Podcast appearances and mentions of Graham Nash

At 81 years-old, Graham Nash describes his life as, “a magic story from beginning to end.” Graham's career began in 1962 as a singer/songwriter in the British pop band The Hollies. After a string of hits in the UK, Graham left the Hollies, and moved to L.A. to start a band with the former Byrds vocalist, David Crosby, and Stephen Stills, whose band Buffalo Springfield had just broken up. From the start, Crosby Stills & Nash were dubbed a folk-rock supergroup, and they went on to become one of the era's most revered bands, thanks to their gorgeous three-part harmony and exquisite songwriting. Following the death of David Crosby in January, Rick Rubin sat down with Graham Nash to talk about Graham's deep love and admiration for Croz. On today's episode we'll hear the first part of Rick's conversation with Graham, who reminisces about the day he met Crosby, who immediately rolled Graham the most perfect joint he'd ever seen. Graham also explains how it was actually Cass Elliot from the Mamas and the Papas who was responsible for bringing CSN together, and he recalls classic stories about Neil Young's unpredictable early days in CSNY. You can hear a playlist of some of our favorite Graham Nash songs HERE.See omnystudio.com/listener for privacy information.

Quizmasters Lee and Marc meet for a trivia quiz with topics including Sports, Video Games, Hollywood, Geography, History, Anatomy, Literature, Music and more! Round One SOCCER - In soccer, how many yellow cards result in a red card? VIDEO GAMES - Originally released by Nintendo, what was the top-selling non-Atari game released for the Atari 2600? HOLLYWOOD - What actor (also the father to four sons named Peter, Eric, Michael and Joel, who also work in the TV and film industry as actors and producers) was born Isur Danilovic? U.S. GEOGRAPHY - Yellowstone National Park is located primarily in which U.S. State? ANATOMY - In which large gland of the human body would you find the Islets of Langerhans? HOUSEPLANTS - A popular type of indoor plant is Chlorophytum comosum, which gets its common name from what kind of creature? Round Two JAMES BOND - What James Bond film stars Pierce Brosnan, Michelle Yeoh and Teri Hatcher, features a theme song by Sheryl Crow, and was the first in the series to be released after the death of long-time franchise producer Albert R. Broccoli? PSYCHOLOGY - Ergophobia is the irrational fear of what? FAST FOOD - Which international fast food chain opened its first location in Lexington, KY in 1969 and takes its name from a main character of a novel first published in the early 1880's? LANDMARKS - What landmark is nicknamed Le Dame de Ferr (which translates to "Iron Lady")? AFRICAN HISTORY - What capital city of Somalia controlled the East African gold trade for several centuries and was also the birthplace of supermodel Iman? LITERATURE - Which book, often read in high school, begins "When he was nearly 13, my brother Jem got his arm badly broken at the elbow"? Rate My Question FLAGS - What island nation, which gained independence from the U.K. in 1962, is the only country to not feature any of the colors red, white, or blue on its flag? Final Questions THE BEATLES - What Beatles song released in 1967 features backing vocals from such notable musicians as Mick Jagger, Keith Richards, Marianne Faithfull, Keith Moon, Eric Clapton, Graham Nash and others? ANATOMY - Located on the head, what part of the body's name is sometimes used by those in the medical field as a backronym to help remember that part's five primary components? Upcoming LIVE Know Nonsense Trivia Challenges March 22nd, 2023 - Know Nonsense Challenge - Point Ybel Brewing Co. - 7:30 pm EST March 23rd, 2023 - Know Nonsense Trivia Challenge - Ollie's Pub Records and Beer - 7:30 pm EST March 25th, 2023 - FRIENDS TRIVIA - Know Nonsense Challenge - Point Ybel Brewing Co. - 7:30 pm EST You can find out more information about that and all of our live events online at KnowNonsenseTrivia.com All of the Know Nonsense events are free to play and you can win prizes after every round.

Esta semana, en Islas de Robinson, un paseo por 1974. Suenan: LOVE - "WHO ARE YOU" ("REEL TO REAL", 1974) / THIN LIZZY - "PHILOMENA" ("NIGHT LIFE", 1974) / TEN YEARS AFTER - "IT'S GETTING HARDER" ("POSITIVE VIBRATIONS", 1974) / TRAFFIC - "MEMORIES OF A ROCK'N'ROLLA" ("WHEN THE EAGLE FLIES", 1974) / JACK BRUCE - "TIMESLIP" ("OUT OF THE STORM", 1974) / MOUNTAIN - "SWAMP BOY" ("AVALANCHE", 1974) / NEIL YOUNG - "REVOLUTION BLUES" ("ON THE BEACH", 1974) / GRAHAM NASH - "GRAVE CONCERN" ("WILD TALES", 1974) / JACKSON BROWNE - "FOR A DANCER" ("LATE FOR THE SKY", 1974) / GENE CLARK - "NO OTHER" ("NO OTHER", 1974) / THOMAS JEFFERSON KAYE - "EASY KIND OF FEELING" ("FIRST GRADE", 1974) / STEELY DAN - "ANY MAJOR DUDE WILL TELL YOU" ("PRETZEL LOGIC", 1974) / DOUG SAHM - "DEVIL'S HEART" ("GROOVER'S PARADISE", 1974) /Escuchar audio

Long Cool Memories! Legendary singer, Rock & Roll Hall of Famer, Allan Clarke of The Hollies, reflects on his life and long career in music! This weeks extended interview includes stories about his friendship since the age of 6 with Graham Nash and the devastation he felt when Graham left the band, the VERY early days of The Hollies, working on songs with The Beatles, his hits including 'Long Cool Woman in a Black Dress', and how he was inducted into the Rock and Roll Hall of Fame. He also tells the stories of how his family's battles with cancer changed their lives, how he felt he was unable to ever sing again and a funny story about a trip to Las Vegas to see Elvis Presley! Learn more about your ad choices. Visit megaphone.fm/adchoices

Another unusual visit with pals on the Flipside. In today's podcast we have folks who've been to visit us before, but had more to say. One is the Oscar nominated dog Hira, owned by the screenwriter director Robert Towne. Hira's been to visit us before, transcripts are in the book "Backstage Pass to the Flipside." David Crosby stopped by again - after talking to us about what it was like to return to the flipside, and in this case, he wanted to talk further about his semi jaded, snarking observations.  Here's a link to the official story of how Graham Nash met David Crosby, but in this account, he recalls a lifetime in Victorian England where he knew Graham. (Be interesting to see if Graham has any memories of that era.) But in terms of Hira - I walked him for a number of years when Robert was at Warner Bros, and later in the Marina.  And was with Hira when he passed - a wild car ride to rush him to the animal hospital to try to save him.  That's another story for another time, but Hira stops by to tell the audience that we are always connected to our pets. He talks about the "contract" of our connection. Then David Crosby takes the spotlight - we didn't ask for him to stop by, but he did a few weeks back, and had more to say about his adventure. (David knew our moderator on the flipside Luana Anders, so it's not hard for me to see how she'd put him at the top of the list of guests.) Prince stopped by - sorry I didn't ask him any direct questions, but David talked a bit about creating music on the flipside.   Then I did ask a direct question to Carl Laemmle about the film "All Quiet on the Western Front" - a film he bought for his son to produce when he was the head of Universal pictures, which one lots of Oscars.  I mention the amazing story of the triathlete who purchased the rights, knowing that it would win her an Oscar (which she hasn't won yet.) Carl predicts the film will win three Oscars.   A bit about predictions - and why I never do them. Because the future is not set. Carl doesn't know for sure if the film will win three Oscars, but has a "better view" and is more apt to be correct. However, anything could happen - and it sometimes does.  People ask mediums like Jennifer all the time to predict the future, and as I like to point out - it's not set, however a good medium has a better opportunity to get the "likely outcome" as opposed to lottery numbers.  "It's likely" that the remake of ALL QUIET ON THE WESTERN FRONT will win three oscars, so if one is a betting person, perhaps dial up one's bookie. But don't blame me if it doesn't - blame Carl Laemmle. He's the one who said it. Than back to Hira - who had a message for Robert Towne, my old boss, which I will pass along. Always fun to hear from a pet on the flipside, if only to remind us they still exist.

On this week's show, we... bid adieu to David Crosby & Tom Verlaine spend quality time with the new Joe Henry record spin fresh tracks from boygenius, Fucked Up & Nickel Creek  all this & much, much less! Debts No Honest Man Can Pay is over 2 rock-solid hours of musical eclectica & other noodle stories. The show started in 2003 at WHFR-FM (Dearborn, MI), moved to WGWG-FM (Boiling Springs, NC) in 2006 & Plaza Midwood Community Radio (Charlotte, NC) in 2012, with a brief pit-stop at WLFM-FM (Appleton, WI) in 2004.

Thanks for listening to the Pat Walshth Show! Penis removal, phonebooths, celebrating Graham Nash's Birthday!

Pinkie Sings "Our House" written by Graham Nash in 1969.

This month marks the centennial of the birth of Sam Phillips, the record producer who discovered Elvis and produced his first records. We're listening back to our interview with Phillips, who founded Sun Records in Memphis and also launched the careers of Jerry Lee Lewis, Carl Perkins, Johnny Cash and Roy Orbison.Also David Crosby and Graham Nash tell the story of how they met and started making music together as Crosby, Stills, & Nash. Crosby died last week.John Powers reviews the new HBO series The Last of Us.

This week's Bent News, #43 includes: -The full story on the passing of David Crosby! (see Jimmy Webb tribute below) -Neil Young to play Willie Nelson's 90th birthday jam! -John Lennon "Lost Weekend" documentary due in April! -The lowdown on Rivals Sons! -Ian Hunter announces new album, Defiance! due in April! -Yes gather forces and sell back catalogue to Atlantic Records! -Doors members sell rights for charity and more! JIMMY WEBB on DAVD CROSBY: Croz, as he was known to his friends, was a gregarious, mischievous, sensitive guy who you could have a legitimate conversation with. I remember the first time I saw him up close: He had driven his black Mercedes Benz 450 SEL out into the desert to go sailplaning with me. He got out of the big sedan in a cloud of dust and strode toward me like a giant, a big grin plastered across his face. I knew in that instant that he was absolutely stone-not-afraid to ride in a glider or anything else you might think of. Conditions were lousy that day so I paid for an extra long tow, up to 10,000 feet because I knew rightly enough that we wouldn't be airborne for very long. I muddled around and kept us up for around 40 minutes or so, and the whole time he was like a child with a new toy. He was inquisitive about every detail of the mechanisms on board and did not get airsick - unlike some others I could mention! We landed safely in the late afternoon after a bond had been formed up about 5000 feet as we waved to hikers on the side of Mount Baden-Powell.   At the time I knew of him from my friend Art Garfunkel, who had used him profusely on backgrounds for the Watermark album, which Art and I cut with Barry Beckett in Muscle Shoals, Alabama. From listening to his lilting concert tenor on Artie's rough mixes, I resolved that if I could get him to do it, I would have him sing some backgrounds on some of my stuff. Endearingly, he came at first call and brought Graham Nash along with him. Most recently, he and Graham sang backgrounds on my song, “If These Walls Could Speak”, from my Fred Mollin-produced Still Within The Sound Of My Voice (2013). It's possible that this will turn out to be the last recording the two made together. He was there for me at Alice Tully Hall (NYC) the night a plethora of names showed up for my live concert birthday party. In short, whenever I asked him, he was there. If I have one regret in my life at this moment, it's that I didn't make time to get on the sailboat with him when I was asked during a rather busy trip to California. But he wouldn't want me to look back with any regret about anything. He was just that kind of cool, easy-going, sweet guy. His was a gigantic star, it shines still there somewhere above the Southern Cross, this sailor, prophet, humanitarian, intellectual, and songwriter. Oh, and lest I forget, father as well.  It's natural to feel a little emptiness when a friend passes but in this case I am aching and grieving for a whole magic, scintillating era of unsurpassed music, a time of beauty and elegance in musical art. In my mind he stands for all of that. The political conscience applied to the art of communicating with the masses. I was at David Geffen's house the afternoon Graham and Croz showed up with a little number called “Four Dead in Ohio”. When I heard it, they were angry and it resonated off the walls of the house in a way that made me think: this is a song that will change things. Godspeed, David. You left the world a better place than you found it. Love, Jimmy Learn more about your ad choices. Visit megaphone.fm/adchoices

David Crosby was famous for nearly 60 years, a celebrity sustained by records, tours, brushes with the law and serial disagreements with old pals and collaborators (he was the very definition of a non-team player). We look back fondly at various stops along the way - his upscale background, his role in the Byrds, his ‘Will Scarlet in Robin Hood' haircut and unsexy cape ensemble, CS&N as the soundtrack to a West Coast American fantasy, the time the Beatles played him the unreleased A Day In The Life, a public fallout with Neil Young and a tuxedoed Graham Nash's last show with the Hollies with the piss-taking Crosby in the dressing-room. Plus “It's Not You It's Me” – classic records that leave us cold: fight-starting suggestions include albums by Patti Smith (“that bawling harridan with her jive muse”), Nirvana, Love, Neil Young, Cat Stevens, Arctic Monkeys and the Beatles. Did the Who start to decline from the moment John Entwistle began growing facial hair? Discuss.Grab your EXCLUSIVE NordVPN Deal by going to https://nordvpn.com/yourear to get up a Huge Discount off your NordVPN Plan + 4 months for free! It's completely risk free with Nord's 30 day money-back guarantee!———-Subscribe to Word In Your Ear on Patreon and receive every future Word Podcast before the rest of the world, with full visuals, and ad-free!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

David Crosby was famous for nearly 60 years, a celebrity sustained by records, tours, brushes with the law and serial disagreements with old pals and collaborators (he was the very definition of a non-team player). We look back fondly at various stops along the way - his upscale background, his role in the Byrds, his ‘Will Scarlet in Robin Hood' haircut and unsexy cape ensemble, CS&N as the soundtrack to a West Coast American fantasy, the time the Beatles played him the unreleased A Day In The Life, a public fallout with Neil Young and a tuxedoed Graham Nash's last show with the Hollies with the piss-taking Crosby in the dressing-room. Plus “It's Not You It's Me” – classic records that leave us cold: fight-starting suggestions include albums by Patti Smith (“that bawling harridan with her jive muse”), Nirvana, Love, Neil Young, Cat Stevens, Arctic Monkeys and the Beatles. Did the Who start to decline from the moment John Entwistle began growing facial hair? Discuss.Grab your EXCLUSIVE NordVPN Deal by going to https://nordvpn.com/yourear to get up a Huge Discount off your NordVPN Plan + 4 months for free! It's completely risk free with Nord's 30 day money-back guarantee!———-Subscribe to Word In Your Ear on Patreon and receive every future Word Podcast before the rest of the world, with full visuals, and ad-free!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Brian and Murdock review and revisit the wild life of folk rock/counter-cultural icon David Crosby and his outsized reputation for speaking his mind and consuming ALL of the drugs... SHOW NOTES: New York Times piece: https://www.nytimes.com/2023/01/19/arts/music/david-crosby-dead.html https://en.wikipedia.org/wiki/David_Crosby The mugshot https://www.thesmokinggun.com/mugshots/celebrity/music/david-crosby https://en.wikipedia.org/wiki/Floyd_Crosby https://en.wikipedia.org/wiki/Joni_Mitchell https://en.wikipedia.org/wiki/Laurel_Canyon,_Los_Angeles https://en.wikipedia.org/wiki/Triad_(David_Crosby_song) https://faroutmagazine.co.uk/why-neil-young-hates-david-crosby/ The Joni Mitchell story:  https://ultimateclassicrock.com/joni-mitchell-dumped-david-crosby/ The Spinditty drug journal: https://spinditty.com/artists-bands/David-Crosbys-Drug-Days https://www.urbandictionary.com/define.php?term=Persian%20Brown 1983 article about the sentencing: https://www.upi.com/Archives/1983/08/05/Rock-singer-David-Crosby-was-sentenced-Friday-to-five/9968428904000/ March 1985 Associated Press article: https://apnews.com/article/ec5b33b88b159740a464cb1c722da5e7 https://ultimateclassicrock.com/david-crosby-sentenced-to-prison/ Melissa Etheridge story: https://www.mtv.com/news/4iuakm/melissa-etheridge-identifies-david-crosby-as-her-childrens-father Drew Barrymore story: https://www.today.com/health/mind-body/david-crosby-drew-barrymore-rcna66718

This episode is dedicated to the memory of David Crosby, a music legend who pioneered the folk genre and influenced the generations that followed. Almost 54 years ago, he and his bandmates Steven Stills and Graham Nash created harmonics that set the stage for the Eagles, Seals and Croft, Steely Dan, among others. Join us as we pay homage to David's memory. By going deep into their catalogue, we have a fuller appreciation for his music and how it not only entertained us, but also struck a chord within us that changed our culture and world forever. Support the show

This week on Celtic Songlines we begin with the lovely voice of Niamh Parsons, Italian-Celtic band Alban Faum, Molly's Revenge, a song composed of a Welsh knight and his lover by David Crosby with Graham Nash, Máire Brennan, more beautiful harmomies with Scottish folk trio The McCalmans, Bulgarian-Celtic band Eriney, The Fureys, and a Parting Glass with Kris Colt.  Tune in live on Tuesdays from 11 a.m. to noon at KDRT 95.7FM with replays Monday 8-9pm, Saturday 6-7pm. Outside the broadcast area you can stream at kdrt.org, or subscribe to the Celtic Songlines podcast on Apple podcasts.

HOW TO MAKE FRIENDS AND INFLUENCE PEOPLEIF I COULD ONLY REMEMBER MY NAME by David Crosby (1971, Atlantic)The Reaper continues its rampage, cutting swathes across the aging population of musical pioneers. Last week it was Jeff Beck, yesterday David Crosby. In fairness, it was actually amazing that the Croz lived as long as he did. He had diabetes, and In 1994 underwent a liver transplant (paid for by Phil Collins), after suffering for years with Hep C. But despite a notorious reputation for drug abuse that would cripple even a hardened junkie, David kept forging an unfettered path, making enemies with his thoughtless taunts, enduring break ups and reunions, yet still creating some of our greatest music with his frenemies, solo, and for the last mile in collaboration with his long-abandoned and rediscovered son, James Raymond.David Van Cortland Crosby, the son of Academy Award Winning cinematographer Floyd Crosby, was a California boy who became foundational to the California folk-rock soundtrack of our generation, and despite the fact that near the end of his life he had to stay on the road and sell his catalogue to pay off his mortgage, those songs will reside forever in the Laurel Canyon canon. Crosby was a notoriously difficult character who burnt nearly every bridge he ever crossed. His bandmate from the Byrds, Jim McGuinn steadfastly refused to work with him again despite David's constant imprecations to reunite; he boldly dissed and insulted Neil Young's soul-mate Darryl Hannah after the death of Neil's first wife Pegi, and somehow alienated his biggest supporter in life, Graham Nash.  But, despite this, musician Melissa Etheridge solicited his sperm to make her babies. Maybe because, trumping all the difficulty, David's harmonic acumen was unmatched and a divine gift from God. So, there he undeniably stands:  a twice inducted Rock n Roll Hall of Famer for founding two of the most important groups in Rock history.  And, this etherial, transcendent solo effort, recorded with the aid of Joni Mitchell, Neil Young, Graham Nash, along with members of The Jefferson Airplane and The Grateful Dead represents an artist whose questing musical imagination was always and eternally of a deeply spiritual nature. Humans are so complicated. As Dylan said: “I contain multitudes,” and David Crosby was an exemplar of that.  

On January 19, 2023, musician David Crosby passed at the age of 81.  Crosby's music was hugely important to Andrew Langer, and in this bonus episode, Andrew talks about that influence--from Crosby's music to how he lived his life.  He talks about his relationships with his bandmates, a little about his love life, but ultimately gives a tribute to this musical giant.

É dia de celebrar o sol aqui no Sonora, numa edição com cara de verão, trazendo faixas e bandas que tem alguma menção ao nosso astro rei no nome. - Que coisa é essa, o Amô  - Ain't No Sunshine - Yellow The Sun - Alleviate - frente! - Open Up Your Heart and Let the Sunshine In - Haley Reinhart ft. Scott Bradlee - Sunny Afternoon - Orion Sun - Ne Me Quitte Pas (Dont Leave Me) - Sun June  - Young - Sunni Colón - Mornin Dew - Secret Sun- Cold Coast - RAC feat. Matthew Koma - Cheap Sunglasses - Trixie Mattel - Blister In The Sun - 2raumwohnung - Hotel Sunshine - Portugal. The Man feat. Cherry Glazerr - Steal My Sunshine - The White Buffalo - House Of The Rising Sun - Xavier Rudd - Follow The Sun - David Crosby, Graham Nash and Paul Simon - Here Comes the Sun

Hi! I am doing the stand up comedy in southeast PA on Friday Jan 13. Get tickets !  Stand Up is a daily podcast. I book,host,edit, post and promote new episodes with brilliant guests every day. Please subscribe now for as little as 5$ and gain access to a community of over 700 awesome, curious, kind, funny, brilliant, generous souls Check out StandUpwithPete.com to learn more   See John Fugelsang in Garrison NY on Jan 21    He's been murdered on CSI, interviewed 2 Beatles on separate continents in the same week, and famously once got Mitt Romney's advisor to call Governor Romney an 'etch a sketch' on CNN. Actor, comedian & broadcaster John Fugelsang hosts 'Tell Me Everything" weekdays on SiriusXM Insight #121. He recently performed in 'The Bill of Rights Concert" alongside Lewis Black & Dick Gregory which aired on AXS.   He's also appeared at Montreal's ‘Just for Laughs' Festival, HBO's U.S Comedy Arts Festival in Aspen, hosted America's Funniest Home Videos for ABC and Bill Maher called him ‘one of my favorite comedians'.   Film/TV credits include 'Price Check' opposite Parker Posey, "Becker," "Providence," "Coyote Ugly,"  the religious standup performance film "The Coexist Comedy Tour" (which won Best Documentary at the NYC Vision Fest film festival).  He appears in the upcoming features "The Girl On The Train," "Maggie Black," and he plays two roles in the romantic comedy ‘The Whole Truth' starring Elisabeth Rohm and Eric Roberts.   He's interviewed Paul McCartney, Bruce Springsteen, Pete Townshend, Brian Wilson, Yoko Ono, Willie Nelson, Tony Bennett, Alan Rickman, Joey Ramone, Carlos Santana, James Taylor, Bo Diddley, Stevie Nicks, Robbie Robertson, Ravi Shankar, Beyonce Knowles, Olivia Harrison, Garth Brooks, William Hurt, Helen Hunt, Ashanti, John Fogerty, William Shatner, Sen. Trent Lott, Sen. Tom Daschle, Sen. Bernie Sanders, Ed Asner, Nile Rogers, Michael Moore, JK Simmons, Valerie Plame, Ethan Hawke, Brian Dennehy, Mavis Staples, Joel Grey, David Crosby, Graham Nash, Lily Tomlin,  Dave Matthews, Terrence McNally, Stanley Tucci, Michael Shannon, Noel Gallagher,  Jeff Daniels, Rita Moreno, & Carl Reiner.  His interview with George Harrison included JF persuading George to play several songs on acoustic guitar.  This proved to be George's final televised appearance and was broadcast as "The Last Performance."   His new film "Dream On," a road trip in search of the American Dream, was named "Best Documentary" at the NY Independent Film Festival.   Directed by 2 time Oscar nominee Roger Weisberg, the film examines the current state of the American Dream while retracing the journey Alexis de Tocqueville made while writing 'Democracy in America.'   The film features 200 interviews in 55 cities in 17 states, including Mike Huckabee, Barney Frank & Paul Krugman and premieres on PBS Election Day Eve.   Check out all things Jon Carroll Follow and Support Pete Coe Pete on YouTube Pete on Twitter Pete On Instagram Pete Personal FB page

2022 a encore été une année tendue, marqué par de nombreux scandales et procès, je vous propose aujourd'hui d'en résumer certains. Marilyn Manson, d'abord, continue de faire l'objet de multiples accusations et de poursuites pour abus psychologiques et sexuels. L'artiste s'est d'ailleurs dit menacé de mort et déplore que sa carrière soit au point mort depuis l'affaire. Même type de souci pour Bob Dylan qui s'est vu accusé à son tour d'agression sexuelle par une femme situant les faits 60 ans plus tôt, ce qui est apparu impossible, Dylan étant en tournée à l'époque présumée des faits. La plainte a donc été abandonnée, malgré une tentative ultérieure de ses avocats d'obtenir des dommages et intérêts. Dylan a par contre fait amende honorable suite à l'affaire des fausses signatures. En effet, alors qu'il vendait son dernier livre dédicacé pour 600 dollars, certains fans ont réalisé que la signature n'était pas manuscrite. Il a évoqué des problèmes de vertiges pour se dédouaner. Le hashtag #metoo a aussi été évoqué par cinq jeunes personnes à l'encontre de Win Butler d'Arcade Fire. Le musicien est accusé de comportement déplacé et d'avoir abusé de son influence sur ces plaignants. L'extrait "Sad Motherfuckin Parade" de Jeff Beck et Johnny Depp, sur l'album 18, a été accusé de plagiat au niveau des paroles. On les soupçonne d'avoir volé le poème " Hobo " signé par Bruce Jackson en 1974, ce qu'ils ont démenti. On en saura plus après le procès en cours. Par contre, après trois ans d'attente, Ed Sheeran avec enfin fixé à propos de son titre " Shape of You ". La justice a décidé qu'il n'avait pas plagié " How Why " de Sami Chokri et Ross O'Donogue. Quand on parle de scandale, on sait que Neil Young et Roger Waters sont dans les premiers à lever le poing. Ce fût chose faite pour Neil Young face à Spotify. Un réseau de streaming qu'il a quitté suite à la diffusion du podcast de Joe Rogan. L'artiste accusait la plateforme de désinformation par rapport au covid 19 et à la vaccination. Il sera suivi par Joni Mitchell, David Crosby, Stephen Stills, Graham Nash et bien d'autres. Roger Waters, de son côté, a qualifié le président américain Joe Biden de "criminel de guerre" avant de tenir d'autres propos engagés sur l'invasion en Ukraine. Il a écrit à la fois à Vladimir Poutine et à l'épouse de Volodimir Zelenski, lui demandant de faire pression sur son mari pour qu'il " mette fin au massacre ". Plusieurs concerts de Roger Waters ont été annulés dans la foulée et il est à présent persona non grata dans divers pays dont la Pologne. Au même moment, Pink Floyd sortait pourtant " Hey Hey, rise up ", un single en soutien aux Ukrainiens. Il s'agissait du premier titre original enregistré depuis The Division Bell en 1994 et la première sortie depuis The Endless River en 2014. L'affaire Roger Waters a mis en suspend la vente du catalogue de Pink Floyd, qui se négociait alors à plus de 470 millions de dollars. Peter Frampton, par contre, a conclu un accord et rejoint la longue liste d'artistes qui ont vendu leur catalogue, avec cette année, Neil Diamond, Leonard Cohen, Elvis Presley, Sting, John Lee Hooker, Genesis, et Phil Collins, mais aussi David Bowie. Dans l'épisode de demain, nous saluerons la mémoire de ceux qui nous ont quittés cette année.

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

The Georgia Department of Transportation 2022 triennial safety audit of MARTA “finds a strong commitment to safety and no major safety gaps or concerns,” according to a news release. The audit examined MARTA's heavy and light rail departments including operations and maintenance, training and communications, and equipment, structures, and signals. As required by the Federal Transit Administration, MARTA maintains and regularly updates an agency safety plan and that plan, along with authority safety procedures and practices are audited every three years through GDOT's State Safety Oversight program. This year's findings show a significant improvement in safety practices in all areas, with only 20 deficiencies and 16 areas of concern identified, compared to close to 100 such findings during the previous audit in 2019. A deficiency is defined as an item that doesn't meet the established safety criteria; an area of concern partially meets those criteria. MARTA will review the audit findings this month and generate a corrective action plan for each item needing attention.  Despite a strong showing in favor of the change, Juneteenth and Veterans Day will not be added to the Sandy Springs Holiday Calendar in 2023. Adoption of the 2023 city calendar was originally proposed on November 15, but the matter was deferred after significant public comment in favor of the addition of Juneteenth and Veterans Day. Mayor and council revisited the discussion at the December 6 meeting. Human Resources Director Jennifer Emery presented two options for the 2023 Holiday Calendar. The first being to add one floating holiday in recognition of Juneteenth and Veterans Day. The floating holiday must be taken within the calendar year. The second option was to make no changes and keep the calendar as it. Mayor Rusty Paul and city council members chose to keep the originally proposed 10 holidays and the floating holiday option. Many residents, once again, spoke in favor of the Juneteenth addition. Councilperson Melody Kelley spoke to the importance of adding Juneteenth, presenting both a factual and personal perspective. According to Kelley, 73% of Georgia cities have adopted Juneteenth and 87% have adopted Veterans Day as a city holiday. The cities include Atlanta, Augusta, Columbus, Macon-Bibb, Savannah, Athens, South Fulton, Sandy Springs, Roswell, Johns Creek, Warner Robins, Albany, Alpharetta, Marietta and Stonecrest. Kelley also shared memories of her grandfather, who helped raise her, correlating personal memories with the importance of Juneteenth. Michael Pauken has been named Interim Executive Director of the Sandy Springs Performing Arts Center at City Springs and will join the team this month. Pauken has served as General Manager/Executive Director of the North Shore Center for the Performing Arts in Skokie, Illinois, since 2002. The North Shore Center is a 65,000 square foot, two theater complex containing a total of 1,185 seats. The Center has two resident theater companies and partners with several other organizations. More than 400 events and performances are held at the Center in a typical year. During his time at the Center, Pauken brought programming in-house and presented more than 475 international touring and Chicago-based artists including Al Jarreau, Art Garfunkel, Boz Scaggs, Clint Black, Ed Asner, Graham Nash, Herb Alpert and Lani Hall, and the Indigo Girls, to name only a few. A number of Pace Academy and Lovett players were among those selected to the All-Region 5AAAA football team. Leading the way among the local contingent was Pace Academy junior wide receiver Terrence Kiel II, who was named a co-offensive player of the year, along with Hampton senior quarterback Conner Tolley. Four Pace players were selected to the First Team Offense — senior offensive lineman and South Carolina commitment Trovon Baugh, senior quarterback Conner Phelan, senior wide receiver Kendall Evans and sophomore wide receiver Cooper Williams. Lovett junior defensive lineman Christian Bell, senior defensive lineman Noah Claxton, senior linebacker Hayden Bernard, junior linebacker Michael Dollar and senior defensive back Anderson Beavor were named to the First Team defense. Pace junior defensive lineman Hevin Brown-Shuler and senior defensive back Davis Rice were also named to the Second Team defense. Lovett sophomore kicker/punter Conner Deviney was a First Team special teams selection. The Second Team offense included a couple of Lovett players — sophomore running back Kalil Townes and junior wide receiver Luke Wallace — along with Pace Academy senior offensive lineman Kylen Shields. Pace senior linebacker Frank Caldwell III and Lovett sophomore Talen Frett were named to the Second Team defense, while Pace senior kicker/punter Andrew Swann was a Second Team special teams selection. For a full list of players, please go to the Northside Neighbor website. More than 200 students at Sandy Springs Charter Middle School see the world through new lenses thanks to Sandy Springs Rotary Club and Vision to Learn. The Sandy Springs Rotary Club partnered with Los Angeles-based nonprofit Vision to Learn to provide prescription lenses to nearly 1/3 of students at the middle school during the first phase of distribution. In total, Sandy Springs Rotary Club has purchased more than 800 pairs of glasses for Sandy Springs students. Club members and volunteers spent the mornings of December 7 and 8 handing out glasses to students at Sandy Springs Charter Middle School. Students were briefed on how to take care of their glasses and when to wear them. Vision to Learn was founded in 2012 by Austin Beutner in Northridge, California. He saw the need once he found out that so many students in the Los Angeles area were struggling in school, partly due to not being able to see the board or read clearly. The idea was to bring a vision clinic to the kids (at schools or Boys and Girls Clubs) to access whether they needed glasses and then to provide the proper glasses for them to be able to see and do better in school. As of 2022, Vision to Learn has visited 5000 schools and Boys and Girls Clubs and has provided 350,000 children with glasses. They currently have 50 mobile clinics and over 200 employees working for them.  A large contingent of football players from Marist, North Atlanta, Riverwood and St. Pius X have been honored for their accomplishments on the gridiron in the 2022 season with their selection to the All-Region 4AAAAAA team. North Atlanta won two of the three top awards, with senior quarterback Trey Lennon selected as offensive player of the year and Jamie Aull as coach of the year. St. Pius X senior defensive back Jack Tchienchou was named defensive player of the year. Marist had four players named on offense — junior running back Joseph Pizzo and senior offensive linemen Peyton Lamb, Kevin McDonald and Drew Prieto. Riverwood had three players on offense — senior tight end Levi Linowes, senior running back Walter Evans and sophomore offensive lineman Sean Poret. North Atlanta featured two offensive players — senior wide receiver Jamie O'Kelley and senior offensive lineman Tyree Myles — while St. Pius offensive lineman Jack Woods was the only other local player named to the team on offense. Marist had three of its players selected on defense — junior defensive lineman Luke Harpring, junior defensive back Casey Comerford and senior linebacker Colin Hare, while North Atlanta also featured three defensive players — sophomore defensive lineman Chase Linton, junior defensive back Xaden Benson and junior linebacker Connor Hughes. For a full list of players, please go to the Northside Neighbor website.

On the December 5 edition of the Music History Today podcast, U2 does a first, John Lennon does a last, & Graham Nash quits one band to start another. Also, happy birthday to the Architect of Rock & Roll, Little Richard ALL MY MUSIC HISTORY TODAY PODCAST LINKS - https://allmylinks.com/musichistorytoday ALL MY MUSIC HALLS OF FAME PODCAST LINKS - https://allmylinks.com/musichallsoffamepodcast --- Send in a voice message: https://anchor.fm/musichistorytodaypodcast/message Support this podcast: https://anchor.fm/musichistorytodaypodcast/support

Hello Friends! This week on Mixology we're riding back to 1967 with The Hollies (again - whoops!), and their fantastic LP Evolution. Recording at the same time as Sgt. Pepper, and released the same day, this is an album that has always had a very curious stereo mix, one that sounds identical to the fantastic mono. Are these two dedicated, but very focused mixes, or is the mono simply a fold? Today we'll be taking a slightly different approach through the story of this mix, with a discussion on what makes or breaks a fold down, and the environment at EMI in which this album was released, and if Graham Nash, was actually a mastermind behind the mixing console. So if you think you're going to Leave Me, Stop Right There! You won't believe The Games We Play...   Happy Listening, Frederick   Support the show and get hours of extra content (including Mixology on 45) at: https://www.patreon.com/backtomono   Email the show at: backtomonoradio@gmail.com   Listen to companion podcast Back to Mono: https://www.mixcloud.com/backtomonoradio/playlists/back-to-mono-complete/   Find me on Instagram @hypnoticfred

Genius comes in all forms....On this episode we dive into a rock doc which just had it's world premiere down at DOC NYC; it's time for Lost Angel: The Genius of Judee Sill.It's an is an intimate documentary portrait of a one-of-a-kind singer-songwriter from 1970s LA – Judee Sill.  It charts her life from a troubled adolescence of addiction, armed robbery and prison through her meteoric rise in the music world and early tragic death.     In two years, Judee went from living in a car to a deal with Asylum Records and the cover of Rolling Stone. As told by David Geffen, Linda Ronstadt, Jackson Browne and Graham Nash -- along with Judee herself -- the film explores Judee's unique musical style and the inspiring recent rediscovery of her singular music fostered by Robin Pecknold of Fleet Foxes, Adrianne Lenker and Buck Meek of Big Thief, and Weyes Blood.   We had the unique pleasure of sitting down with the directors of this documentary; .Andy Brown and Brian Lindstrom to talk about why they want to tell this story, the legacy of Judee in pop culture circles and so very much more....

Guitarist and Rock and Roll Hall of Fame inductee with Joan Jett and the Blackhearts, Ricky Byrd, shares stories from his incredible rock career and how he became a Recovery Troubadour using music to inspire people struggling with addiction.   On this episode, Ricky talks to Matt about: How he got into rock music and his very first performance Growing up in NYC and the clubs he frequented in 70s His struggles with substance use and how 1 drink could lead to a night full of hard drugs and mistakes The near-death experience that scared him into recovery Joining different support groups and the importance of community for recovering addicts Playing benefit shows and discovering how his music could help and inspire people Becoming a Recovery Troubadour and substance abuse counselor Recording the recovery albums Clean Getaway and Sobering Times to spread recovery messages And More To learn more about Ricky and his projects, visit www.Rickybyrd.com This episode is sponsored by The Salvation Army Adult Rehabilitation Centers – one of the oldest residential drug and alcohol rehab programs. ARC is a non-profit and was hit hard financially as a result of COVID. For more information, and to donate or sign up for their quarterly newsletter, visit https://tinyurl.com/SalArmyARC.   About Ricky Byrd Rock and Roll Hall of Fame member, guitarist /singer- songwriter Ricky Byrd (inducted in 2015 with Joan Jett and The Blackhearts), has had a career in music  spanning over 40 years. Byrd has recorded and played with Roger Daltrey, and toured with Ian Hunter and Southside Johnny and the Asbury Jukes respectively. He has also been blessed to have had the chance to, at one time or another, share the stage with music royalty including Paul McCartney, Ringo, Alice Cooper, Bruce Springsteen, Steven Van Zandt, Joe Walsh, Mavis Staples, Dion, Brian Wilson, Smokey Robinson, Jimmy Page, Graham Nash, and Elvis Costello…to name just a few.   Ricky Byrd is now a Recovery Troubadour and Keynote Speaker using music, lyrics and his experience, strength, and hope to inspire change to those struggling with addiction. Byrd is first and foremost - a man living in long-term recovery. With over 30 years of sobriety, Byrd has channeled his experiences to assist those struggling with drug and alcohol addiction.  Earning his CASAC T (Certified Alcohol and Substance Abuse Counselor) credentials and CARC (Certified Addiction Recovery Coach) credentials, Byrd leads recovery music groups at detox and treatment centers, as well as serving as keynote speaker at various events nationally. Additionally, Byrd has organized / participated in concert events, music outreach sessions, and prevention programs.See omnystudio.com/listener for privacy information.

Writer John Barry joins us on the podcast to talk his new book, "Levon Helm: Rock, Roll & Ramble—The Inside Story of the Man, the Music and the Midnight Ramble."Ringo wrote the foreword, and Roger Waters, Graham Nash and Warren Haynes are among those interviewed. Larry Campbell, who served as Levon Helm Band Musical Director and produced or co-produced Levon's three Grammy-winning solo albums, which were inspired by the Rambles, had this to say about the book:"John Barry was the perfect 'fly on the wall' during this great last chapter and final curtain call in Levon Helm's life. He was the quintessential observer from the early days of the Midnight Ramble to the end and has brilliantly captured the details and the spirit of that wonderful timein this book."Born in the Bronx, raised in the New York City suburbs of Rockland County and living in New York State's Hudson Valley since 1990, John W. Barry is an award-winning journalist with a passion for writing and a love of music.This combination has brought John to some pretty incredible places and put him in the company of some incredible people. From Radio City Music Hall in Manhattan to Red Rocks Amphitheater in Colorado and many places in between, John's relentless pursuit of the stories, the people and the circumstances that define the world around us has enabled him to assemble the puzzle pieces of a compelling tale or two over the course of his lifetime.John is a very proud graduate of Clarkstown South High School and the State University of New York at New Paltz, where he earned a journalism degree. The latter is what brought John to Ulster County, New York, and set him on his path to Woodstock, Levon Helm Studios and the Midnight Ramble. As a journalist for the USA Today Network's Poughkeepsie Journal in Dutchess County, New York, John found himself in the center of Levon's Midnight Ramble house concerts, getting to know Levon, his band, his crew, his management team, Team Levon and, of course, his fans.Prior to serving as the music writer for the Poughkeepsie Journal, John wrote for his hometown newspaper, The Journal News, as a police reporter, covering municipal beats and writing extensively about local angles to the Northern Ireland peace process. John has also freelanced for RollingStone.com and since leaving the USA Today Network at the end of 2020, has been working as a freelance writer and blogger, and editorial consultant. In the wake of the publication of this book, John is already working on his next project and continuing to do what he enjoys most, hiking and camping in the Hudson Valley's stunning terrain, cooling off in its swimming holes and breathing in deeply its crisp night air.Purchase a copy of the Levon book here. Lean more about Lyte.Find more great podcasts from Osiris Media, the leading storyteller in music. Hosted on Acast. See acast.com/privacy for more information.

Writer John Barry joins us on the podcast to talk his new book, "Levon Helm: Rock, Roll & Ramble—The Inside Story of the Man, the Music and the Midnight Ramble."Ringo wrote the foreword, and Roger Waters, Graham Nash and Warren Haynes are among those interviewed. Larry Campbell, who served as Levon Helm Band Musical Director and produced or co-produced Levon's three Grammy-winning solo albums, which were inspired by the Rambles, had this to say about the book:"John Barry was the perfect 'fly on the wall' during this great last chapter and final curtain call in Levon Helm's life. He was the quintessential observer from the early days of the Midnight Ramble to the end and has brilliantly captured the details and the spirit of that wonderful timein this book."Born in the Bronx, raised in the New York City suburbs of Rockland County and living in New York State's Hudson Valley since 1990, John W. Barry is an award-winning journalist with a passion for writing and a love of music.This combination has brought John to some pretty incredible places and put him in the company of some incredible people. From Radio City Music Hall in Manhattan to Red Rocks Amphitheater in Colorado and many places in between, John's relentless pursuit of the stories, the people and the circumstances that define the world around us has enabled him to assemble the puzzle pieces of a compelling tale or two over the course of his lifetime.John is a very proud graduate of Clarkstown South High School and the State University of New York at New Paltz, where he earned a journalism degree. The latter is what brought John to Ulster County, New York, and set him on his path to Woodstock, Levon Helm Studios and the Midnight Ramble. As a journalist for the USA Today Network's Poughkeepsie Journal in Dutchess County, New York, John found himself in the center of Levon's Midnight Ramble house concerts, getting to know Levon, his band, his crew, his management team, Team Levon and, of course, his fans.Prior to serving as the music writer for the Poughkeepsie Journal, John wrote for his hometown newspaper, The Journal News, as a police reporter, covering municipal beats and writing extensively about local angles to the Northern Ireland peace process. John has also freelanced for RollingStone.com and since leaving the USA Today Network at the end of 2020, has been working as a freelance writer and blogger, and editorial consultant. In the wake of the publication of this book, John is already working on his next project and continuing to do what he enjoys most, hiking and camping in the Hudson Valley's stunning terrain, cooling off in its swimming holes and breathing in deeply its crisp night air.Purchase a copy of the Levon book here. Lean more about Lyte.Find more great podcasts from Osiris Media, the leading storyteller in music. Hosted on Acast. See acast.com/privacy for more information.

TJ breaks down the weekend, talks a little NFL, Tom Hanks and his body of work, and his Geezer Rock Moment, the ongoing strife between Graham Nash and David Crosby on News Radio KKOBSee omnystudio.com/listener for privacy information.

Progressive rock radio stations of the 60s, especially, exposed many great and long-lasting tunes and LPs that would endure more than a half century. I try to play as many as come from my personal collection and memory, and there are many that seem to fly under the radar because they don't have commercial appeal but a curious music lover wants to hear the wide range of acoustic players and singers you just don't hear these days. This episode I wanted to highlight some of those, like: Leo Kottke, John Fahey, Tommy Emmanuel and you'll also hear Arlo, Graham Nash and quite a few more. Twelve spins today. You can tune in to the live show Wednesdays at 5 central time in Nashville at 103.7 and 107.1 FM or you can stream it on RadioFreeNashville.org. All the episodes are on Apple Podcasts too at TalesVinylTells. Download them and listen anytime, even when you're primitive camping. Thanks for listening!

In this episode we welcome the dynamic transatlantic duo of Luke Haines & Peter Buck and invite them to discuss their splendidly-titled new album All the Kids are Super Bummed-Out.Luke and Peter reflect on their musical partnership, working methodology, and relationships with music journalists — sometimes fractious, occasionally fruitful. Peter recalls growing up as a New York Dolls fan in the Allman Brothers country of his native Georgia, then listens to 1992 audio of himself and bandmate Mike Mills telling Ira Robbins about R.E.M.'s rise and decision not to tour the imminent Automatic for the People. Luke then reflects on his early preference for Sounds (over NME and Melody Maker) and the postpunk writing of the late Dave McCullough.Mark & Jasper pay fulsome tribute to the departed Pharoah Sanders, with both guests pitching in on the music of the intrepid jazz man — and we also bid farewell to 'Gangsta's Paradise' rapper Coolio. Marks then talks us through his highlights among the latest articles added to the RBP library, including pieces about the Beatles in America (1964), Otis Redding at the Whisky (1966) and Leon Russell at the Royal Albert Hall(1971) — the greatest gig he ever saw, he claims — and Jasper wraps matters up with quotes from articles about Harry Styles (2017) and Rose Royce (2021)...Many thanks to special guests Luke Haines and Peter Buck; their new album All The Kids Are Super Bummed Out is out October 28th on Cherry Red.Pieces discussed: Rock Criticism and the Rocker: Peter Buck in conversation with Anthony DeCurtis, Simon Price on the Auteurs, Peter Buck and Mike Mills audio, Don Snowden's tribute to Pharoah Sanders, Coolio Like That, The Beatles in New York, Graham Nash, The Beach Boys, Leon Russell, Otis Redding, Arif Mardin, Harry Styles and Rose Royce on making 'Car Wash'.

In this episode we welcome the dynamic transatlantic duo of Luke Haines & Peter Buck and invite them to discuss their splendidly-titled new album All the Kids are Super Bummed-Out.Luke and Peter reflect on their musical partnership, working methodology, and relationships with music journalists — sometimes fractious, occasionally fruitful. Peter recalls growing up as a New York Dolls fan in the Allman Brothers country of his native Georgia, then listens to 1992 audio of himself and bandmate Mike Mills telling Ira Robbins about R.E.M.'s rise and decision not to tour the imminent Automatic for the People. Luke then reflects on his early preference for Sounds (over NME and Melody Maker) and the postpunk writing of the late Dave McCullough.Mark & Jasper pay fulsome tribute to the departed Pharoah Sanders, with both guests pitching in on the music of the intrepid jazz man — and we also bid farewell to 'Gangsta's Paradise' rapper Coolio. Marks then talks us through his highlights among the latest articles added to the RBP library, including pieces about the Beatles in America (1964), Otis Redding at the Whisky (1966) and Leon Russell at the Royal Albert Hall (1971) — the greatest gig he ever saw, he claims — and Jasper wraps matters up with quotes from articles about Harry Styles (2017) and Rose Royce (2021)...Many thanks to special guests Luke Haines and Peter Buck; their new album All The Kids Are Super Bummed Out is out October 28th on Cherry Red.Pieces discussed: Rock Criticism and the Rocker: Peter Buck in conversation with Anthony DeCurtis, Simon Price on the Auteurs, Peter Buck and Mike Mills audio, Don Snowden's tribute to Pharoah Sanders, Coolio Like That, The Beatles in New York, Graham Nash, The Beach Boys, Leon Russell, Otis Redding, Arif Mardin, Harry Styles and Rose Royce on making 'Car Wash'.

Graham Nash is a true visionary. Whether in the lyrics he writes, the music he plays, the songs he sings, or the photographs he captures, he sees things a little differently and—most important—he sees beauty everywhere. As he describes it during our podcast, “It's just energy. I see my life facing a column of energy every day. Where do I want to plug in today?” Listen in as Nash regales us with how multidisciplinary interests help him avoid writer's block, his fascination for early Daguerreotypes, his historic role as a digital printing pioneer, his deep respect for Epson products, and much more. Stay to the end for Nash's honest assessment of his singing voice, and to learn his secret to staying passionate and making the most of a creative life. Guest: Graham Nash Photos by Graham Nash, excerpted from A Life in Focus: The Photography of Graham Nash, and provided courtesy of Insight Editions. Cover photo © Joel Bernstein  For further details about our guest, his gear, and a selection of his historic photographs, find this episode on the B&H Explora blog at: https://www.bhphotovideo.com/explora/podcasts/photography/graham-nash-ace-photographer-digital-printing-pioneer-music-legend-the-bh Guest Bio: English singer-songwriter and musician Graham Nash is known for his light tenor voice and his iconic status as a founding member of the Hollies, Crosby, Stills & Nash, and later Young. A two-time Rock and Roll Hall of Fame inductee and the recipient of four honorary degrees, Nash was appointed an Officer of the Order of the British Empire (OBE) for his services to music and to charity. A lesser-known detail is that Nash's long held passion for images even predates his start in music. An avid photographer since the age of 10, Nash began collecting photographs in the early 1970s. In 1990, he chose to auction off his 2,000-print collection to help fund Nash Editions, the pioneering fine art digital printing company he co-founded, using an IRIS Graphics 3047 printer that is now in the collection of the Smithsonian's National Museum of American History, At the tender age of 80, Nash is still busy creating both pictures and music, while also maintaining a hectic tour schedule. A book of his photographs, A Life in Focus: The Photography of Graham Nash, was recently released by Insight Editions and is widely available in bookstores and online. Stay Connected: Personal Website: https://grahamnash.com/ Instagram: https://www.instagram.com/officialgrahamnash/ Twitter: @TheGrahamNash Facebook: https://www.facebook.com/OfficialGrahamNash/ Episode Timeline 3:10: Graham Nash's photo collection and the objects he collects today 4:10: How and where his musical and photographic paths cross 4:58: Nash's work as a sculptor 6:34: The ability to hear photographs, see music, and talk in colors 8:14: Nash's introduction to photography at 10-years-old 9:50: Nash's first camera: an Agfa with a small bellows 10:10: Being invisible when taking pictures and blending into the woodwork 12:42: Nash's favorite music photographers 13:52: It doesn't matter what camera he uses 14:30: A 1980's digital camera and an early awareness of the digital world 15:32: Both ends of the photographic spectrum—digital to Daguerreotypes 17:45: From a sense of history to modern Daguerreotypists 18:58: A personal phone number for Louis Daguerre 25:20: Episode break 20:44: Nash's pioneering work in digital printing   22:18: Iris printers and the issue of ink longevity 25:04: The transition to Epson printers and ink 26:14: An Iris print fades during an hour lunch 27:56: Nash's preference between black and white and color 28:22: Recommended printers and number of color channels   30:50: Nash's paper choice: Epson Legacy Fiber 31:22: Coordinate paper, coatings, and inks for optimal results 32:42: Nash's new book A Life in Focus, and recording music remotely during the pandemic 33:59: Nash's singing voice and how it's held up over time 35:08: Two things Nash wants his audience to know 36:22: Nash's secret to remaining passionate: Keep your eyes open—360 degrees