fleiri kylfingar innanhús aðstæður sem spretta upp út um allt land eins og gorkúlur og um helgina geta kylfingar fengið forsmekkinn af golfsumrinu í Laugardalshöllinni, en þar fer fram stórsýning á því nýjasta sem í boði er sem tengist golfi og útiveru, Golf Expo. Ólafur Björn Loftsson, afreksstjóri Golfsambands Íslands, og Ómar Már Jónsson, sem stendur að sýningunni um helgina, komu í þáttinn í dag. Hljómsveitin 10CC er á leið til Íslands þar sem Graham Gouldman og tónleikaband hans stíga á svið í Eldborgarsal Hörpu. Sveitin hefur áratugum saman skipað sér sess meðal merkustu nafna poppsins og tónlist hennar heldur áfram að höfða til nýrra kynslóða. Graham stofnandi, bassaleikari, gítarleikari og söngvari hefur stýrt 10CC frá upphafi en núverandi skipan byggir á traustum grunni úr sögu sveitarinnar. Guðbjartur Finnbjörnsson tónleikahaldari kom til okkar í dag. Svo voru það mannlegu samskiptin með Valdimari Þór Svavarssyni ráðgjafa. Hann náði ekki að klára í síðustu viku þegar hann var að tala um þær þrjár leiðir sem meðvirkni getur leitt fólk inn á. Við rifjuðum þær upp og hann fór dýpra ofan í þær og hvað er hægt að gera til þess að lenda ekki í öngstræti. Tónlist í þættinum í dag: Lítið ljóð / Rebekka Blöndal (Rebekka Blöndal og Ásgeir Ásgeirsson, texti Rebekka Blöndal og Stefán Örn Gunnlaugsson) Lítið lausnarorð / Stefán Hilmarsson (Magnús Þór Sigmundsson, texti Stefán Hilmarsson og Friðrik Erlingsson) The things we do for love / 10cc (Eric Stewart & Graham Gouldman) Get Out Your Lazy Bed / Matt Bianco (Danny White & Mark Reilly) UMSJÓN: GUÐRÚN GUNNARSDÓTTIR OG GUNNAR HANSSON

It's sports! It's animals! It's animation! It's celebrity voices! It's... a weird riff on Lost Horizon and I guess Saturday Night Fever with an alligator? It's Animalypics! From the creator of Tron! And hosted by a turtle who sounds like Henry Kissinger! And music from 10cc! I'm sure it made sense in 1980. Starring Michael Fremer, Gilda Radner, Billy Crystal, and Harry Shearer. Written by Steven Lisberger, Michael Fremer, and Roger Allers. Directed by Steven Lisberger. Music by Graham Gouldman

This week’s Prog-Watch comes from the Archives, and in it Big Tony is shaking the family tree of the band 10cc! We’ll hear music from the pre-10cc days, from the classic period of the band in the 1970s, and from the individual members Graham Gouldman, Eric Stewart, Kevin Godley & Lol Creme, post-10cc!

In this special episode, the 2 Blokes (plus cameo performances by Grant) introduce all of their 2025 10:00am guests - Mary Coustas, Effie Stephanidis, Angry Anderson, Toni Childs, Peter Timms, Dave Warner, Jérémie Mani, Loretta Hart, Tim Allan, Pete Robinson, Mark Gable, Michael Clift, Robert "Charlie" Earl, Julia Roache, Ian Cole, Amber Joy Poulton, Steve Kilbey, Hank Kreemers, Freya Fidge, Whalen Hughes, Mic Conway, Ken James, Hamish McLachlan, Gyan, Jaime Woollett, Josh Barnes, Gil Matthews, Katherine Colbert, Graham Gouldman, Sylvana Philippoussis, Anne Savage, Russell Morris, Gary Cosier, Graeme Duff, Graeme Reid, Mike Brady, John "Swanee" Swan, Ron Vincent, Larissa Watt, Pies Beagley, Brian Nankervis, Joe Camilleri, Greg Champion, John Steel, David Hyams, Ian Cover, Stuart Coupe, James Blundell, Patsy & Dave, Paul Austin and Bradley McCaw.

The Bangles' Susanna Hoffs celebrates the life and legacy of Sir Paul McCartney, from his Liverpool roots to Beatlemania and beyond. It is a journey that moves from the late 1950s spanning McCartney's skiffle start with John Lennon in The Quarrymen, through to his long solo career, taking in Mersey Beat; the rise of the Fab Four to 1960s icons; and Wings' 1970s success. Susanna learns how The Beatles could only have come from Liverpool, and how a visit to McCartney's old grammar school led to a significant legacy: the formation of the Liverpool Institute of Performing Arts (LIPA). Joining Susanna are author of recent biography Fly Away Paul, Lesley-Ann Jones; veteran songwriter and member of 10cc, Graham Gouldman; LIPA founding principal and chief executive, Sir Mark Featherstone-Witty; Beatles historian and author, David Bedford; lifelong Beatles enthusiast Jean Catharell; BBC Radio Merseyside broadcaster Paul Beesley; Universal Music Group chairman and CEO Sir Lucian Grainge; plus two LIPA alumni - award winning composer Hannah Peel, and singer, songwriter and guitarist Natalie McCool. Giving the narrative an intimately familial contribution is McCartney's younger brother, Mike McCartney.

There's an exciting gig coming to Wellington this week – especially if your heydey was in the 70s. 10cc is returning to the capital on Friday night to play a gig at the Opera House, performing classic hits like The Things We Do For Love, Dreadlock Holiday and I'm Not In Love. 10cc was formed in 1972 - after frontman and songwriter Graham Gouldman had begun his career writing hits for The Hollies and Herman's Hermits. The band has had twelve songs reach the UK Top 40 - including three number-one hits. Gouldman joined Nick Mills to discuss the band's legacy and the inspiration behind their biggest hits. 10cc perform at the Wellington Opera House this Friday, July 11. Tickets from Ticketmaster. LISTEN ABOVESee omnystudio.com/listener for privacy information.

Having sold more than 30 million albums worldwide, legendary English rock band 10CC is celebrating their anniversary in style, their world tour bringing them to New Zealand's shores. They'll be hitting up Christchurch on the 10th of July, performing at the Isaac Theatre Royal. Co-lead singer and base player Graham Gouldman joined John MacDonald for a chat about life in the band, as well as reflecting on his growing appreciation for the songs. LISTEN ABOVE See omnystudio.com/listener for privacy information.

Singer-songwriter and 10cc founding member Graham Gouldman.10cc are at the Adelaide Entertainment Centre on 2 August (2025). Listen live on the FIVEAA Player. Follow us on Facebook, X and Instagram. Subscribe on YouTubeSee omnystudio.com/listener for privacy information.

Graham Gouldman of 10CC has finally been to see his first cricket match!See omnystudio.com/listener for privacy information.

In this sharply observant episode of Mark and Pete, we unravel three surreal strands of modern Britain. First, we tackle the frosty politics of Winter Fuel Payments. Has the government performed a quiet U-turn? Are pensioners being looked after—or left out in the cold? With millionaires previously in line for heating handouts, we ask whether this is fiscal justice or policy farce.Then, we pad up for a chat about cricket. 10cc's famous lyric “I don't like cricket, I love it” takes on new irony as songwriter Graham Gouldman attends his first-ever match—and enjoys it. But let's be honest: is cricket really a passion or just a prolonged national nap?Finally, we log in to the growing world of cyber warfare. With Keir Starmer declaring the UK must be “war-fighting ready,” we explore whether our defence strategy is built around boots on the ground—or fingers on keyboards. Is Britain preparing for battle, or buffering its broadband?Add a dose of Bible, a pinch of poetry, and the usual helping of sardonic humour, and you've got another essential listen from Mark and Pete.Become a supporter of this podcast: https://www.spreaker.com/podcast/mark-and-pete--1245374/support.

When you explore the music of The Yardbirds you are really observing the evolution of what would become hard rock.  This group started in 1963 and over its time would engage the talents of three of the greatest guitarists of the rock world:  Eric Clapton, Jeff Beck, and Jimmy Page.  Additional musicians in the group through 1968 were Keith Relf on vocals and harmonica, Jim McCarty on drums, Chris Dreja on rhythm guitar, and Paul Samwell-Smith on bass.  The group was founded in the blues, but over time would explore psychedelic rock, pop rock, and hard rock, with instrumental jams being a signature sound throughout their tenure.Having a Rave Up, also known as "Having a Rave Up with the Yardbirds," is their second American album, and showcases two of their virtuoso guitarists.  The album has one side of studio recordings in which Jeff Beck is the guitarist.  Side two is a compilation of live performances featuring Eric Clapton on guitar.  During a time when most songs were expected to run about three minutes, the Yardbirds would extend these out in live performances to six or seven minutes with instrumental jams known as "rave ups."  The combination of studio and live work is an excellent introduction to The Yardbirds, as the band's strength was in their live performances.  Their studio efforts would improve with the experimentation of Jeff Beck.Jimmy Page would become their guitarist in mid-1966 until their split-up in mid-1968.  He would form a group as "The New Yardbirds" shortly thereafter, which would be renamed shortly thereafter to Led Zeppelin.Rob brings us this study in the origins of rock for this week's podcast. Heart Full of SoulThis song was the first single released by The Yardbirds after Jeff Beck joined the group.  It was written by Graham Gouldman, who would later be the co-lead singer and bassist of 10cc.  The band wanted to include a sitar in the instrumentation for this song, but when things didn't work out for that, Beck experimented with his guitar to duplicate the eastern sound of the sitar instead.You're a Better Man than IThe opening song from the album is also known as "Mister, You're a Better Man than I."  It was written by brothers Mike and Brian Hugg, and is an attempt at a more folk rock song.  The socially conscious lyrics take aim at the hypocrisy of society and politics, stating that you shouldn't judge a person based on superficial appearances or education.Smokestack LightningThe live opener to side two is a cover of an old blues song recorded by American blues artist Howlin' Wolf in 1956.  The inspiration for the title came from watching trains go by at night and seeing the sparks come out of the smokestack.The Train Kept a-Rollin'While Aerosmith's cover may be more famous, this jump blues piece was originally performed by Tiny Bradshaw in 1951.  The Yardbirds played this song during their first American tour in 1965, and Sam Phillips recorded it for them in Memphis later that year.  It closes out side 1 of the album. ENTERTAINMENT TRACK:Main theme from the television action comedy "Batman"This campy superhero show premiered this month. STAFF PICKS:Don't Think Twice, It's Alright by The Wonder Who?Bruce begins the staff picks with a disguise group.  The Four Seasons used the name "The Wonder Who?" for four records released from 1965 to 1967, including this one.  Frankie Valli wasn't happy with his vocals on this song, and he recorded it with a "joke" falsetto voice while trying to break the tension in the studio.  All Your Love by John Mayall & the BluesbreakersLynch brings us a blues song originally recorded by American blues musician Otis Rush in 1958.  Multi-instrumentalist singer-songwriter John Mayall led this group, which included Eric Clapton on guitar and John McVie on bass.  This single is the lead-off track to the debut album "Blues Breakers with Eric Clapton," also known as "The Beano Album" because Clapton is reading a children's comic called "The Beano" on the front cover.My Generation by the WhoWayne's staff pick is the hit that started the trajectory for the Who.  Guitarist Pete Townshend wrote this song about young rebellion.  Roger Daltrey incorporates a stutter in his vocals to sound like a British mod on speed.  While this song would reach number 2 on the UK charts, it topped out at number 74 on the US charts.Day Tripper by the BeatlesRob features a well known song from the Beatles, recorded during the "Rubber Soul" album sessions but not included on the album itself.  It was released as a double A-side single along with "We Can Work it Out" during a time when the Beatles were under pressure to release a single in time for the 1965 Christmas season.   COMEDY TRACK:The Lurch by Ted CassidyTed Cassidy played Lurch on "The Addams Family," and also performed this novelty song.   Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

“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?

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.

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.

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  .

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!

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.