Podcasts about Greensleeves

Escuchamos, respectivamente, 'La muerte del ángel', 'Michelle' de The Beatles, 'Fantasía sobre Greensleeves' y la jota de 'El sombrero de tres picos'.

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In deze podcast spreekt presentator Richard Engelfriet met Pepijn van Erp over 'pijlbreken'. Te gast is Quita Muis, die een proefschrift over polarisatie schreef. Daarmee staat het veel minder zorgelijk dan wel gedacht wordt. Tenslotte delen we onze favoriete skeptische quotes.Reacties, suggesties en tips zijn welkom op podcast@skepsis.nlBoektip:Robert Arp, 1001 ideen die ons denken veranderd hebben!Verder lees- en kijkvoer bij deze aflevering:Pijlbreken - Fragment van Penn & Teller: Bullshit! Self-helpless (2003)Coe, M.R., Fire-walking and related behaviors. Psychol Rec (1957)proefschrift Quita Muis: "Who are those People?": Causes and consequences of polarization in the schooled society (2024)Interview Volkskrant: Hoger opgeleiden lijken in hun opvattingen meer op elkaar dan mensen die lager zijn opgeleidMuziekje onder het blogcitaat: Greensleeves door Mantovani y Su Gran Orquesta (1937) Hosted on Acast. See acast.com/privacy for more information.

Un treball que arriba de terres gallegues, "Daydreaming", de Mar

In this episode, sound-designer Eddie Bazil looks at ways of enhancing a variety of individual tracks and full mixes using plug-ins that are designed to achieve the retro warmth and cohesion of tapes and valves.Chapters00:00 - Introduction01:32 - What Is Harmonic Distortion02:32 - Advances In Music Production Quality04:47 - The Introduction Of CD05:59 - Triodes And Pentodes Vacuum Tubes06:47 - Analysing Harmonic Content07:56 - Example 1: TR-808 Sub Bass10:35 - Example 2: Affecting A Whole Mix*12:39 - Example 3: Adding Saturation15:07 - The Benefits Of Tape17:26 - Example 4: Applying Tape Effects To A Bassline*20:59 - Example 5: Adding Tape To Beats23:47 - Example 6: Enhancing A Piano Track26:56 - Summary* Demonstration track ‘Puppet' (Examples 2 and 4), written, performed and recorded by John Walden. Vocals sung by Yvonne McKeown.#voxengospan #SummitAudio #T-RackS #Kraftur #Aphex #SSLEddie Bazil BiogEddie Bazil launched his music industry career at the age of 17 as a synth programmer for a range of Electro / New Wave bands including Art of Noise, Spandau Ballet, Pet Shop Boys, Bobin, Paul Dee, DJ Krush, DJ Shadow, Jets Orchestra. By his 20s he was working as a sound designer for Akai, Roland Emu/Ensoniq, eventually signing on exclusively with the latter. Later, due to a growing demand for software instruments and libraries, Eddie started to develop libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Arturia and Propellerheads. A meeting with Phil Allen, a Capital Radio DJ, resulted in the company Samplecraze, which Eddie has spent 20 years developing as an educational resource. At this time he trained in music production and soon gained a number of prominent contracts working with some notable artistes such as Busta Rhymes, Greensleeves, 9 Bar, SFP, Sleeveless, Chris Campbell and Gam Productions. He contracted to Island Records and Chrysalis as a producer and remixer,  plus was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. His ongoing development of Samplecraze has led to him offering educational workshops and classes, releasing four books via PC Publishing and becoming a contributor and forum moderator for Sound On Sound. Recently he has established The Audio Production Hub for online education and been invited by the Recording Academy to become a Grammy judge.https://eddiebazil.co.uk/https://samplecraze.com/Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

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Aquesta setmana us presentem el primer treball de La Baula, el nou grup de l'escena de m

Co czuje rycerz, gdy nie ma nic do roboty?Co czuje król, który musi opłacać nudzącego się rycerza?Co czuje smok, którego nikt nie rozumie?Dowiesz się z tej historyjki wymyślonej przez 7 letniego Julka i zamkniętej w całość przeze mnie.Autor: Julian i Kacper KrólakNarracja: Kacper Królak - https://kacper-lektor.blogspot.comKról Adam - Adam WernikowskiRycerz Władzio - Michał ChrzanowskiSmok - Cezary BregierDworzanin - Miłosz WitakMuzyka: utwór "Greensleeves" w aranżacji Kacper Królak

A DAVE BRUBECK CHRISTMAS Dave Brubeck (p) Stamford, CT, June 6 & 8, 1996(Homecoming) Jingle bells, Santa Claus is coming to town, Joy to the world, Away in a manger, Winter wonderland, O little town of Bethlehem, What child is this ? [Greensleeves], To us is given, O Tannenbaum, Silent night, Cantos para pedir las posadas, Run, run, run to Bethlehem, (Farewell) Jingle bells, The Christmas song Continue reading Puro Jazz 24 de diciembre, 2024 at PuroJazz.

A DAVE BRUBECK CHRISTMAS Dave Brubeck (p) Stamford, CT, June 6 & 8, 1996(Homecoming) Jingle bells, Santa Claus is coming to town, Joy to the world, Away in a manger, Winter wonderland, O little town of Bethlehem, What child is this ? [Greensleeves], To us is given, O Tannenbaum, Silent night, Cantos para pedir las posadas, Run, run, run to Bethlehem, (Farewell) Jingle bells, The Christmas song Continue reading Puro Jazz 24 de diciembre, 2024 at PuroJazz.

The small, unassuming wren may be nothing much to look at, but wait till it starts singing. Its loud, complex songs, and its tendency to sing them throughout winter, has earned it the title of “King of Birds.” But on December 26, the king is dead. Wren Day is a traditional hunting of the wren, followed by celebrations that include disguise, door-to-door visiting and parading, and song. It's certainly one of our most strange and mysterious Christmas customs, a mixture of Celtic mythology, old Christmas traditions, and revenge for giving away secrets. Tiernan Gaffney from the National Museum of Ireland joins Brian to tell the story. Special thanks to Lewis Barfoot for permission to include her beautiful rendition of The Wren Song!Music in this episode"Calm Lullaby for Irish Harp" — Mountain Dweller, via Pixabay"Greensleeves" — Julius H., via Pixabay"Hark! The Herald Angles Sing" — Jon Sayles, via freemusicpublicdomain.com"Angels We Have Heard" — Kevin MacLeod, via Incompetech"Morning Air" — Noru, via Pixabay"The Wren Song" — Lewis Barfoot, shared directly by the artistConnect Facebook page Facebook group Instagram Bluesky Twitter / X Email: christmaspastpodcast@gmail.com Website BookChristmas Past: The Fascinating Stories Behind Our Favorite Holiday's Traditions makes a great gift for all the Christmas lovers in your life. Available in hardcover and audiobook. Find it wherever books are sold, like Amazon and Barnes & Noble.

Why and how much are we tipping? Mike covers that and talks with Bill Carle from Buffalo Bills. The Reverend Theron Walker closes us out with a wonderful prayer for Christmas as we come to a close with Mike's favorite song Greensleeves!!!! Merry Christmas!!!! Keep Current! www.mikeboyle.com See omnystudio.com/listener for privacy information.

#podcast #podcasting #December #December 2024 #holidays #Christmas #lawenforcement #police #Missouri #crimeClaycomo Police Deptartment Cpl. Zachery Taff; Sarah Boyd, public relations manager, Clay County Sheriff's Office; Richmond Police Department Chief Scott Bagley; and Excelsior Springs Police Department Lt. Ryan Dowdy share tips to help citizens avoid being victimized by larceny or burglary during the holiday season. Other topics include the Shop With a Cop program. Recorded Dec. 6, 2024. Notes: For more coverage of the package thefts mentioned during Chapter 1, visit https://www.excelsiorspringsstandard.com/news/ccso-makes-arrest-package-thefts (subscription required).Credits:Hosts: Miranda Jamison, Shawn RoneyProducers: Sharon Donat, Miranda Jamison, Shawn RoneySales director: Shelby CoinEditing: Shawn RoneyMusical director: Shawn RoneyMusic: "Greensleeves," traditional, arranged by Shawn Roney, performed by Sacred & Secular (solo incarnation)Support the show The opinions expressed on "Ray County Voices" are those of the hosts and/or interview subjects, and not those of the podcast, the Richmond News or The Excelsior Springs Standard Follow the Richmond News on Facebook @ https://www.facebook.com/TheRichmondMODailyNews Sacred & Secular appear courtesy of Mo-Mutt Music. To sample more of Sacred & Secular's music, check out the following playlists: https://music.youtube.com/playlist?list=OLAK5uy_nc6GhIkLCLAZ46_RNU1IRhGodxp2GC07I&feature=share (album: "In Solitude") https://music.youtube.com/playlist?list=OLAK5uy_nIgxmzNslUhSLf8FNofg--rwogPA9d_QU&feature=share (album: "Peas in a Pod: Music from Two Podcasts [And Elsewhere]") https://music.youtube.com/playlist?list=OLAK5uy_mDkw4LJXcOHKUFfAx-FEQhK8i8kdgRU8s&feature=share (single: "Miles the Monk, Minister of Musical Mantras [Version A]") https://music.youtube.com/playlist?list=OLAK5uy_m-FVGa59O4x__s2nL8IkKPax-depJPD_A&feature=share (single: "Midnight Moonlight Meditations [Baring My Soul Version]"

Hello ADHD babes!

"Klasikā" tiekamies ar dziedātāju Etīnu Emīliju Saulīti: runājam par Ralfa Vona-Viljamsa mūziku, kas skanēs koncertā 6. decembrī Rīgas Domā, muzicējot kopā ar ērģelnieci Līgu Īvāni un sitaminstrumentālistu Reini Tomiņu, par gaidāmajiem notikumiem, kas saistīti ar Emīla Dārziņa mūzikas vidusskolas absolvēšanu un sava ceļa meklējumiem vokālajā mākslā. *** 6. decembrī pulkste, 19 Rīgs Doma kbūs iespēja dzirdēt jauno un daudzsološo soprānu Etīnu Emīliju Saulīti, kura, vēl tikai būdama Emīla Dārziņa mūzikas skolas audzēkne, šī gada jūnijā pārstāvēja Latviju 42. Hansa Gabora jauno operas solistu konkursā un iekļuva finālā. Par izcilu sniegumu Etīna saņēma trīs īpašās balvas: Dzintaru koncertzāles balvu, Džeinas Kārtijas memoriāla balvu un Nīderlandes Nacionālās operas balvu. Šajā programmā satiksies divas mūzikas pasaules – Johana Sebastiāna Baha pārlaicīgums un monumentalitāte ar 20. gadsimta britu komponista Ralfa Vona Viljamsa spilgto tēlainību, pastorālajām noskaņām un īpaši skaisto melodismu. Ralfs Vons Viljamss bija angļu nacionālais simfoniķis, kā arī kaislīgs folklorists. Viņu iedvesmoja rakstnieki un dzejnieki Šekspīrs, Viljams Bleiks un Volts Vitmens. Viljamsa mūzikas kvalitātes brīnišķīgi atklāj cikls “Piecas mistiskas dziesmas”, ko caurstrāvo apcerīgums, dialogs ar Mīlestību, Dieva slavinājums un krāšņa muzikālā valoda. Bet īpašs virtuozitātes izaicinājums vokālistiem ir Trīs vokalīzes, komponista ‘‘Gulbja dziesma''.  Soprāns Etīna Emīlija Saulīte teic: ‘‘Ar Ralfa Vona Viljamsa mūziku esmu pazīstama jau sen, un man tā ir ļoti tuva. Šī komponista daiļradei piemīt neparasta spēja uzburt spilgtas ainavas un emocijas, kas, manuprāt, Ziemassvētku gaidīšanas laikam ļoti piestāv. Viljamsa opusi šajā reizē izskanēs nestandarta pārlikumos, sabalsojoties soprāna, ērģeļu un marimbas tembriem.'' Baha mūzikas cēlsvinīgo prieku sastapsim viņa ērģeļkompozīcijās, bet Baha liriskā intimitāte izskanēs komponista skaņdarbu pārlikumos marimbai.  Džona Ebenīzera Vesta “Fantāzija par divām Ziemassvētku dziesmām” ieskandinās klasisko un tautas melodiju mijiedarbi, savukārt Viljamsa “Fantāzija par angļu tautas dziesmu ‘“Greensleeves'' būs kā klusa refleksija par ziemas laika mūžīgo burvību. Baha diženums šajā koncertā satiksies ar Viljamsa smalko liriku, veidojot mākslas pasauli, kas atvērs klausītāju sirdis mierpilnai pārdomu svētku gaidīšanai.  

For musicians and producers that struggle to finish tracks, Eddie Bazil explains the benefits of creating musical snippets and gives us some examples as to how we can tap into different moods, use sound design techniques to create something unique that becomes a useable addition to our musical catalogues and create pieces that stand the test of time.“Snippets and the creating of, serve to strengthen sound ideas, hone mixing and production skills, help to understand timing and flow, act as a testbed for song structuring ideas and are the playground for testing and mastering all manner of plug-ins”.Chapters00:00 - Introduction00:19 - What Is A Snippet?01:53 - The Benefits Of Creating Snippets04:26 - Planning Your Snippets06:07 - Sound Design06:53 - Example 1: Phased Pad17:33 - Example 2: Happy, Mood-Lifting 22:01 - Example 3: Drama And Tension#SoundtoysPhaseMistress #FabFilterTimeless2 #EventideBlackhole #SteinbergGrooveagent #GforceimpOSCar3 #WavesOvoxVocoder #SteinbergHalionTrip #RobPapenAlbino #Kontakt #NIMaschine2 #AirHybrid3Eddie Bazil BiogEddie Bazil launched his music industry career at the age of 17 as a synth programmer for a range of Electro / New Wave bands including Art of Noise, Spandau Ballet, Pet Shop Boys, Bobin, Paul Dee, DJ Krush, DJ Shadow, Jets Orchestra. By his 20s he was working as a sound designer for Akai, Roland Emu/Ensoniq, eventually signing on exclusively with the latter. Later, due to a growing demand for software instruments and libraries, Eddie started to develop libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Arturia and Propellerheads. A meeting with Phil Allen, a Capital Radio DJ, resulted in the company Samplecraze, which Eddie has spent 20 years developing as an educational resource. At this time he trained in music production and soon gained a number of prominent contracts working with some notable artistes such as Busta Rhymes, Greensleeves, 9 Bar, SFP, Sleeveless, Chris Campbell and Gam Productions. He contracted to Island Records and Chrysalis as a producer and remixer,  plus was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. His ongoing development of Samplecraze has led to him offering educational workshops and classes, releasing four books via PC Publishing and becoming a contributor and forum moderator for Sound On Sound. Recently he has established The Audio Production Hub for online education and been invited by the Recording Academy to become a Grammy judge.https://eddiebazil.co.uk/https://samplecraze.com/Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts Get a print or digital subscription to Sound On Sound magazine.

I love the good old days. You could get an appointment with the doctor. You didn't have to wait on the phone listening to Greensleeves for an hour. Travelling by car was a breeze. Please, join me this Sunday for a look back at the good old days.

Hosts Jim DeRogatis and Greg Kot speak with David Browne, author of the new book Talkin' Greenwich Village: The Heady Rise and Slow Fall of America's Bohemian Music Capital.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:Phil Ochs, "Here's to the State of Mississippi," I Ain't Marching Anymore, Elektra, 1965The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967Sonny Rollins, "Softly As In A Morning Sunrise (Live At The Village Vanguard, 1957 / Evening Take)," The Complete Night At The Village Vanguard, Blue Note, 2013Miles Davis, "Stablemates," Miles: The New Miles Davis Quintet, Prestige, 1956Joan Baez, "Wildwood Flower," Joan Baez, Vanguard, 1960John Coltrane, "Greensleeves," Evenings at the Village Gate: John Coltrane with Eric Dolphy, Impulse!, 2023Paul Butterfield, "Everything Gonna Be Alright," Live New York 1970, RockBeat, 2015Phil Ochs, "Talking Vietnam Blues," All the News That's Fit to Sing, Elektra, 1964Dave Van Ronk, "He Was a Friend of Mine," Folksinger, Prestige, 1962Dave Van Ronk, "Dink's Song," Dave Van Ronk Sings, Folkways, 1961Bob Dylan, "House of the Risin' Sun," Bob Dylan, Columbia, 1962Dave Van Ronk, "House of the Rising Sun," Just Dave Van Ronk, Mercury, 1964The Blues Project, "Catch the Wind," Live at the Cafe Au Go Go, Verve Folkways, 1966Bob Dylan, "It Ain't Me Babe," Another Side of Bob Dylan, Columbia, 1964Bob Dylan, "Hurricane (Live at Memorial Auditorium, Worcester, MA, November 1975)," The Rolling Thunder Revue: The 1975 Live Recordings, Columbia, 2019Len Chandler, "Bellevue," To Be a Man, Columbia, 1966Peter, Paul and Mary, "Where Have All the Flowers Gone," Peter, Paul and Mary, Warner Bros., 1962Sonny Rollins, "I Can't Get Started (Live At The Village Vanguard, 1957 / Evening Take)," The Complete Night At The Village Vanguard, Blue Note, 2013The Roches, "Speak," Speak, MCA, 1989Buffy Sainte-Marie, "It's My Way," It's My Way!, Vanguard, 1964Odetta, "I Never Will Marry," Odetta Sings Folk Songs, RCA Victor, 1963Drive-By Truckers, "Ronnie and Neil," Southern Rock Opera, Soul Dump, 2001See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Hi!  It's us again.  The Terrance Malick of podcasters.  We wanted to evoke the massive gap between the original movie and it's sequel,  so it was clearly on purpose.  It's modern art. This is another car episode and this time we went to see Beetleguise Beetleguise, the cleverly named second instalment of the budding franchise, directed once more by the great Tim Burton. Did we like it?  Listen to find out, you lazy sod.   Si managed to repurpose Greensleeves for the less reputable crowd, but it's so old that the original composer isn't around to sue him.  Question for the masses - have you ever heard it on an ice cream van?  Answers on a postcard to "The Broom Cupboard" please.   Also, if you like Your Highness, please let us know.  We feel so alone.   MUSIC TRACKS Modern Funk Groove by StudioEtude. Feel The 80s by Nuclearmetal. Adventure Battle Victory Ident by MPAudioSolutions. Job Done Comedy Logo by FlossieWood Jazz Jingle Logo by RedOctopus.

Think you know everything about Henry VIII?

Sigrid Nunez reads her story “Greensleeves,” from the September 9, 2024, issue of the magazine. Nunez is the author of a memoir and nine novels, including “The Friend,” which won the National Book Award in 2018, and “The Vulnerables,” which was published last year.

Alte keltische Weisen, Waldbaden oder einfach nur lange Spaziergänge durch dichtes Grün. Diese Musikstücke hast Du in der Folge gehört: Clannad – "Robin (The Hooded Man)" // Joel Fredriksen – "Scarborough Fair" // Voces8 – "Harry's Game" // The English Dancing Master – "Virgin Queen" // King's Singers – "Greensleeves" // Den NDR Podcast "Urban Pop - Musiktalk mit Peter Urban" Du findest du hier: https://www.ardaudiothek.de/sendung/urban-pop-musiktalk-mit-peter-urban/84490976/ Den Podcast "SWR1 Meilensteine" vom findest Du hier: https://www.ardaudiothek.de/sendung/swr1-meilensteine/62350692/ Wenn Du eine Idee oder einen Wunsch zu einem musikalischen Thema hast, dann schreib mir eine Mail: playlist@ndr.de

Eddie Bazil gives us more pointers on constructing beats, incorporating useful tools such as Drum Replacement Software and pre-constructed Loops, then adding enhancements using timing, pitch and other processing tips.Chapters00:00 - Introduction00:33 - Drum Replacement Software01:41 - Example 1: Using Hit'n'Mix RipX DAW 05:41 - Example 2: Making Loops Your Own11:36 - Example 3: Enhancing A Kick With Pitch And Timing Track credit for example 1: Ice Box featuring Omarion, produced by Timbaland - https://en.wikipedia.org/wiki/Ice_Box_(song)Eddie Bazil BiogEddie Bazil launched his music industry career at the age of 17 as a synth programmer for a range of Electro / New Wave bands including Art of Noise, Spandau Ballet, Pet Shop Boys, Bobin, Paul Dee, DJ Krush, DJ Shadow, Jets Orchestra. By his 20s he was working as a sound designer for Akai, Roland Emu/Ensoniq, eventually signing on exclusively with the latter. Later, due to a growing demand for software instruments and libraries, Eddie started to develop libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Arturia and Propellerheads. A meeting with Phil Allen, a Capital Radio DJ, resulted in the company Samplecraze, which Eddie has spent 20 years developing as an educational resource. At this time he trained in music production and soon gained a number of prominent contracts working with some notable artistes such as Busta Rhymes, Greensleeves, 9 Bar, SFP, Sleeveless, Chris Campbell and Gam Productions. He contracted to Island Records and Chrysalis as a producer and remixer,  plus was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. His ongoing development of Samplecraze has led to him offering educational workshops and classes, releasing four books via PC Publishing and becoming a contributor and forum moderator for Sound On Sound. Recently he has established The Audio Production Hub for online education and been invited by the Recording Academy to become a Grammy judge.https://eddiebazil.co.uk/https://samplecraze.com/

In the first of a two-part series, Eddie Bazil explains how some simple adjustments in your DAW will help you to achieve more bounce in your drum beats, by adding syncopation, swing and dynamism.Chapters00:00 - Introduction00:20 - A Quick History Of Beat Production01:07 - Early Programmable Drum Machines04:33 - Defining A Good Beat05:15 - Example 1: Shifting The Snare To Drive A Beat07:55 - Example 2: Altering Dynamics And Note Durations10:51 - Example 3: Adding Urgency With A Backbeat 12:37 - Example 4: Creating Swing With The Hi-Hats Eddie Bazil BiogEddie Bazil launched his music industry career at the age of 17 as a synth programmer for a range of Electro / New Wave bands including Art of Noise, Spandau Ballet, Pet Shop Boys, Bobin, Paul Dee, DJ Krush, DJ Shadow, Jets Orchestra. By his 20s he was working as a sound designer for Akai, Roland Emu/Ensoniq, eventually signing on exclusively with the latter. Later, due to a growing demand for software instruments and libraries, Eddie started to develop libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Arturia and Propellerheads. A meeting with Phil Allen, a Capital Radio DJ, resulted in the company Samplecraze, which Eddie has spent 20 years developing as an educational resource. At this time he trained in music production and soon gained a number of prominent contracts working with some notable artistes such as Busta Rhymes, Greensleeves, 9 Bar, SFP, Sleeveless, Chris Campbell and Gam Productions. He contracted to Island Records and Chrysalis as a producer and remixer,  plus was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. His ongoing development of Samplecraze has led to him offering educational workshops and classes, releasing four books via PC Publishing and becoming a contributor and forum moderator for Sound On Sound. Recently he has established The Audio Production Hub for online education and been invited by the Recording Academy to become a Grammy judge.https://eddiebazil.co.uk/https://samplecraze.com/

See if you can guess the answer to this. What can sometimes feel gently rocking like a boat on a lake on a calm summer's day, and other times puts a lively spring into your step? It isn't hard, but it's never simple. You've almost certainly encountered it in your harp music, and even though you may be able to play it easily,  you may not be able to explain it. You might think of it as double trouble or as a triple threat in the way it compounds the challenges in your music. Can you guess what it is? If you're the type who likes to figure things out, pause the podcast here for a moment and then come back when you're ready for the answer. Ready? Here's one final hint: the answer is a meter signature, and I know it's one you know. Maybe you've guessed it. The meter signature or time signature I mean is 6/8. I know you've seen it and played it. “Greensleeves” or “What Child Is This?” is a melody that is most often written in 6/8. It has that gentle lilt to it, like the rocking boat I mentioned a moment ago. Irish jigs - think “The Irish Washerwoman” - are very often in 6/8 time. That's the other side of 6/8, the rollicking dancing side. Today I'd like to discuss some of the important characteristics of 6/8, not just how to count it, but why we count it that way. We'll touch on the other time signatures that share those same attributes, ones that may puzzle you when you first encounter them like 6/4 or 12/8 or 3/2. We'll also talk about the practicalities of these meters, what kind of fingering or placing strategies are best and why. And along the way, we'll clear up some of the music terminology that may be confusing. I want you to come away from the episode feeling like you've learned something useful and practical, something that will help you play the harp better not just today, but over the long term too. Links to things I think you might be interested in that were mentioned in the podcast episode:  Our Finish It! Intensive starts next week. Learn more and register now! Our new March Hub Challenge starts today in the Hub. Related resource Got Rhythm? blog post Harpmastery.com Get involved in the show! Send your questions and suggestions for future podcast episodes to me at podcast@harpmastery.com  LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-146  

Punch Mountain is casting a level 7 charm spell with DUNGEONS & DRAGONS: HONOR AMONG THIEVES. Mac and David discuss chonky dragons, singing “Greensleeves” at karaoke, and Hollywood's leading curmudgeon before revealing DUNGEONS & DRAGONS: HONOR AMONG THIEVES's place on the definitive ranking of action movies.

A Christmas miracle. To close out 2023, we're taking the plunge into the kinky, gender-bending world of Batman Returns, the strangest blockbuster ever to have a Happy Meal tie-in. After the many compromises involved in making Batman '89, Tim Burton used his newfound freedom to take the biggest swings he could imagine—and with the help of one of the most stacked casts in any superhero movie, he ended up with a bizarre masterpiece. We have a Patreon⁠⁠⁠⁠⁠! You can find The Black Casebook on Twitter ⁠⁠⁠⁠⁠@blackcasebook⁠⁠⁠⁠⁠, on Bluesky ⁠⁠@blackcasebook⁠⁠, and Instagram ⁠⁠⁠⁠⁠@blackcasebookpod⁠⁠⁠⁠⁠, and you can write in to ⁠⁠⁠⁠⁠blackcasebookpod@gmail.com⁠⁠⁠⁠⁠ to share any Bat-thoughts you have. ⁠⁠⁠⁠⁠Theme by Black Plastique⁠⁠⁠⁠⁠. Intro music: "Greensleeves" by klankbeeld, via freesound.org.

For this holiday special we begin with a traditional English Christmas feast as described by a family friend, highlighting a strange historical black dessert called a plum pudding or simply a Christmas pudding. Being topped with a holly sprig, we then learn the origins of some ancient plant-lore. But the meat of this sumptuous episode is a reading from a deeply mysterious and haunting, 14th-century Arthurian legend that takes place at a Christmas feast; one rudely interrupted by an axe-wielding Green Knight who demands a volunteer to join him in a deadly game. Merry Christmas! Reading excerpts from Folklore of Kent by Fran & Geoff Doel;  English Botany Or, Coloured Figures of British Plants · Volume 2 by James Sowerby; and Plant Lore, Legends, and Lyrics; Embracing the Myths, Traditions, Superstitions, and Folk-lore of the Plant Kingdom by Richard Folkard.Main reading from Sir Gawain and The Green Knight translated by Simon Armitage."Sweet was the Songe the Virgine Sung" 16th-century Christmas CarolPerformed by Ernst Stolz & Katrhine Brandt"Dove's Figary or Chestnut" English Country DancePerformed by Ernst Stolz"Be Merry, Be Merry I Pray You"Medieval English CarolPerformed by Ernst Stolz "What Child is This? (Greensleeves)"English Folk SongPerformed by Ernst StolzSupport Our Numinous Nature on Patreon.Follow Our Numinous Nature & my naturalist illustrations on InstagramCheck out my shop of shirts, prints, and books featuring my artContact: herbaceoushuman@gmail.com

Once again, Shavonne and Sue join us for an international Christmas extravaganza of whiskey and weird nonsense Scott saw on the internet. First, we try an Indian Single Malt that supposedly tastes like the holidays. And then we get grossed out by all the f'd-up foods people eat around the world at their various end-of-year festivities. So, how good is the whiskey? How wild are the cuisines? And how inappropriate does Ed get? Tune in and find out! Music Credits: Freedom courtesy of Choc Mic McNeil | Link: https://soundcloud.com/chocmic/freedom • Greensleeves to a Ground by Paul Arden-Taylor, Carol Holt (Public Domain) • A Day In India by Ramol | Link: https://filmmusic.io/song/7152-a-day-in-india | License: https://filmmusic.io/standard-license • Dance of the Sugar Plum Fairies by Kevin MacLeod | Link: https://incompetech.filmmusic.io/song/3582-dance-of-the-sugar-plum-fairies | License: https://filmmusic.io/standard-license

Our gift to you is this dramatized reading by Tim Simpson telling the history behind "What Child is This?" Tim is a professional narrator who shares his gifts with all of this season. Gather a friend or your children to hear this fascinating story. Knowing the background behind this well-loved song will change your understanding as you sing it. The tune of Greensleeves is most familiar when joined with the poetry of William Dix. The author was an insurance salesperson for money, but a poet and song writer for joy. Listen in for this heart warming story. More inspiration for Christmas: The Little Know Story of Silent Night Christmas Stovetop Potpourri 10 Ideas for Letting Go of Expectations this Holiday Season Rethinking GIFTS Is Kindness Your SUPERPOWER? More inspiration on HOME and FAMILY www.nurturingmynest.com

Jam Notes: It's the Christmas Episode. And we played more than 30 different songs that night. Some of them are Gato classics. Others were not so well rehearsed or practiced. Ben also missed recording a fair bit of the show. This is only one and a half of three sets that were played. We will be posting the mix we got from the house sound as well. Jam Notes: "Lead into with Greensleeves"

MDJ Script/ Top Stories for Nov 17th      Publish Date:  Nov 16th       Commercial: Henssler :15   From the Henssler Financial Studio, Welcome to the Marietta Daily Journal Podcast.    Today is Friday, November 17th and Happy Birthday to Tom Seaver  ***TOM SEAVER – NO HITTER*** I'm Dan Radcliffe and here are the stories Cobb is talking about, presented by Credit Union of Georgia.  Cobb Sheriff Uses Drone to Nab Suspect Marietta School Board to Issue Final Decision on "Flamer" 21st Annual MDJ Gobble Jog Fights Poverty This Thanksgiving       All of this and more is coming up on the Marietta Daily Journal Podcast, and if you are looking for community news, we encourage you to listen and subscribe!    BREAK: CU of GA    STORY 1: Cobb Sheriff Uses Drone to Nab Suspect Cobb County Sheriff Craig Owens praised the use of a drone unit in the arrest of 28-year-old Antonio Carter for violating probation. Deputies, serving a warrant at a Marietta motel, encountered Carter who fought with them, then fled into nearby woods. The drone unit, along with deputies and K9 units, tracked Carter to a neighboring apartment complex where he was found hiding in a laundry room. Carter was arrested without incident, showcasing the effective use of technology in law enforcement. Owens commended the diligence of the teams involved. Carter, facing probation violation charges, was previously arrested in April for multiple offenses.   STORY 2: Marietta School Board to Issue Final Decision on "Flamer" The Marietta Board of Education is set to make a final decision on the fate of the book "Flamer" by Mike Curato at a special meeting. The book was removed from Marietta High School's library due to Superintendent Grant Rivera's judgment of "highly inappropriate, sexually explicit content." Parent Kayla Sargent filed an appeal to reinstate the book, arguing against book banning and claiming the removal is linked to the main character, Aiden, being gay. Supporters of the removal thanked Rivera during public comments. The board's decision on Thursday is expected to be final, but Sargent indicated the community might continue addressing the issue through elections. STORY 3: 21st Annual MDJ Gobble Jog Fights Poverty This Thanksgiving The 21st annual Gobble Jog, sponsored by the Marietta Daily Journal, will take place on Thanksgiving at Marietta Square to support MUST Ministries in fighting poverty. The event, featuring 10K, 5K, one-mile, and "tot trot" courses, is expected to draw 10,000 runners, aiming to raise over $500,000 for food donations, shelter, job creation, and other resources for the impoverished in Cobb and nearby counties. Dr. Dwight "Ike" Reighard, CEO of MUST Ministries, emphasizes the impact of the race, stating that participants are not just running for their health but making a meaningful difference in the community. Runners can register online or in person on race day, and "phantom runners" are encouraged to support MUST from a distance.     We have opportunities for sponsors to get great engagement on these shows. Call 770.799.6810 for more info.    We'll be right back    Break: ESOG – ELON – DAYCO    STORY 4: Cobb Commission Debates DA's Request For More Funding Cobb Commissioner Keli Gambrill voted against approving $680,000 for eight full-time victim advocates in Cobb District Attorney Flynn Broady Jr.'s office, citing concerns about using county funds and equity. Broady, facing a reduction in Victims of Crime Act grant funding, sought county support. Gambrill questioned why other departments with staffing needs weren't considered and argued using insurance premium taxes was against board policy. Commissioner Jerica Richardson suggested strategic planning for county program funding. Despite acknowledging equity concerns, Commissioner Monique Sheffield emphasized the responsibility to protect Cobb residents. Chairwoman Lisa Cupid acknowledged Gambrill's points but stressed the importance of funding victim support services as mandated by state law. Gambrill criticized the decision, alleging campaign-related motivations.   STORY 5: Marietta School Board Extends Superintendent's Contract Superintendent Grant Rivera's contract with Marietta City Schools has been extended through December 31, 2026, following a 6-0 vote by the Board of Education. The contract includes a 5.5% pay increase, raising Rivera's base salary to approximately $247,200, with a total pay package, including benefits, reaching about $392,200. This marks an increase from his previous base salary of about $234,400, with an additional $10,000 annual bonus. Rivera has been serving as superintendent since January 2017, and the board expresses enthusiasm about his continued leadership in the district. Georgia state law limits superintendent contracts to three years, and the board has been annually extending Rivera's contract to meet this requirement. We'll be back in a moment  Break: DRAKE – INGLES 10 – Christmas Piedmont   STORY 6: Spending Plan: Mableton Expects to Take in Nearly $4 Million through June 2024 The Mableton City Council discussed the city's transitional spending plan, serving as a de facto budget until June 30, 2024. Although not obligated to have a budget currently, city officials aim for transparency. The plan outlines revenue streams, with motor vehicle taxes expected to bring in $2.25 million, insurance premium taxes $500,000, franchise fees $400,000, and business and occupation taxes $350,000. Total anticipated revenue is $3.93 million, primarily from taxes. Major expenditures include salaries, code enforcement, and legal representation, with $112,500 budgeted for mayor and council salaries, $431,500 for code enforcement, and other allocations. Residents expressed support for the plan, acknowledging its transparency. A business license fee ordinance was discussed but not officially acted upon. The city aims to pass the transitional spending plan on November 30. STORY 7: Kennesaw State Bailey School of Music to Present Holiday Concert Kennesaw State University's Bailey School of Music will present its 2023 Holiday Concert on December 2 at 2 p.m. and 8 p.m. The annual tradition includes over 200 KSU students and faculty performing holiday classics, classical pieces, and music from popular holiday movies. The lineup features selections like a "Frozen" medley, Tchaikovsky's "Pas De Deux" from The Nutcracker, Kevin Phillip Johnson's "Children, Go Where I Send Thee," and David Eddleman's "Bidi Bom" for Hanukkah. The concert will also include traditional tunes like "Greensleeves" and "Mary, Did You Know?" The program promises a lively and festive celebration of the holiday season. Break: Henssler :60  Signoff-   Thanks again for hanging out with us on today's Marietta Daily Journal podcast. If you enjoy these shows, we encourage you to check out our other offerings, like the Cherokee Tribune Ledger Podcast, the Gwinnett Daily Post, the Community Podcast for Rockdale Newton and Morgan Counties, or the Paulding County News Podcast. Read more about all our stories and get other great content at MDJonline.com.     Did you know over 50% of Americans listen to podcasts weekly? Giving you important news about our community and telling great stories are what we do. Make sure you join us for our next episode and be sure to share this podcast on social media with your friends and family. Add us to your Alexa Flash Briefing or your Google Home Briefing and be sure to like, follow, and subscribe wherever you get your podcasts.  www.henssler.com  www.ingles-markets.com  www.cuofga.org  www.drakerealty.com  www.daycosystems.com  www.powerselectricga.com  www.esogrepair.com  www.elonsalon.com  www.jrmmanagement.com  #NewsPodcast #CurrentEvents #TopHeadlines #BreakingNews #PodcastDiscussion #PodcastNews #InDepthAnalysis #NewsAnalysis #PodcastTrending #WorldNews #LocalNews #GlobalNews #PodcastInsights #NewsBrief #PodcastUpdate #NewsRoundup #WeeklyNews #DailyNews #PodcastInterviews #HotTopics #PodcastOpinions #InvestigativeJournalism #BehindTheHeadlines #PodcastMedia #NewsStories #PodcastReports #JournalismMatters #PodcastPerspectives #NewsCommentary #PodcastListeners #NewsPodcastCommunity #NewsSource #PodcastCuration #WorldAffairs #PodcastUpdates #AudioNews #PodcastJournalism #EmergingStories #NewsFlash #PodcastConversations   See omnystudio.com/listener for privacy information.

Eddie Bazil dives into some of his favourite plug-ins and gives us a series of examples on how to use these tools creatively for designing unique and interesting beats, sequences and mixes. Chapters00:00 - Introduction00:21 - What Makes A Tool Creative?03:25 - Example 1: A Cinematic Piano Effect07:03 - Example 2: Creating A More Dynamic Beat10:19 - Example 3: Sequencer-Based Multi Effects On A Drum Beat13:26 - Example 4: Reshaping A Musical Sequence 21:21 - Example 5: A Sound Design Exercise Credits‘Puppet' track written, performed and recorded by John WaldenVocals by Yvonne McKeownEddie Bazil BiogEddie Bazil launched his music industry career at the age of 17 as a synth programmer for a range of Electro / New Wave bands including Art of Noise, Spandau Ballet, Pet Shop Boys, Bobin, Paul Dee, DJ Krush, DJ Shadow, Jets Orchestra. By his 20s he was working as a sound designer for Akai, Roland Emu/Ensoniq, eventually signing on exclusively with the latter. Later, due to a growing demand for software instruments and libraries, Eddie started to develop libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Arturia and Propellerheads. A meeting with Phil Allen, a Capital Radio DJ, resulted in the company Samplecraze, which Eddie has spent 20 years developing as an educational resource. At this time he trained in music production and soon gained a number of prominent contracts working with some notable artistes such as Busta Rhymes, Greensleeves, 9 Bar, SFP, Sleeveless, Chris Campbell and Gam Productions. He contracted to Island Records and Chrysalis as a producer and remixer,  plus was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. His ongoing development of Samplecraze has led to him offering educational workshops and classes, releasing four books via PC Publishing and becoming a contributor and forum moderator for Sound On Sound. Recently he has established The Audio Production Hub for online education and been invited by the Recording Academy to become a Grammy judge.https://eddiebazil.co.uk/https://samplecraze.com/https://theaudioproductionhub.pivotshare.com/

Maggie speaks with Grammy-winning music historian, journalist, producer, and educator Ashley Kahn about Evenings At The Village Gate: John Coltrane With Eric Dolphy, McCoy Tyner, Jimmy Garrison and Elvin Jones. In 1961, the John Coltrane Quintet played an engagement at the legendary Village Gate in Greenwich Village, New York.  Coltrane's Classic Quartet was not as fully established as it would soon become and there was a meteoric fifth member of Coltrane's group those nights— visionary multi-instrumentalist Eric Dolphy. Ninety minutes of never-before-heard music from this group were recently discovered at the New York Public Library for the Performing Arts, offering a glimpse into a powerful musical partnership that ended much too soon. In addition to some well-known Coltrane material (“My Favorite Things”, “Impressions”, “Greensleeves”), there is a breathtaking feature for Dolphy's bass clarinet on “When Lights Are Low” and the only known non-studio recording of Coltrane's composition “Africa”, from the Africa/Brass album. This recording represents a very special moment in John Coltrane's journey—the summer of 1961—when his signature, ecstatic live sound, commonly associated his Classic Quartet of '62 to '65, was first maturing and when he was drawing inspiration from deep, African sources— and experimenting with the two-bass idea both in the studio (Olé) and on stage. This truly rare recording of "Africa" captures his expansive vision at the time.Ashley Kahn is a Grammy-winning American music historian, journalist, producer, and professor. He teaches at New York University's Clive Davis Institute for Recorded Music, and has written books on two legendary recordings—Kind of Blue by Miles Davis and A Love Supreme by John Coltrane—as well as one book on a legendary record label: The House That Trane Built: The Story of Impulse Records. He also co-authored the Carlos Santana autobiography The Universal Tone, and edited Rolling Stone: The Seventies, a 70-essay overview of that pivotal decade. His latest book is entitled George Harrison on George Harrison: Interviews and Encounters. Source: https://www.allaboutjazz.com/evenings-at-the-village-gate-john-coltrane-impulse-records__14009Source: https://www.impulserecords.com/#/Source: https://tisch.nyu.edu/about/directory/clive-davis-institute/1417614318Host Maggie LePique, a radio veteran since the 1980's at NPR in Kansas City Mo. She began her radio career in Los Angeles in the early 1990's and has worked for Pacifica station KPFK Radio in Los Angeles since 1994.Support the show

This week, it's Dulcimer Jamboree time once again! Each year, dulcimer players from all over come to the Ozark Folk Center State Park in Mountain View, Arkansas for a weekend of learning, listening, and loving all things dulcimer. Each evening of the event features concerts by world renowned dulcimer teachers and performers. We'll enjoy highlights recorded from these live performances featuring both mountain dulcimers and the more ancient hammered dulcimers. Artists performing this year include: educator, songwriter and award winning mountain dulcimer maven Kara Barnard; hammered dulcimer prodigy Ben Haguewood accompanied by oldtime fiddle champion Kailee Spickes; ubiquitous hammered dulcimer performer and educator Ken Kolodner; hammered dulcimer master and educator Mary Lynn Michal; inimitable mountain dulcimer and auto-harp Jedi Karen Mueller; hammered dulcimer phenom Colin Beasley; multi-instrumentalist, folk singer, educator and Ozark original Pam Setser; In this week's “From the Vault” segment, musician, songwriter and Music Roots educator Kathy Jensen offers a 1981 archival recording of Ozark originals Tommy & Jean Simmons performing the tune “Greensleeves,” from the Ozark Folk Center State Park archives. In his segment “Back in the Hills,” writer, professor, and historian Dr. Brooks Blevins explores scary Ozark Monster stories, featuring such horrifying beasts as the “Gowrow,” the “Highbehind” and the “Whangdoodle.”

This weeks show starts off in a roots style with music from Yabby You, The Heptones, Burning Spear, The Fantails, Pablo Moses, Midnite, More Relation, Ziggy Marley, Freddie McGregor, Sister Carol, Peter Tosh, Jackie Edwards, The Upsetters, Junior Bytes, The Psalms, Ras Teo, and Eek A Mouse. New music this week comes from Chezidek, Junior Campbell, Micah Shemaiah, Jerry Johnson, Savory I, Jesse Royal & Romain Virgo, Alborosie, Christopher Ellis, Keith & Tex, Etana, Kuzikk, Gappy Ranks, Tony Chin, Groundation and Brain Damage,Ed Garjae, Zion Train, Paolo Baldini Dubfiles & Mellow Mood, Jah Torch, Johnny Osbourne, Richie Phoe & Kingston Express,  and Macka B with Jazzwad.  Enjoy! Vivian Jackson & The Prophets - Run Come Rally - Yabby You: Jesus Dread 1972- 1977 - Blood & Fire The Upsetters - Rally Dub - Yabby You: Jesus Dread 1972- 1977 - Blood & Fire The Heptones - Through The Fire I Come - Jah Love Rockers: Revolutionary Sounds From The Rockers & Steppers Era - Trojan Burning Spear - People Of The World - People Of The World - Slash Fantails - Name Of The Game - Jammy's From The Roots 1977 - 1985 - Greensleeves Pablo Moses - Give I Fe Name w/ version - Rebirth Records 7” Hitman & Fiza w/ Queen Omega - Horns Dubwise - Tribe 84 Records 12” Midnite - Love The Life You Live - Unpolished - Rastafaria More Relation - Solve Them - Roots Vibration 12” Ziggy Marley & The Melody Makers - We Propose - Conscious Party - Virgim Freddy McGregor - Chant It Down - Roots Vibration - 12” Sister Carol - Oh Jah (Mi Ready) - Black Cinderella - Heartbeat Records Peter Tosh - Jah Guide - Equal Rights Legacy Edition - Columbia Jackie Edwards & The Aggrovators - So Jah Seh/So Jah Seh Dub - Bunny Lee: Dreads Enter The Gates With Praise - Soul Jazz Records The Upsetters - Dread Lion - Super Ape - Island Records Junior Byles - Beat Down Babylon - Beat Down Babylon - Doctor Bird The Psalms - In The Hills - Wanted - Makasound Ras Teo Meets Lone Ark - Country Living/Country Living Dub - Ten Thousand Lions - A Lone Productions Midnite - Earth Cycle Now A Rasta - Jubilees Of Zion - Rastafaria Eek A Mouse - Ganja Smuggling - Hi Grade Ganja Anthems - Greensleeves Chezidek - Bun Di Ganja - Never Stop - Irie Ites Junior Campbell - Who Is It Knocking - Look To The East - Love Injection Micah Shemaiah - Jamaica, Jamaica/Jamaica, Jamaica Dub - Jamaica, Jamaica - Evidence Music Jerry Johnson - Rockers - Strength & Wisdom - Jerry Johnson  Samory I - Crown - Overstand Entertainment Jesse Royal & Romain Virgo - Hope - Easy Star Records Alborosie feat. Kabaka Pyramid - Nuh Sell Out - Destiny - VP Records Protoje feat. Lila Ike' - Late At Night - Third Time's The Charm - Inddignation Collective/RCA Christopher Ellis - Stick Together - Ghetto Youths International Horace Andy - Lets Live In Love - More Fire - Reggae Roast Keith & Tex - Tonight - Inna De Yard: Family Affair - Chapter Two Records Duane Stephenson - Unchained - We Remember Bob Andy - VP Records Etana - Don't Let Me Go - Tad's Records Kuzikk - Reggae Town - Boot Camp Records Gappy Ranks - My Selecta - Reggae Roast Jackie Mittoo - Summer Breeze - The Keyboard King At Studio One - Soul Jazz Records Lester Sterling & Stranger Cole - Bangarang - Jumping With Mr. Lee - Trojan Records Max Romeo - Wet Dream - Foundation Singers: Revival Classics Vol. 1 - Attack Bunny Lee All Stars - Daydream - Who Wants Some? - VP Records Tamlins - Hard To Confess - Channel One Barrington Levy & Roots Radics - Like How You Kiss And Caress Me/Right Cross - Junjo Presents: Heavyweight Dub Champion - Greensleeves Tony Chin - Mental Youth - Karma - Rough Sounds Augustus Pablo - Pablo In Moonlight City - Jammy's From The Roots 1977 - 1985 - Greensleeves Barry Brown & Jah Thomas - Movements Of Jah - Showcase: Midnight Rock At Channel One - Clocktower Anthony Johnson w/ Jah Thomas & Toyan - Gunshot - Jah Thomas: Greensleeves 12” Rulers - Greensleeves Dubby Stardust feat. Joseph Holiday - Fame - Spaced Oddity - Echo Beach Groundation Meets Brain Damage - Dreaming From An Iron Gate - Dreaming From An Iron Gate - Baco Records/Easy Star Records Ed Garjae - Conscious Mind - Eternal Light Riddim - Selmad Records Zion Train - Another Now - Dissident Sound - Universal Egg  Numa Crew - Red Dub - Dub Searcher - Moonshine Recordings Paolo Baldini Dubfiles Meets Mellow Mood - Laser Dub - Manana Dub - LaTempesta Dub Danny Red & Jah Disciple - Tell Jah Sorry w/ Version - Blackboard Jungle Jah Torch - Trod It - Praise Him Riddim - Brilli Productions Johnny Osbourne - Get Up - Right Right Time - Baco Music Dub Pistols & Freestylers feat. Horseman - Nice Up - Frontline - Cyclone Records Richie Phoe & Kingston Express feat. Tom Spirals - Feel Alright - The Foot Of The Mountain: Richie Phoe Remixes - Kingston Express Records Macka B & Jazzwad - Jah Shaka Trod On - Jazzwad Muzic Alborosie - General - Destiny - VP Records Ini Kamoze - Stress - Greensleves Sampler Vol. 3 - Greensleeves

Eddie Bazil demystifies Compression and Expansion with a detailed explanation of their uses and with a range of practical examples using plug-ins. Chapters00:00 - Introduction00:22 - Compressors And Expanders Explained01:33 - Compressor Behavioural Types02:40 - Common Compressor Topologies06:06 - Example 1: Boz Digital Manic Compressor On Drums10:26 - Example 2: FabFilter Pro MB On A Synth Line13:28 - Example 3: PreSonus Studio One Expander On A Drum Beat15:26 - Example 4: A Drum Beat Using Different Topologies20:24 - Example 5: Using Sidechaining On Reverb 23:28 - Example 6: FabFilter Pro MB On A Vocal Line27:16 - Example 7: Sidechain Compression And Expansion To Create Texture And MotionCreditsExample 6 - The song and the poem are both called Everyone Sang. The poem was by Sigfried Sassoon and was set to music and performed by Anne Gregson.www.annegregson.co.ukRecorded at www.mrpunch.infoEddie Bazil BiogEddie Bazil launched his music industry career at the age of 17 as a synth programmer for a range of Electro / New Wave bands including Art of Noise, Spandau Ballet, Pet Shop Boys, Bobin, Paul Dee, DJ Krush, DJ Shadow, Jets Orchestra. By his 20s he was working as a sound designer for Akai, Roland Emu/Ensoniq, eventually signing on exclusively with the latter. Later, due to a growing demand for software instruments and libraries, Eddie started to develop libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Arturia and Propellerheads. A meeting with Phil Allen, a Capital Radio DJ, resulted in the company Samplecraze, which Eddie has spent 20 years developing as an educational resource. At this time he trained in music production and soon gained a number of prominent contracts working with some notable artistes such as Busta Rhymes, Greensleeves, 9 Bar, SFP, Sleeveless, Chris Campbell and Gam Productions. He contracted to Island Records and Chrysalis as a producer and remixer,  plus was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. His ongoing development of Samplecraze has led to him offering educational workshops and classes, releasing four books via PC Publishing and becoming a contributor and forum moderator for Sound On Sound. Recently he has established The Audio Production Hub for online education and been invited by the Recording Academy to become a Grammy judge.https://eddiebazil.co.uk/https://samplecraze.com/https://theaudioproductionhub.pivotshare.com/

The Big Mates discuss Greensleeves, Muse, trees, and The King of Limbs by Radiohead.Adam, Steve, and Lucas continue their deep dive into the career and discography of Radiohead by tackling their divisive eighth album The King of Limbs. They talk about the writing and recording process, the context surrounding the songs, and offer up analysis, opinions, and thoughts from three differing perspectives on music, from being deeply into analysis and music, to not caring for art or critique, and everything in between.They touch on the the unorthodox method of recording, and how the band approached the record and explore how the album was released.Why is this album so divisive? What color is music? What's this got to do with trees? Find out on this episode of What Is Music?Our next episode is out on Monday March 6th and will continue the deep-dive into The King of Limbs.Join the conversation on:Twitter: https://twitter.com/whatismusicpodInstagram: https://www.instagram.com/whatismusicpodE-mail: whatismusicpod@gmail.comGet access to more shows, exclusive bonus content, ad-free episodes of this show, and more music discussion by subscribing to our Patreon!Head to patreon.com/whatismusicpod and receive up to two new episodes of our various shows every week (including shows about Manic Street Preachers and monthly themed playlists!), ad-free archives of What Is Music?, and access to our Patron-only Discord server for even more music (and non-music) discussion!Get 20% off and FREE shipping from Manscaped.com when you use the code BIGMATES at checkout!Support our show when starting your own podcast!By signing up to Buzzsprout with this link: https://www.buzzsprout.com/?referrer_id=780379Check out our merch!https://whatismusicpod.redbubble.comDonate to our podcast!https://ko-fi.com/whatismusichttp://whatismusic.buzzsprout.com/Support the show

In this Ostium Sagas collection we have the complete first saga in its entirety. The Ostium Sagas is created, written and produced by Alex C. Telander.The voice of Steve is Alex C. Telander.A transcript for this episode can be found here.Music featured in this episode includes: “Synthwave Car” by Gushito, “Greensleeves” performed by Audio Waves - Eliche Remblon, and “Electra to the Baltic Sea” by Giuseppe Rizzo. Under a Creative Commons License.And if you enjoy this Ostium Sagas episode and want more right away, you can do that very easily by heading over to our Patreon and supporting us at any level. You'll instantly get access to the next fifteen episodes, plus a bunch of other bonus material.Support this show http://supporter.acast.com/ostium. Hosted on Acast. See acast.com/privacy for more information.

It's the universal symbol of the Christmas season: a tree (typically a fir) adorned with ornaments and lights. But...what does any of that have to do with Christmas? The Christmas tree has a long history. But only fairly recently has it become especially common in homes at Christmas time.  Music in this episode "Eternal Hope" — Kevin MacLeod, via Youtube Audio Library "O Christmas Tree - Ernst Anshutz Christmas Piano Music" — Lesfm, via Pixabay "March" — Kai Engel, via Free Music Archive "Ambient Piano" — Balance Bay, via Pixabay "Greensleeves" — Lesfm, via Lesfm.net "Christmas Atmosphere" — Lesfm, via Pixabay Buy the Christmas Past Book! Order your copy today. And remember...it makes a great gift! Amazon Barnes & Noble Books-a-Million IndieBound Share a Christmas memory  Be on the podcast! Just record a voice memo into your phone and send it to christmaspastpodcast@gmail.com. Keep it reasonably short, clean and family friendly, and be sure to say your name and where you're from.  Keep in touch christmaspastpodcast@gmail.com Facebook page Facebook group Twitter Instagram Website

Hey everyone, Alex C. Telander here. Are you ready for another Ostium Sagas? If you're wondering what I'm talking about, it's a strange book from the eighteenth century Steve finds in a basement at the Ostium Network and he's recording what he's reading and what he thinks about what he's reading. Strange stories about time travelers stuck in the past. You want to make sure you start at the first episode and just to let you know, this isn't the first episode, so double check if you need to.And if you enjoy this Ostium Sagas episode and want more right away, you can do that very easily by heading over to our Patreon and supporting us at any level. You'll instantly get access to the next fifteen episodes, plus a bunch of other bonus material.Okay, let's get back to the Ostium Sagas shall we and see what Steve gets up to next.A transcript for this episode can be found here.The Ostium Sagas is created, written and produced by Alex C. Telander.The voice of Steve is Alex C. Telander.The theme song is “Synthwave Car” by Gushito.The music featured in this episode is “Greensleeves” performed by Audio Waves - Eliche Remblon, and “Electra to the Baltic Sea” by Giuseppe RizzoUnder a Creative Commons License.Sound effects are courtesy of Soundly.Support this show http://supporter.acast.com/ostium. Hosted on Acast. See acast.com/privacy for more information.

Hey everyone, Alex C. Telander here. Are you ready for another Ostium Sagas? If you're wondering what I'm talking about, it's a strange book from the eighteenth century Steve finds in a basement at the Ostium Network and he's recording what he's reading and what he thinks about what he's reading. Strange stories about time travelers stuck in the past. You want to make sure you start at the first episode and just to let you know, this isn't the first episode, so double check if you need to.And if you enjoy this Ostium Sagas episode and want more right away, you can do that very easily by heading over to our Patreon and supporting us at any level. You'll instantly get access to the next fifteen episodes, plus a bunch of other bonus material.Okay, let's get back to the Ostium Sagas shall we and see what Steve gets up to next.The Ostium Sagas is created, written and produced by Alex C. Telander.The voice of Steve is Alex C. Telander.The theme song is “Synthwave Car” by Gushito.The music featured in this episode is “Greensleeves” performed by Audio Waves - Eliche Remblon, and “Electra to the Baltic Sea” by Giuseppe RizzoUnder a Creative Commons License.Sound effects are courtesy of Soundly.Support this show http://supporter.acast.com/ostium. Hosted on Acast. See acast.com/privacy for more information.

Hey everyone, Alex C. Telander here. Are you ready for another Ostium Sagas? If you're wondering what I'm talking about, it's a strange book from the eighteenth century Steve finds in a basement at the Ostium Network and he's recording what he's reading and what he thinks about what he's reading. Strange stories about time travelers stuck in the past. You want to make sure you start at the first episode and just to let you know, this isn't the first episode, so double check if you need to.And if you enjoy this Ostium Sagas episode and want more right away, you can do that very easily by heading over to our Patreon and supporting us at any level. You'll instantly get access to the next fifteen episodes, plus a bunch of other bonus material.Okay, let's get back to the Ostium Sagas shall we and see what Steve gets up to next.The Ostium Sagas is created, written and produced by Alex C. Telander.The voice of Steve is Alex C. Telander.The theme song is “Synthwave Car” by Gushito.The music featured in this episode is “Greensleeves” performed by Audio Waves - Eliche Remblon, and “Electra to the Baltic Sea” by Giuseppe RizzoUnder a Creative Commons License.Sound effects are courtesy of Soundly.Support this show http://supporter.acast.com/ostium. Hosted on Acast. See acast.com/privacy for more information.

Hey everyone, Alex C. Telander here. Are you ready for another Ostium Sagas? If you're wondering what I'm talking about, it's a strange book from the eighteenth century Steve finds in a basement at the Ostium Network and he's recording what he's reading and what he thinks about what he's reading. Strange stories about time travelers stuck in the past. You want to make sure you start at the first episode and just to let you know, this isn't the first episode, so double check if you need to.And if you enjoy this Ostium Sagas episode and want more right away, you can do that very easily by heading over to our Patreon and supporting us at any level. You'll instantly get access to the next fifteen episodes, plus a bunch of other bonus material.Okay, let's get back to the Ostium Sagas shall we and see what Steve gets up to next.The Ostium Sagas is created, written and produced by Alex C. Telander.The voice of Steve is Alex C. Telander.The theme song is “Synthwave Car” by Gushito.The music featured in this episode is “Greensleeves” performed by Audio Waves - Eliche Remblon, and “Electra to the Baltic Sea” by Giuseppe RizzoUnder a Creative Commons License.Sound effects are courtesy of Soundly.Support this show http://supporter.acast.com/ostium. Hosted on Acast. See acast.com/privacy for more information.

Hey everyone, Alex C. Telander here. Are you ready for another Ostium Sagas? If you're wondering what I'm talking about, it's a strange book from the eighteenth century Steve finds in a basement at the Ostium Network and he's recording what he's reading and what he thinks about what he's reading. Strange stories about time travelers stuck in the past. You want to make sure you start at the first episode and just to let you know, this isn't the first episode, so double check if you need to.And if you enjoy this Ostium Sagas episode and want more right away, you can do that very easily by heading over to our Patreon and supporting us at any level. You'll instantly get access to the next fifteen episodes, plus a bunch of other bonus material.Okay, let's get back to the Ostium Sagas shall we and see what Steve gets up to next.The Ostium Sagas is created, written and produced by Alex C. Telander.The voice of Steve is Alex C. Telander.The theme song is “Synthwave Car” by Gushito.The music featured in this episode is “Greensleeves” performed by Audio Waves - Eliche Remblon, and “Electra to the Baltic Sea” by Giuseppe RizzoUnder a Creative Commons License.Sound effects are courtesy of Soundly.Support this show http://supporter.acast.com/ostium. Hosted on Acast. See acast.com/privacy for more information.

Hey everyone, Alex C. Telander here. Are you ready for another Ostium Sagas? If you're wondering what I'm talking about, it's a strange book from the eighteenth century Steve finds in a basement at the Ostium Network and he's recording what he's reading and what he thinks about what he's reading. Strange stories about time travelers stuck in the past. You want to make sure you start at the first episode and just to let you know, this isn't the first episode, so double check if you need to.And if you enjoy this Ostium Sagas episode and want more right away, you can do that very easily by heading over to our Patreon and supporting us at any level. You'll instantly get access to the next fifteen episodes, plus a bunch of other bonus material.Okay, let's get back to the Ostium Sagas shall we and see what Steve gets up to next.The Ostium Sagas is created, written and produced by Alex C. Telander.The voice of Steve is Alex C. Telander.The theme song is “Synthwave Car” by Gushito.The music featured in this episode is “Greensleeves” performed by Audio Waves - Eliche Remblon, and “Electra to the Baltic Sea” by Giuseppe RizzoUnder a Creative Commons License.Sound effects are courtesy of Soundly.Support this show http://supporter.acast.com/ostium. Hosted on Acast. See acast.com/privacy for more information.

Hey everyone, Alex C. Telander here. Are you ready for another Ostium Sagas? If you're wondering what I'm talking about, it's a strange book from the eighteenth century Steve finds in a basement at the Ostium Network and he's recording what he's reading and what he thinks about what he's reading. Strange stories about time travelers stuck in the past. You want to make sure you start at the first episode and just to let you know, this isn't the first episode, so double check if you need to.And if you enjoy this Ostium Sagas episode and want more right away, you can do that very easily by heading over to our Patreon and supporting us at any level. You'll instantly get access to the next fifteen episodes, plus a bunch of other bonus material.Okay, let's get back to the Ostium Sagas shall we and see what Steve gets up to next.The Ostium Sagas is created, written and produced by Alex C. Telander.The voice of Steve is Alex C. Telander.The theme song is “Synthwave Car” by Gushito.The music featured in this episode is “Greensleeves” performed by Audio Waves - Eliche Remblon, and “Electra to the Baltic Sea” by Giuseppe RizzoUnder a Creative Commons License.Sound effects are courtesy of Soundly.Support this show http://supporter.acast.com/ostium. Hosted on Acast. See acast.com/privacy for more information.

This week's episode looks at “All You Need is Love”, the Our World TV special, and the career of the Beatles from April 1966 through August 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a thirteen-minute bonus episode available, on "Rain" by the Beatles. 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/ NB for the first few hours this was up, there was a slight editing glitch. If you downloaded the old version and don't want to redownload the whole thing, just look in the transcript for "Other than fixing John's two flubbed" for the text of the two missing paragraphs. Errata I say "Come Together" was a B-side, but the single was actually a double A-side. Also, I say the Lennon interview by Maureen Cleave appeared in Detroit magazine. That's what my source (Steve Turner's book) says, but someone on Twitter says that rather than Detroit magazine it was the Detroit Free Press. Also at one point I say "the videos for 'Paperback Writer' and 'Penny Lane'". I meant to say "Rain" rather than "Penny Lane" there. Resources No Mixcloud this week due to the number of songs by the Beatles. I have read literally dozens of books on the Beatles, and used bits of information from many of them. All my Beatles episodes refer to: The Complete Beatles Chronicle by Mark Lewisohn, All The Songs: The Stories Behind Every Beatles Release by Jean-Michel Guesdon, And The Band Begins To Play: The Definitive Guide To The Songs of The Beatles by Steve Lambley, The Beatles By Ear by Kevin Moore, Revolution in the Head by Ian MacDonald, and The Beatles Anthology. For this episode, I also referred to Last Interview by David Sheff, a longform interview with John Lennon and Yoko Ono from shortly before Lennon's death; Many Years From Now by Barry Miles, an authorised biography of Paul McCartney; and Here, There, and Everywhere: My Life Recording the Music of the Beatles by Geoff Emerick and Howard Massey. Particularly useful this time was Steve Turner's book Beatles '66. I also used Turner's The Beatles: The Stories Behind the Songs 1967-1970. Johnny Rogan's Starmakers and Svengalis had some information on Epstein I hadn't seen anywhere else. Some information about the "Bigger than Jesus" scandal comes from Ward, B. (2012). “The ‘C' is for Christ”: Arthur Unger, Datebook Magazine and the Beatles. Popular Music and Society, 35(4), 541-560. https://doi.org/10.1080/03007766.2011.608978 Information on Robert Stigwood comes from Mr Showbiz by Stephen Dando-Collins. And the quote at the end from Simon Napier-Bell is from You Don't Have to Say You Love Me, which is more entertaining than it is accurate, but is very entertaining. Sadly the only way to get the single mix of "All You Need is Love" is on this ludicrously-expensive out-of-print box set, but the stereo mix is easily available on Magical Mystery Tour. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I start the episode -- this episode deals, in part, with the deaths of three gay men -- one by murder, one by suicide, and one by an accidental overdose, all linked at least in part to societal homophobia. I will try to deal with this as tactfully as I can, but anyone who's upset by those things might want to read the transcript instead of listening to the episode. This is also a very, very, *very* long episode -- this is likely to be the longest episode I *ever* do of this podcast, so settle in. We're going to be here a while. I obviously don't know how long it's going to be while I'm still recording, but based on the word count of my script, probably in the region of three hours. You have been warned. In 1967 the actor Patrick McGoohan was tired. He had been working on the hit series Danger Man for many years -- Danger Man had originally run from 1960 through 1962, then had taken a break, and had come back, retooled, with longer episodes in 1964. That longer series was a big hit, both in the UK and in the US, where it was retitled Secret Agent and had a new theme tune written by PF Sloan and Steve Barri and recorded by Johnny Rivers: [Excerpt: Johnny Rivers, "Secret Agent Man"] But McGoohan was tired of playing John Drake, the agent, and announced he was going to quit the series. Instead, with the help of George Markstein, Danger Man's script editor, he created a totally new series, in which McGoohan would star, and which McGoohan would also write and direct key episodes of. This new series, The Prisoner, featured a spy who is only ever given the name Number Six, and who many fans -- though not McGoohan himself -- took to be the same character as John Drake. Number Six resigns from his job as a secret agent, and is kidnapped and taken to a place known only as The Village -- the series was filmed in Portmeirion, an unusual-looking town in Gwynnedd, in North Wales -- which is full of other ex-agents. There he is interrogated to try to find out why he has quit his job. It's never made clear whether the interrogators are his old employers or their enemies, and there's a certain suggestion that maybe there is no real distinction between the two sides, that they're both running the Village together. He spends the entire series trying to escape, but refuses to explain himself -- and there's some debate among viewers as to whether it's implied or not that part of the reason he doesn't explain himself is that he knows his interrogators wouldn't understand why he quit: [Excerpt: The Prisoner intro, from episode Once Upon a Time, ] Certainly that explanation would fit in with McGoohan's own personality. According to McGoohan, the final episode of The Prisoner was, at the time, the most watched TV show ever broadcast in the UK, as people tuned in to find out the identity of Number One, the person behind the Village, and to see if Number Six would break free. I don't think that's actually the case, but it's what McGoohan always claimed, and it was certainly a very popular series. I won't spoil the ending for those of you who haven't watched it -- it's a remarkable series -- but ultimately the series seems to decide that such questions don't matter and that even asking them is missing the point. It's a work that's open to multiple interpretations, and is left deliberately ambiguous, but one of the messages many people have taken away from it is that not only are we trapped by a society that oppresses us, we're also trapped by our own identities. You can run from the trap that society has placed you in, from other people's interpretations of your life, your work, and your motives, but you ultimately can't run from yourself, and any time you try to break out of a prison, you'll find yourself trapped in another prison of your own making. The most horrifying implication of the episode is that possibly even death itself won't be a release, and you will spend all eternity trying to escape from an identity you're trapped in. Viewers became so outraged, according to McGoohan, that he had to go into hiding for an extended period, and while his later claims that he never worked in Britain again are an exaggeration, it is true that for the remainder of his life he concentrated on doing work in the US instead, where he hadn't created such anger. That final episode of The Prisoner was also the only one to use a piece of contemporary pop music, in two crucial scenes: [Excerpt: The Prisoner, "Fall Out", "All You Need is Love"] Back in October 2020, we started what I thought would be a year-long look at the period from late 1962 through early 1967, but which has turned out for reasons beyond my control to take more like twenty months, with a song which was one of the last of the big pre-Beatles pop hits, though we looked at it after their first single, "Telstar" by the Tornadoes: [Excerpt: The Tornadoes, "Telstar"] There were many reasons for choosing that as one of the bookends for this fifty-episode chunk of the podcast -- you'll see many connections between that episode and this one if you listen to them back-to-back -- but among them was that it's a song inspired by the launch of the first ever communications satellite, and a sign of how the world was going to become smaller as the sixties went on. Of course, to start with communications satellites didn't do much in that regard -- they were expensive to use, and had limited bandwidth, and were only available during limited time windows, but symbolically they meant that for the first time ever, people could see and hear events thousands of miles away as they were happening. It's not a coincidence that Britain and France signed the agreement to develop Concorde, the first supersonic airliner, a month after the first Beatles single and four months after the Telstar satellite was launched. The world was becoming ever more interconnected -- people were travelling faster and further, getting news from other countries quicker, and there was more cultural conversation – and misunderstanding – between countries thousands of miles apart. The Canadian media theorist Marshall McLuhan, the man who also coined the phrase “the medium is the message”, thought that this ever-faster connection would fundamentally change basic modes of thought in the Western world. McLuhan thought that technology made possible whole new modes of thought, and that just as the printing press had, in his view, caused Western liberalism and individualism, so these new electronic media would cause the rise of a new collective mode of thought. In 1962, the year of Concorde, Telstar, and “Love Me Do”, McLuhan wrote a book called The Gutenberg Galaxy, in which he said: “Instead of tending towards a vast Alexandrian library the world has become a computer, an electronic brain, exactly as an infantile piece of science fiction. And as our senses have gone outside us, Big Brother goes inside. So, unless aware of this dynamic, we shall at once move into a phase of panic terrors, exactly befitting a small world of tribal drums, total interdependence, and superimposed co-existence.… Terror is the normal state of any oral society, for in it everything affects everything all the time.…” He coined the term “the Global Village” to describe this new collectivism. The story we've seen over the last fifty episodes is one of a sort of cultural ping-pong between the USA and the UK, with innovations in American music inspiring British musicians, who in turn inspired American ones, whether that being the Beatles covering the Isley Brothers or the Rolling Stones doing a Bobby Womack song, or Paul Simon and Bob Dylan coming over to the UK and learning folk songs and guitar techniques from Martin Carthy. And increasingly we're going to see those influences spread to other countries, and influences coming *from* other countries. We've already seen one Jamaican artist, and the influence of Indian music has become very apparent. While the focus of this series is going to remain principally in the British Isles and North America, rock music was and is a worldwide phenomenon, and that's going to become increasingly a part of the story. And so in this episode we're going to look at a live performance -- well, mostly live -- that was seen by hundreds of millions of people all over the world as it happened, thanks to the magic of satellites: [Excerpt: The Beatles, "All You Need is Love"] When we left the Beatles, they had just finished recording "Tomorrow Never Knows", the most experimental track they had recorded up to that date, and if not the most experimental thing they *ever* recorded certainly in the top handful. But "Tomorrow Never Knows" was only the first track they recorded in the sessions for what would become arguably their greatest album, and certainly the one that currently has the most respect from critics. It's interesting to note that that album could have been very, very, different. When we think of Revolver now, we think of the innovative production of George Martin, and of Geoff Emerick and Ken Townshend's inventive ideas for pushing the sound of the equipment in Abbey Road studios, but until very late in the day the album was going to be recorded in the Stax studios in Memphis, with Steve Cropper producing -- whether George Martin would have been involved or not is something we don't even know. In 1965, the Rolling Stones had, as we've seen, started making records in the US, recording in LA and at the Chess studios in Chicago, and the Yardbirds had also been doing the same thing. Mick Jagger had become a convert to the idea of using American studios and working with American musicians, and he had constantly been telling Paul McCartney that the Beatles should do the same. Indeed, they'd put some feelers out in 1965 about the possibility of the group making an album with Holland, Dozier, and Holland in Detroit. Quite how this would have worked is hard to figure out -- Holland, Dozier, and Holland's skills were as songwriters, and in their work with a particular set of musicians -- so it's unsurprising that came to nothing. But recording at Stax was a different matter.  While Steve Cropper was a great songwriter in his own right, he was also adept at getting great sounds on covers of other people's material -- like on Otis Blue, the album he produced for Otis Redding in late 1965, which doesn't include a single Cropper original: [Excerpt: Otis Redding, "Satisfaction"] And the Beatles were very influenced by the records Stax were putting out, often namechecking Wilson Pickett in particular, and during the Rubber Soul sessions they had recorded a "Green Onions" soundalike track, imaginatively titled "12-Bar Original": [Excerpt: The Beatles, "12-Bar Original"] The idea of the group recording at Stax got far enough that they were actually booked in for two weeks starting the ninth of April, and there was even an offer from Elvis to let them stay at Graceland while they recorded, but then a couple of weeks earlier, the news leaked to the press, and Brian Epstein cancelled the booking. According to Cropper, Epstein talked about recording at the Atlantic studios in New York with him instead, but nothing went any further. It's hard to imagine what a Stax-based Beatles album would have been like, but even though it might have been a great album, it certainly wouldn't have been the Revolver we've come to know. Revolver is an unusual album in many ways, and one of the ways it's most distinct from the earlier Beatles albums is the dominance of keyboards. Both Lennon and McCartney had often written at the piano as well as the guitar -- McCartney more so than Lennon, but both had done so regularly -- but up to this point it had been normal for them to arrange the songs for guitars rather than keyboards, no matter how they'd started out. There had been the odd track where one of them, usually Lennon, would play a simple keyboard part, songs like "I'm Down" or "We Can Work it Out", but even those had been guitar records first and foremost. But on Revolver, that changed dramatically. There seems to have been a complex web of cause and effect here. Paul was becoming increasingly interested in moving his basslines away from simple walking basslines and root notes and the other staples of rock and roll basslines up to this point. As the sixties progressed, rock basslines were becoming ever more complex, and Tyler Mahan Coe has made a good case that this is largely down to innovations in production pioneered by Owen Bradley, and McCartney was certainly aware of Bradley's work -- he was a fan of Brenda Lee, who Bradley produced, for example. But the two influences that McCartney has mentioned most often in this regard are the busy, jazz-influenced, basslines that James Jamerson was playing at Motown: [Excerpt: The Four Tops, "It's the Same Old Song"] And the basslines that Brian Wilson was writing for various Wrecking Crew bassists to play for the Beach Boys: [Excerpt: The Beach Boys, "Don't Talk (Put Your Head on My Shoulder)"] Just to be clear, McCartney didn't hear that particular track until partway through the recording of Revolver, when Bruce Johnston visited the UK and brought with him an advance copy of Pet Sounds, but Pet Sounds influenced the later part of Revolver's recording, and Wilson had already started his experiments in that direction with the group's 1965 work. It's much easier to write a song with this kind of bassline, one that's integral to the composition, on the piano than it is to write it on a guitar, as you can work out the bassline with your left hand while working out the chords and melody with your right, so the habit that McCartney had already developed of writing on the piano made this easier. But also, starting with the recording of "Paperback Writer", McCartney switched his style of working in the studio. Where up to this point it had been normal for him to play bass as part of the recording of the basic track, playing with the other Beatles, he now started to take advantage of multitracking to overdub his bass later, so he could spend extra time getting the bassline exactly right. McCartney lived closer to Abbey Road than the other three Beatles, and so could more easily get there early or stay late and tweak his parts. But if McCartney wasn't playing bass while the guitars and drums were being recorded, that meant he could play something else, and so increasingly he would play piano during the recording of the basic track. And that in turn would mean that there wouldn't always *be* a need for guitars on the track, because the harmonic support they would provide would be provided by the piano instead. This, as much as anything else, is the reason that Revolver sounds so radically different to any other Beatles album. Up to this point, with *very* rare exceptions like "Yesterday", every Beatles record, more or less, featured all four of the Beatles playing instruments. Now John and George weren't playing on "Good Day Sunshine" or "For No One", John wasn't playing on "Here, There, and Everywhere", "Eleanor Rigby" features no guitars or drums at all, and George's "Love You To" only features himself, plus a little tambourine from Ringo (Paul recorded a part for that one, but it doesn't seem to appear on the finished track). Of the three songwriting Beatles, the only one who at this point was consistently requiring the instrumental contributions of all the other band members was John, and even he did without Paul on "She Said, She Said", which by all accounts features either John or George on bass, after Paul had a rare bout of unprofessionalism and left the studio. Revolver is still an album made by a group -- and most of those tracks that don't feature John or George instrumentally still feature them vocally -- it's still a collaborative work in all the best ways. But it's no longer an album made by four people playing together in the same room at the same time. After starting work on "Tomorrow Never Knows", the next track they started work on was Paul's "Got to Get You Into My Life", but as it would turn out they would work on that song throughout most of the sessions for the album -- in a sign of how the group would increasingly work from this point on, Paul's song was subject to multiple re-recordings and tweakings in the studio, as he tinkered to try to make it perfect. The first recording to be completed for the album, though, was almost as much of a departure in its own way as "Tomorrow Never Knows" had been. George's song "Love You To" shows just how inspired he was by the music of Ravi Shankar, and how devoted he was to Indian music. While a few months earlier he had just about managed to pick out a simple melody on the sitar for "Norwegian Wood", by this point he was comfortable enough with Indian classical music that I've seen many, many sources claim that an outside session player is playing sitar on the track, though Anil Bhagwat, the tabla player on the track, always insisted that it was entirely Harrison's playing: [Excerpt: The Beatles, "Love You To"] There is a *lot* of debate as to whether it's George playing on the track, and I feel a little uncomfortable making a definitive statement in either direction. On the one hand I find it hard to believe that Harrison got that good that quickly on an unfamiliar instrument, when we know he wasn't a naturally facile musician. All the stories we have about his work in the studio suggest that he had to work very hard on his guitar solos, and that he would frequently fluff them. As a technical guitarist, Harrison was only mediocre -- his value lay in his inventiveness, not in technical ability -- and he had been playing guitar for over a decade, but sitar only a few months. There's also some session documentation suggesting that an unknown sitar player was hired. On the other hand there's the testimony of Anil Bhagwat that Harrison played the part himself, and he has been very firm on the subject, saying "If you go on the Internet there are a lot of questions asked about "Love You To". They say 'It's not George playing the sitar'. I can tell you here and now -- 100 percent it was George on sitar throughout. There were no other musicians involved. It was just me and him." And several people who are more knowledgeable than myself about the instrument have suggested that the sitar part on the track is played the way that a rock guitarist would play rather than the way someone with more knowledge of Indian classical music would play -- there's a blues feeling to some of the bends that apparently no genuine Indian classical musician would naturally do. I would suggest that the best explanation is that there's a professional sitar player trying to replicate a part that Harrison had previously demonstrated, while Harrison was in turn trying his best to replicate the sound of Ravi Shankar's work. Certainly the instrumental section sounds far more fluent, and far more stylistically correct, than one would expect: [Excerpt: The Beatles, "Love You To"] Where previous attempts at what got called "raga-rock" had taken a couple of surface features of Indian music -- some form of a drone, perhaps a modal scale -- and had generally used a guitar made to sound a little bit like a sitar, or had a sitar playing normal rock riffs, Harrison's song seems to be a genuine attempt to hybridise Indian ragas and rock music, combining the instrumentation, modes, and rhythmic complexity of someone like Ravi Shankar with lyrics that are seemingly inspired by Bob Dylan and a fairly conventional pop song structure (and a tiny bit of fuzz guitar). It's a record that could only be made by someone who properly understood both the Indian music he's emulating and the conventions of the Western pop song, and understood how those conventions could work together. Indeed, one thing I've rarely seen pointed out is how cleverly the album is sequenced, so that "Love You To" is followed by possibly the most conventional song on Revolver, "Here, There, and Everywhere", which was recorded towards the end of the sessions. Both songs share a distinctive feature not shared by the rest of the album, so the two songs can sound more of a pair than they otherwise would, retrospectively making "Love You To" seem more conventional than it is and "Here, There, and Everywhere" more unconventional -- both have as an introduction a separate piece of music that states some of the melodic themes of the rest of the song but isn't repeated later. In the case of "Love You To" it's the free-tempo bit at the beginning, characteristic of a lot of Indian music: [Excerpt: The Beatles, "Love You To"] While in the case of "Here, There, and Everywhere" it's the part that mimics an older style of songwriting, a separate intro of the type that would have been called a verse when written by the Gershwins or Cole Porter, but of course in the intervening decades "verse" had come to mean something else, so we now no longer have a specific term for this kind of intro -- but as you can hear, it's doing very much the same thing as that "Love You To" intro: [Excerpt: The Beatles, "Here, There, and Everywhere"] In the same day as the group completed "Love You To", overdubbing George's vocal and Ringo's tambourine, they also started work on a song that would show off a lot of the new techniques they had been working on in very different ways. Paul's "Paperback Writer" could indeed be seen as part of a loose trilogy with "Love You To" and "Tomorrow Never Knows", one song by each of the group's three songwriters exploring the idea of a song that's almost all on one chord. Both "Tomorrow Never Knows" and "Love You To" are based on a drone with occasional hints towards moving to one other chord. In the case of "Paperback Writer", the entire song stays on a single chord until the title -- it's on a G7 throughout until the first use of the word "writer", when it quickly goes to a C for two bars. I'm afraid I'm going to have to sing to show you how little the chords actually change, because the riff disguises this lack of movement somewhat, but the melody is also far more horizontal than most of McCartney's, so this shouldn't sound too painful, I hope: [demonstrates] This is essentially the exact same thing that both "Love You To" and "Tomorrow Never Knows" do, and all three have very similarly structured rising and falling modal melodies. There's also a bit of "Paperback Writer" that seems to tie directly into "Love You To", but also points to a possible very non-Indian inspiration for part of "Love You To". The Beach Boys' single "Sloop John B" was released in the UK a couple of days after the sessions for "Paperback Writer" and "Love You To", but it had been released in the US a month before, and the Beatles all got copies of every record in the American top thirty shipped to them. McCartney and Harrison have specifically pointed to it as an influence on "Paperback Writer". "Sloop John B" has a section where all the instruments drop out and we're left with just the group's vocal harmonies: [Excerpt: The Beach Boys, "Sloop John B"] And that seems to have been the inspiration behind the similar moment at a similar point in "Paperback Writer", which is used in place of a middle eight and also used for the song's intro: [Excerpt: The Beatles, "Paperback Writer"] Which is very close to what Harrison does at the end of each verse of "Love You To", where the instruments drop out for him to sing a long melismatic syllable before coming back in: [Excerpt: The Beatles, "Love You To"] Essentially, other than "Got to Get You Into My Life", which is an outlier and should not be counted, the first three songs attempted during the Revolver sessions are variations on a common theme, and it's a sign that no matter how different the results might  sound, the Beatles really were very much a group at this point, and were sharing ideas among themselves and developing those ideas in similar ways. "Paperback Writer" disguises what it's doing somewhat by having such a strong riff. Lennon referred to "Paperback Writer" as "son of 'Day Tripper'", and in terms of the Beatles' singles it's actually their third iteration of this riff idea, which they originally got from Bobby Parker's "Watch Your Step": [Excerpt: Bobby Parker, "Watch Your Step"] Which became the inspiration for "I Feel Fine": [Excerpt: The Beatles, "I Feel Fine"] Which they varied for "Day Tripper": [Excerpt: The Beatles, "Day Tripper"] And which then in turn got varied for "Paperback Writer": [Excerpt: The Beatles, "Paperback Writer"] As well as compositional ideas, there are sonic ideas shared between "Paperback Writer", "Tomorrow Never Knows", and "Love You To", and which would be shared by the rest of the tracks the Beatles recorded in the first half of 1966. Since Geoff Emerick had become the group's principal engineer, they'd started paying more attention to how to get a fuller sound, and so Emerick had miced the tabla on "Love You To" much more closely than anyone would normally mic an instrument from classical music, creating a deep, thudding sound, and similarly he had changed the way they recorded the drums on "Tomorrow Never Knows", again giving a much fuller sound. But the group also wanted the kind of big bass sounds they'd loved on records coming out of America -- sounds that no British studio was getting, largely because it was believed that if you cut too loud a bass sound into a record it would make the needle jump out of the groove. The new engineering team of Geoff Emerick and Ken Scott, though, thought that it was likely you could keep the needle in the groove if you had a smoother frequency response. You could do that if you used a microphone with a larger diaphragm to record the bass, but how could you do that? Inspiration finally struck -- loudspeakers are actually the same thing as microphones wired the other way round, so if you wired up a loudspeaker as if it were a microphone you could get a *really big* speaker, place it in front of the bass amp, and get a much stronger bass sound. The experiment wasn't a total success -- the sound they got had to be processed quite extensively to get rid of room noise, and then compressed in order to further prevent the needle-jumping issue, and so it's a muddier, less defined, tone than they would have liked, but one thing that can't be denied is that "Paperback Writer"'s bass sound is much, much, louder than on any previous Beatles record: [Excerpt: The Beatles, "Paperback Writer"] Almost every track the group recorded during the Revolver sessions involved all sorts of studio innovations, though rarely anything as truly revolutionary as the artificial double-tracking they'd used on "Tomorrow Never Knows", and which also appeared on "Paperback Writer" -- indeed, as "Paperback Writer" was released several months before Revolver, it became the first record released to use the technique. I could easily devote a good ten minutes to every track on Revolver, and to "Paperback Writer"s B-side, "Rain", but this is already shaping up to be an extraordinarily long episode and there's a lot of material to get through, so I'll break my usual pattern of devoting a Patreon bonus episode to something relatively obscure, and this week's bonus will be on "Rain" itself. "Paperback Writer", though, deserved the attention here even though it was not one of the group's more successful singles -- it did go to number one, but it didn't hit number one in the UK charts straight away, being kept off the top by "Strangers in the Night" by Frank Sinatra for the first week: [Excerpt: Frank Sinatra, "Strangers in the Night"] Coincidentally, "Strangers in the Night" was co-written by Bert Kaempfert, the German musician who had produced the group's very first recording sessions with Tony Sheridan back in 1961. On the group's German tour in 1966 they met up with Kaempfert again, and John greeted him by singing the first couple of lines of the Sinatra record. The single was the lowest-selling Beatles single in the UK since "Love Me Do". In the US it only made number one for two non-consecutive weeks, with "Strangers in the Night" knocking it off for a week in between. Now, by literally any other band's standards, that's still a massive hit, and it was the Beatles' tenth UK number one in a row (or ninth, depending on which chart you use for "Please Please Me"), but it's a sign that the group were moving out of the first phase of total unequivocal dominance of the charts. It was a turning point in a lot of other ways as well. Up to this point, while the group had been experimenting with different lyrical subjects on album tracks, every single had lyrics about romantic relationships -- with the possible exception of "Help!", which was about Lennon's emotional state but written in such a way that it could be heard as a plea to a lover. But in the case of "Paperback Writer", McCartney was inspired by his Aunt Mill asking him "Why do you write songs about love all the time? Can you ever write about a horse or the summit conference or something interesting?" His response was to think "All right, Aunt Mill, I'll show you", and to come up with a lyric that was very much in the style of the social satires that bands like the Kinks were releasing at the time. People often miss the humour in the lyric for "Paperback Writer", but there's a huge amount of comedy in lyrics about someone writing to a publisher saying they'd written a book based on someone else's book, and one can only imagine the feeling of weary recognition in slush-pile readers throughout the world as they heard the enthusiastic "It's a thousand pages, give or take a few, I'll be writing more in a week or two. I can make it longer..." From this point on, the group wouldn't release a single that was unambiguously about a romantic relationship until "The Ballad of John and Yoko",  the last single released while the band were still together. "Paperback Writer" also saw the Beatles for the first time making a promotional film -- what we would now call a rock video -- rather than make personal appearances on TV shows. The film was directed by Michael Lindsay-Hogg, who the group would work with again in 1969, and shows Paul with a chipped front tooth -- he'd been in an accident while riding mopeds with his friend Tara Browne a few months earlier, and hadn't yet got round to having the tooth capped. When he did, the change in his teeth was one of the many bits of evidence used by conspiracy theorists to prove that the real Paul McCartney was dead and replaced by a lookalike. It also marks a change in who the most prominent Beatle on the group's A-sides was. Up to this point, Paul had had one solo lead on an A-side -- "Can't Buy Me Love" -- and everything else had been either a song with multiple vocalists like "Day Tripper" or "Love Me Do", or a song with a clear John lead like "Ticket to Ride" or "I Feel Fine". In the rest of their career, counting "Paperback Writer", the group would release nine new singles that hadn't already been included on an album. Of those nine singles, one was a double A-side with one John song and one Paul song, two had John songs on the A-side, and the other six were Paul. Where up to this point John had been "lead Beatle", for the rest of the sixties, Paul would be the group's driving force. Oddly, Paul got rather defensive about the record when asked about it in interviews after it failed to go straight to the top, saying "It's not our best single by any means, but we're very satisfied with it". But especially in its original mono mix it actually packs a powerful punch: [Excerpt: The Beatles, "Paperback Writer"] When the "Paperback Writer" single was released, an unusual image was used in the advertising -- a photo of the Beatles dressed in butchers' smocks, covered in blood, with chunks of meat and the dismembered body parts of baby dolls lying around on them. The image was meant as part of a triptych parodying religious art -- the photo on the left was to be an image showing the four Beatles connected to a woman by an umbilical cord made of sausages, the middle panel was meant to be this image, but with halos added over the Beatles' heads, and the panel on the right was George hammering a nail into John's head, symbolising both crucifixion and that the group were real, physical, people, not just images to be worshipped -- these weren't imaginary nails, and they weren't imaginary people. The photographer Robert Whittaker later said: “I did a photograph of the Beatles covered in raw meat, dolls and false teeth. Putting meat, dolls and false teeth with The Beatles is essentially part of the same thing, the breakdown of what is regarded as normal. The actual conception for what I still call “Somnambulant Adventure” was Moses coming down from Mount Sinai with the Ten Commandments. He comes across people worshipping a golden calf. All over the world I'd watched people worshiping like idols, like gods, four Beatles. To me they were just stock standard normal people. But this emotion that fans poured on them made me wonder where Christianity was heading.” The image wasn't that controversial in the UK, when it was used to advertise "Paperback Writer", but in the US it was initially used for the cover of an album, Yesterday... And Today, which was made up of a few tracks that had been left off the US versions of the Rubber Soul and Help! albums, plus both sides of the "We Can Work It Out"/"Day Tripper" single, and three rough mixes of songs that had been recorded for Revolver -- "Doctor Robert", "And Your Bird Can Sing", and "I'm Only Sleeping", which was the song that sounded most different from the mixes that were finally released: [Excerpt: The Beatles, "I'm Only Sleeping (Yesterday... and Today mix)"] Those three songs were all Lennon songs, which had the unfortunate effect that when the US version of Revolver was brought out later in the year, only two of the songs on the album were by Lennon, with six by McCartney and three by Harrison. Some have suggested that this was the motivation for the use of the butcher image on the cover of Yesterday... And Today -- saying it was the Beatles' protest against Capitol "butchering" their albums -- but in truth it was just that Capitol's art director chose the cover because he liked the image. Alan Livingston, the president of Capitol was not so sure, and called Brian Epstein to ask if the group would be OK with them using a different image. Epstein checked with John Lennon, but Lennon liked the image and so Epstein told Livingston the group insisted on them using that cover. Even though for the album cover the bloodstains on the butchers' smocks were airbrushed out, after Capitol had pressed up a million copies of the mono version of the album and two hundred thousand copies of the stereo version, and they'd sent out sixty thousand promo copies, they discovered that no record shops would stock the album with that cover. It cost Capitol more than two hundred thousand dollars to recall the album and replace the cover with a new one -- though while many of the covers were destroyed, others had the new cover, with a more acceptable photo of the group, pasted over them, and people have later carefully steamed off the sticker to reveal the original. This would not be the last time in 1966 that something that was intended as a statement on religion and the way people viewed the Beatles would cause the group trouble in America. In the middle of the recording sessions for Revolver, the group also made what turned out to be their last ever UK live performance in front of a paying audience. The group had played the NME Poll-Winners' Party every year since 1963, and they were always shows that featured all the biggest acts in the country at the time -- the 1966 show featured, as well as the Beatles and a bunch of smaller acts, the Rolling Stones, the Who, the Yardbirds, Roy Orbison, Cliff Richard and the Shadows, the Seekers, the Small Faces, the Walker Brothers, and Dusty Springfield. Unfortunately, while these events were always filmed for TV broadcast, the Beatles' performance on the first of May wasn't filmed. There are various stories about what happened, but the crux appears to be a disagreement between Andrew Oldham and Brian Epstein, sparked by John Lennon. When the Beatles got to the show, they were upset to discover that they had to wait around before going on stage -- normally, the awards would all be presented at the end, after all the performances, but the Rolling Stones had asked that the Beatles not follow them directly, so after the Stones finished their set, there would be a break for the awards to be given out, and then the Beatles would play their set, in front of an audience that had been bored by twenty-five minutes of awards ceremony, rather than one that had been excited by all the bands that came before them. John Lennon was annoyed, and insisted that the Beatles were going to go on straight after the Rolling Stones -- he seems to have taken this as some sort of power play by the Stones and to have got his hackles up about it. He told Epstein to deal with the people from the NME. But the NME people said that they had a contract with Andrew Oldham, and they weren't going to break it. Oldham refused to change the terms of the contract. Lennon said that he wasn't going to go on stage if they didn't directly follow the Stones. Maurice Kinn, the publisher of the NME, told Epstein that he wasn't going to break the contract with Oldham, and that if the Beatles didn't appear on stage, he would get Jimmy Savile, who was compering the show, to go out on stage and tell the ten thousand fans in the audience that the Beatles were backstage refusing to appear. He would then sue NEMS for breach of contract *and* NEMS would be liable for any damage caused by the rioting that was sure to happen. Lennon screamed a lot of abuse at Kinn, and told him the group would never play one of their events again, but the group did go on stage -- but because they hadn't yet signed the agreement to allow their performance to be filmed, they refused to allow it to be recorded. Apparently Andrew Oldham took all this as a sign that Epstein was starting to lose control of the group. Also during May 1966 there were visits from musicians from other countries, continuing the cultural exchange that was increasingly influencing the Beatles' art. Bruce Johnston of the Beach Boys came over to promote the group's new LP, Pet Sounds, which had been largely the work of Brian Wilson, who had retired from touring to concentrate on working in the studio. Johnston played the record for John and Paul, who listened to it twice, all the way through, in silence, in Johnston's hotel room: [Excerpt: The Beach Boys, "God Only Knows"] According to Johnston, after they'd listened through the album twice, they went over to a piano and started whispering to each other, picking out chords. Certainly the influence of Pet Sounds is very noticeable on songs like "Here, There, and Everywhere", written and recorded a few weeks after this meeting: [Excerpt: The Beatles, "Here, There, and Everywhere"] That track, and the last track recorded for the album, "She Said She Said" were unusual in one very important respect -- they were recorded while the Beatles were no longer under contract to EMI Records. Their contract expired on the fifth of June, 1966, and they finished Revolver without it having been renewed -- it would be several months before their new contract was signed, and it's rather lucky for music lovers that Brian Epstein was the kind of manager who considered personal relationships and basic honour and decency more important than the legal niceties, unlike any other managers of the era, otherwise we would not have Revolver in the form we know it today. After the meeting with Johnston, but before the recording of those last couple of Revolver tracks, the Beatles also met up again with Bob Dylan, who was on a UK tour with a new, loud, band he was working with called The Hawks. While the Beatles and Dylan all admired each other, there was by this point a lot of wariness on both sides, especially between Lennon and Dylan, both of them very similar personality types and neither wanting to let their guard down around the other or appear unhip. There's a famous half-hour-long film sequence of Lennon and Dylan sharing a taxi, which is a fascinating, excruciating, example of two insecure but arrogant men both trying desperately to impress the other but also equally desperate not to let the other know that they want to impress them: [Excerpt: Dylan and Lennon taxi ride] The day that was filmed, Lennon and Harrison also went to see Dylan play at the Royal Albert Hall. This tour had been controversial, because Dylan's band were loud and raucous, and Dylan's fans in the UK still thought of him as a folk musician. At one gig, earlier on the tour, an audience member had famously yelled out "Judas!" -- (just on the tiny chance that any of my listeners don't know that, Judas was the disciple who betrayed Jesus to the authorities, leading to his crucifixion) -- and that show was for many years bootlegged as the "Royal Albert Hall" show, though in fact it was recorded at the Free Trade Hall in Manchester. One of the *actual* Royal Albert Hall shows was released a few years ago -- the one the night before Lennon and Harrison saw Dylan: [Excerpt: Bob Dylan, "Like a Rolling Stone", Royal Albert Hall 1966] The show Lennon and Harrison saw would be Dylan's last for many years. Shortly after returning to the US, Dylan was in a motorbike accident, the details of which are still mysterious, and which some fans claim was faked altogether. The accident caused him to cancel all the concert dates he had booked, and devote himself to working in the studio for several years just like Brian Wilson. And from even further afield than America, Ravi Shankar came over to Britain, to work with his friend the violinist Yehudi Menuhin, on a duet album, West Meets East, that was an example in the classical world of the same kind of international cross-fertilisation that was happening in the pop world: [Excerpt: Yehudi Menuhin and Ravi Shankar, "Prabhati (based on Raga Gunkali)"] While he was in the UK, Shankar also performed at the Royal Festival Hall, and George Harrison went to the show. He'd seen Shankar live the year before, but this time he met up with him afterwards, and later said "He was the first person that impressed me in a way that was beyond just being a famous celebrity. Ravi was my link to the Vedic world. Ravi plugged me into the whole of reality. Elvis impressed me when I was a kid, and impressed me when I met him, but you couldn't later on go round to him and say 'Elvis, what's happening with the universe?'" After completing recording and mixing the as-yet-unnamed album, which had been by far the longest recording process of their career, and which still nearly sixty years later regularly tops polls of the best album of all time, the Beatles took a well-earned break. For a whole two days, at which point they flew off to Germany to do a three-day tour, on their way to Japan, where they were booked to play five shows at the Budokan. Unfortunately for the group, while they had no idea of this when they were booked to do the shows, many in Japan saw the Budokan as sacred ground, and they were the first ever Western group to play there. This led to numerous death threats and loud protests from far-right activists offended at the Beatles defiling their religious and nationalistic sensibilities. As a result, the police were on high alert -- so high that there were three thousand police in the audience for the shows, in a venue which only held ten thousand audience members. That's according to Mark Lewisohn's Complete Beatles Chronicle, though I have to say that the rather blurry footage of the audience in the video of those shows doesn't seem to show anything like those numbers. But frankly I'll take Lewisohn's word over that footage, as he's not someone to put out incorrect information. The threats to the group also meant that they had to be kept in their hotel rooms at all times except when actually performing, though they did make attempts to get out. At the press conference for the Tokyo shows, the group were also asked publicly for the first time their views on the war in Vietnam, and John replied "Well, we think about it every day, and we don't agree with it and we think that it's wrong. That's how much interest we take. That's all we can do about it... and say that we don't like it". I say they were asked publicly for the first time, because George had been asked about it for a series of interviews Maureen Cleave had done with the group a couple of months earlier, as we'll see in a bit, but nobody was paying attention to those interviews. Brian Epstein was upset that the question had gone to John. He had hoped that the inevitable Vietnam question would go to Paul, who he thought might be a bit more tactful. The last thing he needed was John Lennon saying something that would upset the Americans before their tour there a few weeks later. Luckily, people in America seemed to have better things to do than pay attention to John Lennon's opinions. The support acts for the Japanese shows included  several of the biggest names in Japanese rock music -- or "group sounds" as the genre was called there, Japanese people having realised that trying to say the phrase "rock and roll" would open them up to ridicule given that it had both "r" and "l" sounds in the phrase. The man who had coined the term "group sounds", Jackey Yoshikawa, was there with his group the Blue Comets, as was Isao Bito, who did a rather good cover version of Cliff Richard's "Dynamite": [Excerpt: Isao Bito, "Dynamite"] Bito, the Blue Comets, and the other two support acts, Yuya Uchida and the Blue Jeans, all got together to perform a specially written song, "Welcome Beatles": [Excerpt: "Welcome Beatles" ] But while the Japanese audience were enthusiastic, they were much less vocal about their enthusiasm than the audiences the Beatles were used to playing for. The group were used, of course, to playing in front of hordes of screaming teenagers who could not hear a single note, but because of the fear that a far-right terrorist would assassinate one of the group members, the police had imposed very, very, strict rules on the audience. Nobody in the audience was allowed to get out of their seat for any reason, and the police would clamp down very firmly on anyone who was too demonstrative. Because of that, the group could actually hear themselves, and they sounded sloppy as hell, especially on the newer material. Not that there was much of that. The only song they did from the Revolver sessions was "Paperback Writer", the new single, and while they did do a couple of tracks from Rubber Soul, those were under-rehearsed. As John said at the start of this tour, "I can't play any of Rubber Soul, it's so unrehearsed. The only time I played any of the numbers on it was when I recorded it. I forget about songs. They're only valid for a certain time." That's certainly borne out by the sound of their performances of Rubber Soul material at the Budokan: [Excerpt: The Beatles, "If I Needed Someone (live at the Budokan)"] It was while they were in Japan as well that they finally came up with the title for their new album. They'd been thinking of all sorts of ideas, like Abracadabra and Magic Circle, and tossing names around with increasing desperation for several days -- at one point they seem to have just started riffing on other groups' albums, and seem to have apparently seriously thought about naming the record in parodic tribute to their favourite artists -- suggestions included The Beatles On Safari, after the Beach Boys' Surfin' Safari (and possibly with a nod to their recent Pet Sounds album cover with animals, too), The Freewheelin' Beatles, after Dylan's second album, and my favourite, Ringo's suggestion After Geography, for the Rolling Stones' Aftermath. But eventually Paul came up with Revolver -- like Rubber Soul, a pun, in this case because the record itself revolves when on a turntable. Then it was off to the Philippines, and if the group thought Japan had been stressful, they had no idea what was coming. The trouble started in the Philippines from the moment they stepped off the plane, when they were bundled into a car without Neil Aspinall or Brian Epstein, and without their luggage, which was sent to customs. This was a problem in itself -- the group had got used to essentially being treated like diplomats, and to having their baggage let through customs without being searched, and so they'd started freely carrying various illicit substances with them. This would obviously be a problem -- but as it turned out, this was just to get a "customs charge" paid by Brian Epstein. But during their initial press conference the group were worried, given the hostility they'd faced from officialdom, that they were going to be arrested during the conference itself. They were asked what they would tell the Rolling Stones, who were going to be visiting the Philippines shortly after, and Lennon just said "We'll warn them". They also asked "is there a war on in the Philippines? Why is everybody armed?" At this time, the Philippines had a new leader, Ferdinand Marcos -- who is not to be confused with his son, Ferdinand Marcos Jr, also known as Bongbong Marcos, who just became President-Elect there last month. Marcos Sr was a dictatorial kleptocrat, one of the worst leaders of the latter half of the twentieth century, but that wasn't evident yet. He'd been elected only a few months earlier, and had presented himself as a Kennedy-like figure -- a young man who was also a war hero. He'd recently switched parties from the Liberal party to the right-wing Nacionalista Party, but wasn't yet being thought of as the monstrous dictator he later became. The person organising the Philippines shows had been ordered to get the Beatles to visit Ferdinand and Imelda Marcos at 11AM on the day of the show, but for some reason had instead put on their itinerary just the *suggestion* that the group should meet the Marcoses, and had put the time down as 3PM, and the Beatles chose to ignore that suggestion -- they'd refused to do that kind of government-official meet-and-greet ever since an incident in 1964 at the British Embassy in Washington where someone had cut off a bit of Ringo's hair. A military escort turned up at the group's hotel in the morning, to take them for their meeting. The group were all still in their rooms, and Brian Epstein was still eating breakfast and refused to disturb them, saying "Go back and tell the generals we're not coming." The group gave their performances as scheduled, but meanwhile there was outrage at the way the Beatles had refused to meet the Marcos family, who had brought hundreds of children -- friends of their own children, and relatives of top officials -- to a party to meet the group. Brian Epstein went on TV and tried to smooth things over, but the broadcast was interrupted by static and his message didn't get through to anyone. The next day, the group's security was taken away, as were the cars to take them to the airport. When they got to the airport, the escalators were turned off and the group were beaten up at the arrangement of the airport manager, who said in 1984 "I beat up the Beatles. I really thumped them. First I socked Epstein and he went down... then I socked Lennon and Ringo in the face. I was kicking them. They were pleading like frightened chickens. That's what happens when you insult the First Lady." Even on the plane there were further problems -- Brian Epstein and the group's road manager Mal Evans were both made to get off the plane to sort out supposed financial discrepancies, which led to them worrying that they were going to be arrested or worse -- Evans told the group to tell his wife he loved her as he left the plane. But eventually, they were able to leave, and after a brief layover in India -- which Ringo later said was the first time he felt he'd been somewhere truly foreign, as opposed to places like Germany or the USA which felt basically like home -- they got back to England: [Excerpt: "Ordinary passenger!"] When asked what they were going to do next, George replied “We're going to have a couple of weeks to recuperate before we go and get beaten up by the Americans,” The story of the "we're bigger than Jesus" controversy is one of the most widely misreported events in the lives of the Beatles, which is saying a great deal. One book that I've encountered, and one book only, Steve Turner's Beatles '66, tells the story of what actually happened, and even that book seems to miss some emphases. I've pieced what follows together from Turner's book and from an academic journal article I found which has some more detail. As far as I can tell, every single other book on the Beatles released up to this point bases their account of the story on an inaccurate press statement put out by Brian Epstein, not on the truth. Here's the story as it's generally told. John Lennon gave an interview to his friend, Maureen Cleave of the Evening Standard, during which he made some comments about how it was depressing that Christianity was losing relevance in the eyes of the public, and that the Beatles are more popular than Jesus, speaking casually because he was talking to a friend. That story was run in the Evening Standard more-or-less unnoticed, but then an American teen magazine picked up on the line about the Beatles being bigger than Jesus, reprinted chunks of the interview out of context and without the Beatles' knowledge or permission, as a way to stir up controversy, and there was an outcry, with people burning Beatles records and death threats from the Ku Klux Klan. That's... not exactly what happened. The first thing that you need to understand to know what happened is that Datebook wasn't a typical teen magazine. It *looked* just like a typical teen magazine, certainly, and much of its content was the kind of thing that you would get in Tiger Beat or any of the other magazines aimed at teenage girls -- the September 1966 issue was full of articles like "Life with the Walker Brothers... by their Road Manager", and interviews with the Dave Clark Five -- but it also had a long history of publishing material that was intended to make its readers think about social issues of the time, particularly Civil Rights. Arthur Unger, the magazine's editor and publisher, was a gay man in an interracial relationship, and while the subject of homosexuality was too taboo in the late fifties and sixties for him to have his magazine cover that, he did regularly include articles decrying segregation and calling for the girls reading the magazine to do their part on a personal level to stamp out racism. Datebook had regularly contained articles like one from 1963 talking about how segregation wasn't just a problem in the South, saying "If we are so ‘integrated' why must men in my own city of Philadelphia, the city of Brotherly Love, picket city hall because they are discriminated against when it comes to getting a job? And how come I am still unable to take my dark- complexioned friends to the same roller skating rink or swimming pool that I attend?” One of the writers for the magazine later said “We were much more than an entertainment magazine . . . . We tried to get kids involved in social issues . . . . It was a well-received magazine, recommended by libraries and schools, but during the Civil Rights period we did get pulled off a lot of stands in the South because of our views on integration” Art Unger, the editor and publisher, wasn't the only one pushing this liberal, integrationist, agenda. The managing editor at the time, Danny Fields, was another gay man who wanted to push the magazine even further than Unger, and who would later go on to manage the Stooges and the Ramones, being credited by some as being the single most important figure in punk rock's development, and being immortalised by the Ramones in their song "Danny Says": [Excerpt: The Ramones, "Danny Says"] So this was not a normal teen magazine, and that's certainly shown by the cover of the September 1966 issue, which as well as talking about the interviews with John Lennon and Paul McCartney inside, also advertised articles on Timothy Leary advising people to turn on, tune in, and drop out; an editorial about how interracial dating must be the next step after desegregation of schools, and a piece on "the ten adults you dig/hate the most" -- apparently the adult most teens dug in 1966 was Jackie Kennedy, the most hated was Barry Goldwater, and President Johnson, Billy Graham, and Martin Luther King appeared in the top ten on both lists. Now, in the early part of the year Maureen Cleave had done a whole series of articles on the Beatles -- double-page spreads on each band member, plus Brian Epstein, visiting them in their own homes (apart from Paul, who she met at a restaurant) and discussing their daily lives, their thoughts, and portraying them as rounded individuals. These articles are actually fascinating, because of something that everyone who met the Beatles in this period pointed out. When interviewed separately, all of them came across as thoughtful individuals, with their own opinions about all sorts of subjects, and their own tastes and senses of humour. But when two or more of them were together -- especially when John and Paul were interviewed together, but even in social situations, they would immediately revert to flip in-jokes and riffing on each other's statements, never revealing anything about themselves as individuals, but just going into Beatle mode -- simultaneously preserving the band's image, closing off outsiders, *and* making sure they didn't do or say anything that would get them mocked by the others. Cleave, as someone who actually took them all seriously, managed to get some very revealing information about all of them. In the article on Ringo, which is the most superficial -- one gets the impression that Cleave found him rather difficult to talk to when compared to the other, more verbally facile, band members -- she talked about how he had a lot of Wild West and military memorabilia, how he was a devoted family man and also devoted to his friends -- he had moved to the suburbs to be close to John and George, who already lived there. The most revealing quote about Ringo's personality was him saying "Of course that's the great thing about being married -- you have a house to sit in and company all the time. And you can still go to clubs, a bonus for being married. I love being a family man." While she looked at the other Beatles' tastes in literature in detail, she'd noted that the only books Ringo owned that weren't just for show were a few science fiction paperbacks, but that as he said "I'm not thick, it's just that I'm not educated. People can use words and I won't know what they mean. I say 'me' instead of 'my'." Ringo also didn't have a drum kit at home, saying he only played when he was on stage or in the studio, and that you couldn't practice on your own, you needed to play with other people. In the article on George, she talked about how he was learning the sitar,  and how he was thinking that it might be a good idea to go to India to study the sitar with Ravi Shankar for six months. She also talks about how during the interview, he played the guitar pretty much constantly, playing everything from songs from "Hello Dolly" to pieces by Bach to "the Trumpet Voluntary", by which she presumably means Clarke's "Prince of Denmark's March": [Excerpt: Jeremiah Clarke, "Prince of Denmark's March"] George was also the most outspoken on the subjects of politics, religion, and society, linking the ongoing war in Vietnam with the UK's reverence for the Second World War, saying "I think about it every day and it's wrong. Anything to do with war is wrong. They're all wrapped up in their Nelsons and their Churchills and their Montys -- always talking about war heroes. Look at All Our Yesterdays [a show on ITV that showed twenty-five-year-old newsreels] -- how we killed a few more Huns here and there. Makes me sick. They're the sort who are leaning on their walking sticks and telling us a few years in the army would do us good." He also had very strong words to say about religion, saying "I think religion falls flat on its face. All this 'love thy neighbour' but none of them are doing it. How can anybody get into the position of being Pope and accept all the glory and the money and the Mercedes-Benz and that? I could never be Pope until I'd sold my rich gates and my posh hat. I couldn't sit there with all that money on me and believe I was religious. Why can't we bring all this out in the open? Why is there all this stuff about blasphemy? If Christianity's as good as they say it is, it should stand up to a bit of discussion." Harrison also comes across as a very private person, saying "People keep saying, ‘We made you what you are,' well, I made Mr. Hovis what he is and I don't go round crawling over his gates and smashing up the wall round his house." (Hovis is a British company that makes bread and wholegrain flour). But more than anything else he comes across as an instinctive anti-authoritarian, being angry at bullying teachers, Popes, and Prime Ministers. McCartney's profile has him as the most self-consciously arty -- he talks about the plays of Alfred Jarry and the music of Karlheinz Stockhausen and Luciano Berio: [Excerpt: Luciano Berio, "Momenti (for magnetic tape)"] Though he was very worried that he might be sounding a little too pretentious, saying “I don't want to sound like Jonathan Miller going on" --

Morris dancing -- a traditional type of British folk dance is synonymous with villages fairs and men dressed in white dancing with wooden sticks. But there are many more elements to "Morris" that the stereotypes we are familiar with. In this episode, I explore its origins, and learn how it has expanded around the globe. Today's guests: Peter Austin, "Bagman" of The Morris Ring - The founding National Association of Morris and Sword Dance Clubs in Britain. Cat Van't Hof & Nat James of the Brandragon Morris in Melbourne, Australia. To learn more about these groups see below: https://themorrisring.org/ In 1934 the Cambridge Morris Men invited five other teams to join them in the formation of a national organisation, the result was that five of the revival clubs - Cambridge, Letchworth, Thaxted, East Surrey and Greensleeves - met at Thaxted in Essex on the 11th May that year to inaugurate The Morris Ring. Cambridge Morris Men describe the start of Morris in Cambridge during the winter of 1911/12 in the 1949 booklet 50 Years of Morris Dancing. Oxford were not at Thaxted, however they sent their apologies and were there in spirit, and agreed with the suggested constitution for the Ring. Helmond Morris(link is external) was the first group to start outside of the UK - in 1935. They even danced during the dark years of World War II! http://brandragon.morris.org.au/ Founded in 2001, we are Melbourne's only North West Morris Side. What is Morris Dancing? It is traditional English folk dancing! The North West style is done in formations of 4, 6 or 8 dancers – to live music. We wear heavy clogs which were worn in the factories of England during the time just after the Industrial Revolution. The dancing steps are quite simple, but the dancers create interesting visual patterns which comes from hours of practise. If you would like to try Morris dancing, please contact us and come along to a practise any time! We also welcome new musicians to join us! Our current band has members who play the melodeon, the recorder, the drum and other percussion instruments. Music from Pixabay Photo: Morris dancing at Port Sunlight.jpg Morris dancing at the 2011 Port Sunlight Festival, Wirral, England. Reptonix free Creative Commons licensed photos Creative Commons Attribution 3.0 --- Send in a voice message: https://anchor.fm/daniel-mainwaring5/message

Season 7 let's go!  #REAPERREVIEWS with Theo and Kim Coates aka Tig & Juice Time is back. On this episode, they sit down to discuss "Greensleeves" Season 7 Episode 7 of Sons of Anarchy.  Head over to Theo & Kim's Patreon page for access to their NEW SHOW: "THEOry with Theo Rossi & Kim Coates" and exclusive access to our THEOry community where you can chat with the THEOry team, fans and reap all of the benefits! Don't forget to leave your review on Apple podcasts with your favorite episode for a chance to have it reviewed by Theo and Kim!