Podcasts about Honor Blackman

On Episode 127 of The Film ‘89 Podcast, Skye and returning guest host, acclaimed film poster artist, Tony Stella, continue their annual coverage of the long running James Bond series of films with 1964's Goldfinger. Directed by Guy Hamilton, Goldfinger is the third film in the series and is based on the seventh James Bond book by author Ian Fleming. This time Bond is tasked by the Bank of England and Mi6 to investigate gold magnate Auric Goldfinger, who they suspect is building up a vast inventory of gold by nefarious means. Sean Connery's third outing as the British super spy is regarded by many as the pinnacle of the franchise, now the longest running in film history, and features a superb cast including Gert Fröbe as the titular villain as well as Honor Blackman and Shirley Eaton as two of the most memorable Bond girls. The word iconic is often overused in the realm of film criticism, but Goldfinger is filled with moments and situations that truly earn that description. So join the guys as they give their usual passionate, in-depth analysis of the film for its 60th anniversary.

Sword and Sandals Month continues with 1963's Jason and the Argonauts! Ben and Brady discuss all the swords, sandals, and classic Ray Harryhausen stop-motion creatures in this loose mythological adaptation. Directed by Don Chaffey with visual effects by Ray Harryhausen. Starring Todd Armstrong, Nancy Kovack, Honor Blackman, and Gary Raymond.

The school year has started here in Colorado, so we're adjusting to life after summer break. Maybe it's a parents' break then? This week's movie, Cockneys vs Zombies, puts our two main characters in a real pickle. Their grandad's retirement home is about to be closed. They need cash to try to save it. So, what should they do? Assemble an Oceans 11-style crew of East End Dufuses (except for Katy, she seems pretty bright) to rob a bank. When their plan inevitably fails, they're just about to get nicked when...A GOD DAMNED ZOMBIE APOCALYPSE BREAKS OUT. Now they've really stepped in it. They've got to get way with the cash and save grandad and his friends from certain death. Oh yeah, Honor Blackman is in this. She was Pussy Galore in Goldfinger (1964). Cockneys vs Zombies final grade: Steve Another well done zombie flick. Interesting characters, good humor, and decent writing make this a movie well worth your time. Less-than-spectacular gore effects get then knocked down a peg. 4.13/5.0 Brandon This one hits in all the right places. It falls a bit short of Dead Snow, but still a well-done, entertaining horr-medy. Dialogue and sight-gags combine to make a good-quality flick that is easily re-watchable. Guns, guts, and a punted baby. What more could you ask for? 4.48/5 Cocktail of the Week: Bramble 2 oz Gin 1 oz Fresh Squeezed Lemon Juice A little squirty of simple syrup 1/2 oz Blackberry Liqueur Combine gin, lemon juice, and simple syrup in a cocktail shaker and shake to chill. Strain over ice in a rocks glass. Float blackberry liqueur on top to create two-tone effect. Cocktail Grade: Another pleasant spin on the "Liquor X/Sour" combination, of which we are a fan. We did add a little club soda on a subsequent round and that did seem to take it up a notch. Maybe berry liqueurs work better, for us, with a few bubbbles? 4.4/5 ------------------ Contact us with feedback or cocktail/movie recommendations to: boozeandbmovies@gmail.com X: @boozeandbmovies Instagram: @boozeandbmovies Threads: @boozeandbmovies www.facebook.com/boozeandbmovies --- Support this podcast: https://podcasters.spotify.com/pod/show/boozeandbmovies/support

Front Row Classics takes it's first look at the James Bond franchise by celebrating the 60th anniversary of what many consider the ultimate Bond film. Emmett Stanton joins Brandon to celebrate 1964's Goldfinger. Brandon and Emmett discuss the unending charisma of Sean Connery as 007. We also celebrate the iconic performances of Gert Frobe as Auric Goldfinger, Honor Blackman as Pussy Galore and Harold Sakata as Oddjob. This is the film where many of the permanent elements of the franchise came together in spectacular fashion. We also celebrate the unforgettable theme song sung by Dame Shirley Bassey.

In Folge 85 geht es endlich wieder um Kampfsport! Edith Garrud trainiert zu Beginn des 20. Jahrhunderts Suffragetten in Jiu-Jitsu, damit sich diese gegen Übergriffe der Polizei erwehren können. Außerdem rasen wir mit Bartitsu die Reichenbachfälle runter und "Pussy Galore", gespielt von einer weiteren Kampfsportenthusiastin, Honor Blackman kommt ebenfalls vor. Janny ist gut in Form und lässt seine Engelsgleiche Singstimme hören. We will always love you! Quellenauswahl:'Suffrajitsu': How the suffragettes fought back using martial artshttps://www.bbc.com/news/magazine-34425615“Suffragettes to Learn the Art of Jiu-Jitsu” (1909)https://bartitsusociety.com/suffragettes-to-learn-the-art-of-jiu-jitsu-1909/Mehr musikalischen Kontext zu unseren Folgen findet Ihr hier auf Spotify:https://open.spotify.com/playlist/3V4...Den aktuellen Popkultur-Kontext und viele andere Videos gibt es in dieser Playlist:https://www.youtube.com/playlist?list=PLU4Jvqt24IZyVzNR-S9_Ob2YoURkKooRU Support the show

This week we watched a special effects and stop motion classic, 1963's Jason and the Argonauts. Directed by Don Chaffey, and starring Todd Armstrong, Nancy Kovack, Honor Blackman, and Gary Raymond the film tells the tale of the legendary Greek hero who leads a team of intrepid adventurers in a perilous quest for the legendary Golden Fleece. It was made in collaboration with legendary stop-motion animation visual effects artist Ray Harryhausen and is known for its various legendary creatures, notably the iconic fight scene featuring seven skeleton warriors. Come join us!!! Website : http://tortelliniatnoon.com/ Instagram: https://www.instagram.com/tortelliniatnoonpodcast/ Facebook: https://www.facebook.com/TortelliniAtNoon Twitter: https://twitter.com/PastaMoviePod

On this episode of The Shabby Detective, Columbo goes to England in "Dagger of the Mind," the fourth episode of second season. He goes up against Honor Blackman and Richard Basehart as a pair of actors who happen to murder their potential benefactor,The Columbo episode was released as a film in Italy as Scacco Matto a Scotland Yard. Check it out here: https://vimeo.com/609864275

An absolutely classic, iconic movie, Jason and the Argonauts (1963) has captured the imagination of young people for 60 years.  Notable for the wonderful stop-motion animation effects of Ray Harryhausen, the film also stars Honor Blackman who went on to her own iconic work as "Cathy Gale" in "The Avengers" British tv series and "Pussy Galore" in "Goldfinger."Sean Marlon Newcombe and Dr. Gary Stickel discuss this legendary film. 

Explicit Content: Authorized Eyes Only Agent Codenames: Old Dude; Diabolu FrankAssignment: Father & Son Spy-Fi PodcastMission: Discuss the James Bond 007 film starring Sean Connery, Honor Blackman, Gert Fröbe, and Harold Sakata. ⊕#BAsciSpy⊕ WordPress rolledspinepodcasts@gmail.com @rolledspine Facebook B.O.N.D.I.N.G. Agents Podcast, Spy-Fi, James Bond, Goldfinger

Four films in one podcast? It can only mean that Trev is back with another months worth of the Films I Own That I Haven't Watched Yet. Four films picked at random (well, three at random this week and one has jumped the queue) from Trev's ever growing DVD collection. Listen in as he watches each movie and then gives his impromptu review straight after watching them.This weeks films are RONIN (1988)A gritty Crime - thriller directed By John Frankenheimer Written By David Mamet and starring Robert DeNiro, Jean Reno, Stella Skarsgard, Natasha McElhone, Sean BeanWatch or Own Ronin here - https://amzn.to/3YOkHRcTHE BURBS (1989)Dark-comedy horror directed by Joe Dante, written by Joe Dante and Dana Olson and starring Tom Hanks, Rick Docummun, Carrie Fisher, Bruce Dern and Corey FeldmanWatch or own the burbs here - https://amzn.to/3YuhhTWA NIGHT TO REMEMBER (1958)Docu-drama of the tragic voyage of the Titanic Directed by Roy Ward Baker, and starring Kenneth More, Honor Blackman, Michael Goodliffe, and Tucker McGuireWatch or own A Night To Remember here - https://amzn.to/3YuibjiTRUE ROMANCE (1993)A high-octane ultra-violent action thriller directed by Tony Scott, Written by Quentin Tarantino and starring a massive cast of actors including Christian Slater, Patricia Arquette, Christopher Walken, Dennis Hopper, Gary Oldman, Brad Pitt, James Gandolfini and Val KilmerBuy your own copy here - https://amzn.to/3xkoGt3 Hosted on Acast. See acast.com/privacy for more information.

Maff takes us a little further back in our time machine to 1963 this week! But despite hitting the cinemas then, it's later on when it really becomes a cult classic and a favorite for many on tv. It's Jason and the Argonauts, the mythological fantasy adventure film distributed by Columbia Pictures. Directed by Don Chaffey and starring Todd Armstrong, Nancy Kovack, Honor Blackman, and Gary Raymond. If you enjoy the show we have a Patreon, become a supporter. www.patreon.com/thevhsstrikesback Plot Summary: Jason has been prophesied to take the throne of Thessaly. When he saves Pelias from drowning, but does not recognize him as the man who had earlier killed his father, Pelias tells Jason to travel to Colchis to find the Golden Fleece. Jason follows his advice and assembles a sailing crew of the finest men in Greece, including Hercules. They are under the protection of Hera, queen of the gods. Their voyage is replete with battles against harpies, a giant bronze Talos, a hydra, and an animated skeleton army, all brought to life by the special effects wizardry of Ray Harryhausen. thevhsstrikesback@gmail.com https://linktr.ee/vhsstrikesback --- Support this podcast: https://anchor.fm/thevhsstrikesback/support

"So it's a suicide mission?" The inaugural meeting of the panel of peril has us chatting about 1964's quintessential James Bond flick Goldfinger. We then try to improve upon the villain's diabolical plan for the honour of choosing next week's film and hosting the pod. Directed by Guy Hamilton and starring Sean Connery, Gert Frobe, Honor Blackman and Harold Sakata. See the trailer here! https://www.youtube.com/watch?v=MA65V-oLKa8 ********PLOT SPOILER ALERT******** Goldfinger plans to irradiate Fort Knox's supply of gold bullion by detonating a dirty bomb from inside the complex, thus pushing up the value of his own reserves. The only thing that stands in his way is a fella named Bond. James Bond. Can the suave secret agent beat Goldfinger and henchpeople Oddjob and Pussy Galore in a race against time to the most secure building in America? Just what did the panel think of the film? What plans do they have to level up Goldfinger's scheme? And who will be victorious in this week's competition?

For this episode, we go to Old Street Station in the 1998 horror Tale of the Mummy. With a surprisingly star-studded cast (including Christopher Lee, Shelley Duvall, Gerard Butler, Sean Pertwee, Honor Blackman, and Michael Learner) this under-the-radar mummy movie is a wild and crazy ride. Archeologists discover the cursed tomb of the Egyptian ruler Talos precariously suspended over a pit of death. They bring Talos' cursed remains for display at the British Museum, only for Talos' spirit to awaken in the form of cursed mummy wrappings, which proceed to go on a murder spree throughout London. With a complex plot and a lot of nineties moxie, the film is jumbled but charming.

First broadcast on FAB RADIO INTERNATIONAL at 19:00 on April 24th 2022 A little over sixty years ago, a television series began that would, in many ways, come to encapsulate a particular view of nineteen sixties Britain that never really went away. It was so popular in certain countries that this particular image of Britain and the British seems to have stuck in their minds and shaped their perception of us ever since. Or perhaps one version of it has, anyway, because THE AVENGERS, the series PAUL CHANDLER, THE SHY YETI, is joining me to talk about today, went through several incarnations – and lapel carnations – as it progressed through most of the 1960s from its grey, grimy, and gritty origins in 1961, to its colourful, almost pop-art, last hurrah in 1969, and, in many ways, could be said to almost reflect that transformational decade on screen like almost no other television series of its time. Featuring PATRICK MACNEE as John Steed, a charmingly eloquent, and dapper, spy, who wears a bowler hat sometimes cast in stainless steel, and who carries a rolled umbrella which sometimes conceals a sword, who spends his professional career dealing with diabolical master minds intent upon some fiendish, eccentric, and freedom-threatening plot, usually with the assistance of a strong, plucky woman who seems far more adept at handling the rough stuff than he could ever hope to be. CATHY GALE, EMMA PEEL, and TARA KING were those fabulous, ground-breaking, and astonishingly independent women, and were played by three actors destined to become almost as iconic as the series itself: HONOR BLACKMAN, DIANA RIGG, and LINDA THORSEN. Although those other, grittier incarnations, also featured JULIA STEVENS as VENUS SMITH, JON ROLLASON as DR MARTIN KING, and the sublime and ridiculously talented IAN HENDRY who, as DR DAVID KEEL, was there right at the start, might be the person we have to thank for the series even existing at all, but who then chose to leave to pursue other career options, leaving JOHN STEED to step into the breech, and become the calm centre around which the series would carry on though such astonishing changes, not only in the lead actors, but from the technical point of view of switching from live studio videotape, to black and white, and later colour film, and a very successful penetration into the American market. In fact, if any show could be said to demonstrate the evolution of British television in the 1960s, I think THE AVENGERS may be the one that shows it off best, so much so that anyone who watched the 1961 version would barely recognise it as the same show if they tuned in again in 1969, with MOTHER and RHONNDA adding to the cast of eccentric regulars to battle each week with the very cream of 1960s acting talent. This other brainchild of Canadian Television supremo SYDNEY NEWMAN might not be your idea of what the Britain of the 1960s was really like, but it certainly is an image that has persisted since it first aired back in 1961 as a replacement for another series featuring its main star as a police surgeon, right through to its final episode in 1969, and the series was so internationally successful that it even got a fairly successful two year reimagining in the mid-1970s featuring PURDEY and GAMBIT as played by JOANNA LUMLEY and GARETH HUNT. PAUL is unashamedly a fan of the final year featuring TARA KING, so our conversation does inevitably spend a lot of time covering that era, but we do our best to give you a broader overview on our way there. PLEASE NOTE - For Copyright reasons, musical content sometimes has to be removed for the podcast edition. All the spoken word content remains (mostly) as it was in the broadcast version. Hopefully this won't spoil your enjoyment of the show.

We are recognizing the 110th anniversary of the Titanic tragedy that occurred in 1912. A Night to Remember (1958) is a critically acclaimed film based off of Walter Lord's book of the same name; it has been noted for its incredible accuracy in detailing the events that lead to this ship's demise. We discuss not only elements of the movie, but the real events that took place on that devastating April night.  Although this story is heartbreaking, it also features enormous stories of courage and compassion in the face of adversity.  We truly found this film inspiring and hope you'll join us as we recall A Night to Remember (1958). Please Comment, Rate, and Share our episodes and tell us what you like and what you want to hear more of!—Be sure to check us out onOur website: https://the-old-soul-movie-podcast.simplecast.com/FacebookTwitter: @oldsoulpodInstagram: @oldsoulmoviepodcast

Bonnie Langford makes her debut as Mel Bush in the Pip & Jane Baker Agatha Christie homage “Terror of the Vervoids”. It also sees Bond and Avengers icon Honor Blackman grace the time and space of Doctor Who. With production changes, turmoil and all sorts of things going on behind the scenes, companion Mel really […]

Patreon Griff, of The Paul and Griff show, chose a classic Sean Connery James Bond movie this week, Goldfinger from 1964. Directed by Guy Hamilton and written by Richard Maibaum and Paul Dehn and based on the novel by Ian Fleming. Starring Sean Connery, Gert Fröbe, Honor Blackman, Shirley Eaton, Tania Mallet and Harold Sakata. If you enjoy the show we have a Patreon, become a supporter. www.patreon.com/thevhsstrikesback Plot Summary: James Bond (Sir Sean Connery) is back and his next mission takes him to Fort Knox, where Auric Goldfinger (Gert Fröbe) and his henchman are planning to raid Fort Knox and obliterate the world economy. To save the world once again, Bond will need to become friends with Goldfinger, dodge killer hats, and avoid Goldfinger's personal pilot, the sexy Pussy Galore (Honor Blackman). She might not have feelings for Bond, but will 007 help her change her mind? thevhsstrikesback@gmail.com --- Support this podcast: https://anchor.fm/thevhsstrikesback/support

Paul & Liz discuss season 2, episode 4 - Dagger of the Mind - starring Peter Falk, Robert Baseheart, Honor Blackman, Wilfred Hyde-White & Bernard Fox.  We discuss Shakespeare's Macbeth, the price of a first edition Alice's Adventures in Wonderland, the Greystone mansion in LA, and what it's like to watch Columbo in London.   This episode's drink & snack are beer & fish & chips.   Other shows/movies/books we discussed: It Happened to Jane (film) Sex & the Single Girl (film) Space Odyssey by Michael Benson (book)   If you'd like to add to our conversation, you can email us at trenchcoatcigar@gmail.com.  Follow us on Instagram at @trenchcoatcigar to see photos from today's episode.

So we finally come to the end of the Bond series and we say our final goodbye to the world's most famous secret agent James Bond. However isn't goodbye for us or the end of the podcast as we will continue with new series for your audio pleasure. In this final episode Becca, Chris and Dave give our own list our run down of the Bond films starting from our least favorite to what we consider to be the best 007 adventure. We've divided the list based on personal preference, importance to the series itself and on quality. Dave also reveals the cut Honor Blackman joke. You can listen to the episode on youtube or you can download the episode at the bottom of the page. You can follow us on Becca, Chris and Dave on Twitter Please send us an email at expectustotalk@gmail.com to give us any feedback or add your own thoughts on Bond. You can find us on iTunes and Stitcher and if you like us leave us a lovely review as it helps us grow. If that wasn't enough, you can even you can follow us on Twitter and like us on Facebook. Do You Expect Us To Talk Will Return in Raiders of the Lost Ark

Phone interview with Peter Jonathan Robertson in 2000 Hosted on Acast. See acast.com/privacy for more information.

Tom Hanks once said that Jason And The Argonauts was the greatest film ever made. But was he right? I mean, yeah, probably. Directed by Don Chaffey, starring Todd Armstrong and Honor Blackman, and featuring an original score by the fantastic Bernard Herrmann, Jason And The Argonauts is perhaps better known as a showcase of the legendary Ray Harryhausen's visual effects, but even aside from those it's got a pace and a feel that's worth catching. Also, it's free on the web archives, so that's a plus! Float along with the manatees as they gush over mid-century claymation, discuss responsible provisioning plans, and demonstrate a consistent and profound lack of Greek myth expertise. This is a fun one! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/matinee-manatees/support

A chance to hear a great conversation with Honor Blackman      with James Watt    talking Sean Connery  and the rest!

This week we continue our Summer 2021 Satanic Panic series with the 1976 film To the Devil a Daughter, sometimes called CHILD OF SATAN.To the Devil...a Daughter is a 1976 British-West German horror film directed by Peter Sykes, produced by Hammer Film Productions and Terra Filmkunst, and starring Richard Widmark, Christopher Lee, Honor Blackman, Nastassja Kinski and Denholm Elliott. It is based on the 1953 novel of the same name by Dennis Wheatley. It was the final Hammer production to feature Christopher Lee until The Resident in 2011. On home videocassette the film was released with the alternate title Child of Satan. This is Castle of Horror Episode 343.

Agents Scott and Cam, along with guest operative Calvin Dyson, YouTube James Bond expert, dodge deadly flying bowler hats while reuniting with Sean Connery for 1964's Goldfinger. Directed by Guy Hamilton. Starring Sean Connery, Gert Frobe, Honor Blackman, Shirley Eaton, Tania Mallet, Harold Sakata and Bernard Lee.   Make sure to visit Calvin's YouTube page for more fantastic 007 content.  Calvin can also be heard on the James Bond & Friends Podcast and the Diminishing Returns Podcast, available everywhere. Check out Andy from Alpenglowmemory's article "On Values Dissonance in Art: The Changing Perceptions With Time." Social media: @spyhards View the NOC List at Letterboxd.com/spyhards Podcast artwork by Hannah Hughes.

Episode one hundred and nineteen of A History of Rock Music in Five Hundred Songs looks at "You Really Got Me" by the Kinks, and the song that first took distorted guitar to number one. Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on "G.T.O." by Ronny and the Daytonas. 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/ ----more---- Resources As usual, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. I've used several resources for this and future episodes on the Kinks, most notably Ray Davies: A Complicated Life by Johnny Rogan and You Really Got Me by Nick Hasted. X-Ray by Ray Davies is a remarkable autobiography with a framing story set in a dystopian science-fiction future, while Kink by Dave Davies is more revealing but less well-written. The Anthology 1964-1971 is a great box set that covers the Kinks' Pye years, which overlap almost exactly with their period of greatest creativity. For those who don't want a full box set, this two-CD set covers all the big hits. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we're going to look at a record that has often been called "the first heavy metal record", one that introduced records dominated by heavy, distorted, guitar riffs to the top of the UK charts. We're going to look at the first singles by a group who would become second only to the Beatles among British groups in terms of the creativity of their recordings during the sixties, but who were always sabotaged by a record label more interested in short-term chart success than in artist development. We're going to look at the Kinks, and at "You Really Got Me": [Excerpt: The Kinks, "You Really Got Me"] The story of the Kinks starts with two brothers, Ray and Dave Davies, the seventh and eighth children of a family that had previously had six girls in a row, most of them much older -- their oldest sister was twenty when Ray was born, and Dave was three years younger than Ray. The two brothers always had a difficult relationship, partly because of their diametrically opposed personalities. Ray was introverted, thoughtful, and notoriously selfish, while Dave was outgoing in the extreme, but also had an aggressive side to his nature. Ray, as someone who had previously been the youngest child and only boy, resented his younger brother coming along and taking the attention he saw as his by right, while Dave always looked up to his older brother but never really got to know him. Ray was always a quiet child, but he became more so after the event that was to alter the lives of the whole family in multiple ways forever. Rene, the second-oldest of his sisters, had been in an unhappy marriage and living in Canada with her husband, but moved back to the UK shortly before Ray's thirteenth birthday. Ray had been unsuccessfully pestering his parents to buy him a guitar for nearly a year, since Elvis had started to become popular, and on the night before his birthday, Rene gave him one as his birthday present. She then went out to a dance hall. She did this even though she'd had rheumatic fever as a child, which had given her a heart condition. The doctors had advised her to avoid all forms of exercise, but she loved dancing too much to give it up for anyone. She died that night, aged only thirty-one, and the last time Ray ever saw his sister was when she was giving him his guitar. For the next year, Ray was even more introverted than normal, to the point that he ended up actually seeing a child psychologist, which for a working-class child in the 1950s was something that was as far from the normal experience as it's possible to imagine. But even more than that, he became convinced that he was intended by fate to play the guitar. He started playing seriously, not just the pop songs of the time, though there were plenty of those, but also trying to emulate Chet Atkins. Pete Quaife would later recall that when they first played guitar together at school, while Quaife could do a passable imitation of Hank Marvin playing "Apache", Davies could do a note-perfect rendition of Atkins' version of "Malaguena": [Excerpt: Chet Atkins, "Malaguena"] Ray's newfound obsession with music also drew him closer to his younger brother, though there was something of a cynical motive in this closeness. Both boys got pocket money from their parents, but Dave looked up to his older brother and valued his opinion, so if Ray told him which were the good new records, Dave would go out and buy them -- and then Ray could play them, and spend his own money on other things.  And it wasn't just pop music that the two of them were getting into, either. A defining moment of inspiration for both brothers came when a sixteen-minute documentary about Big Bill Broonzy's tour of Belgium, Low Light and Blue Smoke, was shown on the TV: [Excerpt: Big Bill Broonzy, "When Did You Leave Heaven?"] Like Broonzy's earlier appearances on Six-Five Special, that film had a big impact on a lot of British musicians -- you'll see clips from it both in the Beatles Anthology and in a 1980s South Bank Show documentary on Eric Clapton -- but it particularly affected Ray Davies for two reasons. The first was that Ray, more than most people of his generation, respected the older generation's taste in music, and his father approved of Broonzy, saying he sounded like a real man, not like those high-voiced girly-sounding pop singers. The other reason was that Broonzy's performance sounded authentic to him. He said later that he thought that Broonzy sounded like him -- even though Broonzy was Black and American, he sounded *working class* (and unlike many of his contemporaries, Ray Davies did have a working-class background, rather than being comparatively privileged like say John Lennon or Mick Jagger were). Soon Ray and Dave were playing together as a duo, while Ray was also performing with two other kids from school, Pete Quaife and John Start, as a trio. Ray brought them all together, and they became the Ray Davies Quartet -- though sometimes, if Pete or Dave rather than Ray got them the booking, they would be the Pete Quaife Quartet or the Dave Davies Quartet. The group mostly performed instrumentals, with Dave particularly enjoying playing "No Trespassing" by the Ventures: [Excerpt: The Ventures, "No Trespassing"] Both Ray and Dave would sing sometimes, with Ray taking mellower, rockabilly, songs, while Dave would sing Little Richard and Lightnin' Hopkins material, but at first they thought they needed a lead singer. They tried with a few different people, including another pupil from the school they all went to who sang with them at a couple of gigs, but John Start's mother thought the young lad's raspy voice was so awful she wouldn't let them use her house to rehearse, and Ray didn't like having another big ego in the group, so Rod Stewart soon went back to the Moontrekkers and left them with no lead singer. But that was far from the worst problem the Davies brothers had. When Dave was fifteen, he got his sixteen-year-old girlfriend Susan pregnant. The two were very much in love, and wanted to get married, but both children's parents were horrified at the idea, and so each set of parents told their child that the other had dumped them and never wanted to see them again. Both believed what they were told, and Dave didn't see his daughter for thirty years. The trauma of this separation permanently changed him, and you can find echoes of it throughout Dave's songwriting in the sixties. Ray and Pete, after leaving school, went on to Hornsey Art School, where coincidentally Rod Stewart had also moved on to the year before, though Stewart had dropped out after a few weeks after discovering he was colour-blind. Quaife also dropped out of art school relatively soon after enrolling -- he was kicked out for "Teddy Boy behaviour", but his main problem was that he didn't feel comfortable as a working-class lad mixing with Bohemian middle-class people.  Ray, on the other hand, was in his element. While Ray grew up on a council estate and was thoroughly working-class, he had always had a tendency to want to climb the social ladder, and he was delighted to be surrounded by people who were interested in art and music, though his particular love at the time was the cinema, and he would regularly go to the college film society's showings of films by people like Bergman, Kurosawa and Truffaut, or silent films by Eisenstein or Griffith, though he would complain about having to pay a whole shilling for entry. Davies also starred in some now-lost experimental films made by the person who ran the film society, and also started branching out into playing with other people. After a gig at the art college, where Alexis Korner had been supported by the young Rolling Stones, Davies went up to Korner and asked him for advice about moving on in the music world. Korner recommended he go and see Giorgio Gomelsky, the promoter and manager who had put on most of the Stones' early gigs, and Gomelsky got Davies an audition with a group called the Dave Hunt Rhythm and Blues Band. Tom McGuinness had been offered a job with them before he went on to Manfred Mann, but McGuinness thought that the Dave Hunt band were too close to trad for his tastes. Davies, on the other hand, was perfectly happy playing trad along with the blues, and for a while it looked like the Ray Davies Quartet were over, as Ray was getting more prestigious gigs with the Dave Hunt group. Ray would later recall that the Dave Hunt band's repertoire included things like the old Meade Lux Lewis boogie piece "Honky Tonk Train Blues", which they would play in the style of Bob Crosby's Bobcats: [Excerpt: Bob Crosby and the Bobcats, "Honky Tonk Train Blues"] But while the group were extremely good musicians -- their soprano saxophone player, Lol Coxhill, would later become one of the most respected sax players in Britain and was a big part of the Canterbury Scene in the seventies -- Ray eventually decided to throw his lot in with his brother. While Ray had been off learning from these jazz musicians, Dave, Pete, and John had continued rehearsing together, and occasionally performing whenever Ray was free to join them. The group had by now renamed themselves the Ramrods, after a track by Duane Eddy, who was the first rock and roll musician Ray and Dave had see live: [Excerpt: Duane Eddy, "Ramrod"] Dave had become a far more accomplished guitarist, now outshining his brother, and was also getting more into the London R&B scene. Ray later remembered that the thing that swung it for him was when Dave played him a record by Cyril Davies, "Country Line Special", which he thought of as a bridge between the kind of music he was playing with Dave Hunt and the kind of music he wanted to be playing, which he described as "Big Bill Broonzy with drums": [Excerpt: Cyril Davies, "Country Line Special"] That was, coincidentally, the first recording to feature the piano player Nicky Hopkins, who would later play a big part in the music Ray, Dave, and Pete would make.  But not John. Shortly after Ray got serious about the Ramrods -- who soon changed their name again to the Boll Weevils -- John Start decided it was time to grow up, get serious, give up the drums, and become a quantity surveyor. There were several factors in this decision, but a big one was that he simply didn't like Ray Davies, who he viewed as an unpleasant, troubled, person. Start was soon replaced by another drummer, Mickey Willett, and it was Willett who provided the connection that would change everything for the group. Willett was an experienced musician, who had contacts in the business, and so when a rich dilettante wannabe pop star named Robert Wace and his best friend and "manager" Grenville Collins were looking for a backing band for Wace, one of Willett's friends in the music business pointed them in the direction of the Boll Weevils.  Robert Wace offered the Boll Weevils a deal -- he could get them lucrative gigs playing at society functions for his rich friends, if they would allow him to do a couple of songs with them in the middle of the show. Wace even got Brian Epstein to come along and see a Boll Weevils rehearsal, but it wasn't exactly a success -- Mickey Willett had gone on holiday to Manchester that week, and the group were drummerless. Epstein said he was vaguely interested in signing Ray as a solo artist, but didn't want the group, and nothing further came of it. This is particularly odd because at the time Ray wasn't singing any solo leads. Robert Wace would sing his solo spot, Dave would take the lead vocals on most of the upbeat rockers, and Ray and Dave would sing unison leads on everything else. The group were soon favourites on the circuit of society balls, where their only real competition was Mike d'Abo's band A Band of Angels -- d'Abo had been to Harrow, and so was part of the upper class society in a way that the Boll Weevils weren't. However, the first time they tried to play a gig in front of an audience that weren't already friends of Wace, he was booed off stage. It became clear that there was no future for Robert Wace as a pop star, but there was a future for the Boll Weevils. They came to a deal -- Wace and Collins would manage the group, Collins would put in half his wages from his job as a stockbroker, and Wace and Collins would get fifty percent of the group's earnings. Wace and Collins funded the group recording a demo. They recorded two songs, the old Coasters song "I'm A Hog For You Baby": [Excerpt: The Boll Weevils, "I'm A Hog For You Baby"] and a Merseybeat pastiche written by Dave Davies, "I Believed You": [Excerpt: The Ravens, "I Believed You"] It shows how up in the air everything was that those tracks have since been released under two names -- at some point around the time of the recording session, the Boll Weevils changed their name yet again, to The Ravens, naming themselves after the recent film, starring Vincent Price, based on the Edgar Allen Poe poem. This lineup of the Ravens wasn't to last too long, though. Mickey Willett started to get suspicious about what was happening to all of the money, and became essentially the group's self-appointed shop steward, getting into constant rows with the management. Willett soon found himself edged out of the group by Wace and Collins, and the Ravens continued with a temporary drummer until they could find a permanent replacement. Wace and Collins started to realise that neither of them knew much about the music business, though, and so they turned elsewhere for help with managing the group. The person they turned to was Larry Page. This is not the Larry Page who would later co-found Google, rather he was someone who had had a brief career as an attempt at producing a British teen idol under the name "Larry Page, the Teenage Rage" -- a career that was somewhat sabotaged by his inability to sing, and by his producer's insistence that it would be a good idea to record this, as the original was so bad it would never be a hit in the UK: [Excerpt: Larry Page, "That'll be the Day"] After his career in music had come to an ignominious end, Page had briefly tried working in other fields, before going into management. He'd teamed up with Eddie Kassner, an Austrian songwriter who had written for Vera Lynn before going into publishing. Kassner had had the unbelievable fortune to buy the publishing rights for "Rock Around the Clock" for two hundred and fifty dollars, and had become incredibly rich, with offices in both London and New York.  Page and Kassner had entered into a complicated business arrangement by which Kassner got a percentage of Page's management income, Kassner would give Page's acts songs, and any song Page's acts wrote would be published by Kassner.  Kassner and Page had a third partner in their complicated arrangements -- independent producer Shel Talmy. Talmy had started out as an engineer in Los Angeles, and had come over to the UK for a few weeks in 1962 on holiday, and thought that while he was there he might as well see if he could get some work. Talmy was a good friend of Nik Venet, and Venet gave him a stack of acetates of recent Capitol records that he'd produced, and told him that he could pretend to have produced them if it got him work. Talmy took an acetate of "Surfin' Safari" by the Beach Boys, and one of "Music in the Air" by Lou Rawls, into Dick Rowe's office and told Rowe he had produced them. Sources differ over whether Rowe actually believed him, or if he just wanted anyone who had any experience of American recording studio techniques, but either way Rowe hired him to produce records for Decca as an independent contractor, and Talmy started producing hits like "Charmaine" by the Bachelors: [Excerpt: The Bachelors, "Charmaine"] Page, Kassner, Talmy, and Rowe all worked hand in glove with each other, with Page managing artists, Kassner publishing the songs they recorded, Talmy producing them and Rowe signing them to his record label. And so by contacting Page, Wace and Collins were getting in touch with a team that could pretty much guarantee the Ravens a record deal. They cut Page in on the management, signed Ray and Dave as songwriters for Kassner, and got Talmy to agree to produce the group. The only fly in the ointment was that Rowe, showing the same judgement he had shown over the Beatles, turned down the opportunity to sign the Ravens to Decca. They had already been turned down by EMI, and Phillips also turned them down, which meant that by default they ended up recording for Pye records, the same label as the Searchers. Around the time they signed to Pye, they also changed their name yet again, this time to the name that they would keep for the rest of their careers. In the wake of the Profumo sex scandal, and the rumours that went around as a result of it, including that a Cabinet minister had attended orgies as a slave with a sign round his neck saying to whip him if he displeased the guests, there started to be a public acknowledgement of the concept of BDSM, and "kinky" had become the buzzword of the day, with the fashionable boots worn by the leather-clad Honor Blackman in the TV show The Avengers being publicised as "kinky boots". Blackman and her co-star Patrick MacNee even put out a novelty single, "Kinky Boots", in February 1964: [Excerpt: Patrick MacNee and Honor Blackman, "Kinky Boots"] Page decided that this was too good an opportunity to miss, and that especially given the camp demeanour of both Dave Davies and Pete Quaife it would make sense to call the group "the Kinks", as a name that would generate plenty of outrage but was still just about broadcastable. None of the group liked the name, but they all went along with it, and so Ray, Dave, and Pete were now The Kinks. The ever-increasing team of people around them increased by one more when a promoter and booking agent got involved. Arthur Howes was chosen to be in charge of the newly-named Kinks' bookings primarily because he booked all the Beatles' gigs, and Wade and Collins wanted as much of the Beatles' reflected glory as they could get. Howes started booking the group in for major performances, and Ray finally quit art school -- though he still didn't think that he was going to have a huge amount of success as a pop star. He did, though, think that if he was lucky he could make enough money from six months of being a full time pop musician that he could move to Spain and take guitar lessons from Segovia. Pye had signed the Kinks to a three-single deal,  and Arthur Howes was the one who suggested what became their first single. Howes was in Paris with the Beatles in January 1964, and he noticed that one of the songs that was getting the biggest reaction was their cover version of Little Richard's "Long Tall Sally", and that they hadn't yet recorded the song. He phoned Page from Paris, at enormous expense, and told him to get the Kinks into the studio and record the song straight away, because it was bound to be a hit for someone. The group worked up a version with Ray on lead, and recorded it three days later: [Excerpt: The Kinks, "Long Tall Sally"] Ray later recollected that someone at the studio had said to him "Congratulations, you just made a flop", and they were correct -- the Kinks' version had none of the power of Little Richard's original or of the Beatles' version, and only scraped its way to number forty-two on the charts. As they had no permanent drummer, for that record, and for the next few they made, the Kinks were augmented by Bobby Graham, who had played for Joe Meek as one of Mike Berry and the Outlaws before becoming one of the two main on-call session drummers in the UK, along with fellow Meek alumnus Clem Cattini. Graham is now best known for having done all the drumming credited to Dave Clark on records by the Dave Clark Five such as "Bits and Pieces": [Excerpt: The Dave Clark Five, "Bits and Pieces"] It's also been reported by various people, notably Shel Talmy, that the session guitarist Jimmy Page played Ray Davies' rhythm parts for him on most of the group's early recordings, although other sources dispute that, including Ray himself who insists that he played the parts. What's definitely not in doubt is that Dave Davies played all the lead guitar. However, the group needed a full-time drummer. Dave Davies wanted to get his friend Viv Prince, the drummer of the Pretty Things, into the group, but when Prince wasn't available they turned instead to Mick Avory, who they found through an ad in the Melody Maker. Avory had actually been a member of the Rolling Stones for a very brief period, but had decided he didn't want to be a full-time drummer, and had quit before they got Charlie Watts in.  Avory was chosen by Ray and the management team, and Dave Davies took an instant dislike to him, partly because Ray liked Avory, but accepted that he was the best drummer available.  Avory wouldn't play on the next few records -- Talmy liked to use musicians he knew, and Avory was a bit of an unknown quantity -- but he was available for the group's first big tour, playing on the bottom of the bill with the Dave Clark Five and the Hollies further up, and their first TV appearance, on Ready Steady Go. That tour saw the group getting a little bit of notice, but mostly being dismissed as being a clone of the Rolling Stones, because like the Stones they were relying on the same set of R&B standards that all the London R&B bands played, and the Stones were the most obvious point of reference for that kind of music for most people. Arthur Howes eventually sent someone up to work on the Kinks' stage act with them, and to get them into a more showbiz shape, but the person in question didn't get very far before Graham Nash of the Hollies ordered him to leave the Kinks alone, saying they were "OK as they are". Meanwhile, Larry Page was working with both Ray and Dave as potential songwriters, and using their songs for other acts in the Page/Kassner/Talmy stable of artists. With Talmy producing, Shel Naylor recorded Dave's "One Fine Day", a song which its writer dismisses as a throwaway but is actually quite catchy: [Excerpt: Shel Naylor, "One Fine Day"] And Talmy also recorded a girl group called The Orchids, singing Ray's "I've Got That Feeling": [Excerpt: The Orchids, "I've Got That Feeling"] Page also co-wrote a couple of instrumentals with Ray, who was the brother who was more eager to learn the craft of songwriting -- at this point, Dave seemed to find it something of a chore. Page saw it as his job at this point to teach the brothers how to write -- he had a whole set of ideas about what made for a hit song, and chief among them was that it had to make a connection between the singer and the audience. He told the brothers that they needed to write songs with the words "I", "Me", and "You" in the title, and repeat those words as much as possible.  This was something that Ray did on the song that became the group's next single, "You Still Want Me", a Merseybeat pastiche that didn't even do as well as the group's first record: [Excerpt: The Kinks, "You Still Want Me"] The group were now in trouble. They'd had two flop singles in a row, on a three-single contract. It seemed entirely likely that the label would drop them after the next single. Luckily for them, they had a song that they knew was a winner. Ray had come up with the basic melody for "You Really Got Me" many years earlier. The song had gone through many changes over the years, and had apparently started off as a jazz piano piece inspired by Gerry Mulligan's performance in the classic documentary Jazz On A Summer's Day: [Excerpt: Gerry Mulligan, "As Catch Can"] From there it had apparently mutated first into a Chet Atkins style guitar instrumental and then into a piece in the style of Mose Allison, the jazz and R&B singer who was a huge influence on the more Mod end of the British R&B scene with records like "Parchman Farm": [Excerpt: Mose Allison, "Parchman Farm"] Through all of this, the basic melody had remained  the same, as had the two chords that underpinned the whole thing. But the song's final form was shaped to a large extent by the advice of Larry Page. As well as the "you" and "me" based lyrics, Page had also advised Ray that as he wasn't a great singer at this point, what the group needed to do was to concentrate on riffs. In particular, he'd pointed Ray to "Louie Louie" by the Kingsmen, which had recently been released in the UK on Pye, the same label the Kinks were signed to, and told him to do something like that: [Excerpt: The Kingsmen, "Louie Louie"] Ray was instantly inspired by "Louie Louie", which the Kinks quickly added to their own set, and he retooled his old melody in its image, coming up with a riff to go under it. It seems also to have been Page who made one minor change to the lyric of the song. Where Ray had started the song with the line "Yeah, you really got me going," Page suggested that instead he sing "Girl, you really got me going", partly to increase that sense of connection with the audience again, partly to add a tiny bit of variety to the repetitive lyrics, but also partly because the group's sexuality was already coming in for some question -- Dave Davies is bisexual, and Ray has always been keen to play around with notions of gender and sexuality. Starting with the word "girl" might help reassure people about that somewhat. But the final touch that turned it into one of the great classics came from Dave, rather than Ray. Dave had been frustrated with the sound he was getting from his amplifier, and had slashed the cone with a knife. He then fed the sound from that slashed amp through his new, larger, amp, to get a distorted, fuzzy, sound which was almost unknown in Britain at the time. We've heard examples of fuzz guitar before in this series, of course -- on "Rocket '88", and on some of the Johnny Burnette Rock 'n' Roll Trio records, and most recently last week on Ellie Greenwich's demo of "Do-Wah-Diddy", but those had been odd one-offs. Dave Davies' reinvention of the sound seems to be the point where it becomes a standard part of the rock guitar toolbox -- but it's very rarely been done as well as it was on "You Really Got Me": [Excerpt: The Kinks, "You Really Got Me"] But that introduction, and the classic record that followed, nearly never happened. The original recording of "You Really Got Me" has been lost, but it was apparently very different. Ray and Dave Davies have said that Shel Talmy overproduced it, turning it into a Phil Spector soundalike, and drenched the whole thing with echo. Talmy, for his part, says that that's not the case -- that the main difference was that the song was taken much slower, and that it was a very different but equally valid take on the song.  Ray, in particular, was devastated by the result, and didn't want it released. Pye were insistent -- they had a contract, and they were going to put this record out whatever the performers said. But luckily the group's management had faith in their singer's vision. Larry Page insisted that as he and Kassner owned the publishing, the record couldn't come out in the state it was in, and Robert Wace paid for a new recording session out of his own pocket. The group, plus Bobby Graham, piano player Arthur Greenslade, and Talmy, went back into the studio. The first take of the new session was a dud, and Ray worried that Talmy would end the session then and there, but he allowed them to do a second take. And that second take was extraordinary. Going into the solo, Ray yelled "Oh no!" with excitement, looking over at Dave, and became convinced that he'd distracted Dave at the crucial moment. Instead, he delivered one of the defining solos of the rock genre: [Excerpt: The Kinks, "You Really Got Me"] "You Really Got Me" was released on the fourth of August 1964, and became a smash hit, reaching number one in September. It was also released in the US, and made the top ten over there. The Kinks were suddenly huge, and Pye Records quickly exercised their option -- so quickly, that the group needed to get an album recorded by the end of August. The resulting album is, as one might expect, a patchy affair, made up mostly of poor R&B covers, but there were some interesting moments, and one song from the album in particular, "Stop Your Sobbing", showed a giant leap forward in Ray's songwriting: [Excerpt: The Kinks, "Stop Your Sobbing"] There may be a reason for that. "Stop Your Sobbing" features backing vocals by someone new to the Kinks' circle, Ray's new girlfriend Rasa Didzpetris, who would become a regular feature on the group's records for the next decade. And when we next look at the Kinks, we'll see some of the influence she had on the group.

Episode one hundred and nineteen of A History of Rock Music in Five Hundred Songs looks at “You Really Got Me” by the Kinks, and the song that first took distorted guitar to number one. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “G.T.O.” by Ronny and the Daytonas. 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/ —-more—- Resources As usual, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. I’ve used several resources for this and future episodes on the Kinks, most notably Ray Davies: A Complicated Life by Johnny Rogan and You Really Got Me by Nick Hasted. X-Ray by Ray Davies is a remarkable autobiography with a framing story set in a dystopian science-fiction future, while Kink by Dave Davies is more revealing but less well-written. The Anthology 1964-1971 is a great box set that covers the Kinks’ Pye years, which overlap almost exactly with their period of greatest creativity. For those who don’t want a full box set, this two-CD set covers all the big hits. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we’re going to look at a record that has often been called “the first heavy metal record”, one that introduced records dominated by heavy, distorted, guitar riffs to the top of the UK charts. We’re going to look at the first singles by a group who would become second only to the Beatles among British groups in terms of the creativity of their recordings during the sixties, but who were always sabotaged by a record label more interested in short-term chart success than in artist development. We’re going to look at the Kinks, and at “You Really Got Me”: [Excerpt: The Kinks, “You Really Got Me”] The story of the Kinks starts with two brothers, Ray and Dave Davies, the seventh and eighth children of a family that had previously had six girls in a row, most of them much older — their oldest sister was twenty when Ray was born, and Dave was three years younger than Ray. The two brothers always had a difficult relationship, partly because of their diametrically opposed personalities. Ray was introverted, thoughtful, and notoriously selfish, while Dave was outgoing in the extreme, but also had an aggressive side to his nature. Ray, as someone who had previously been the youngest child and only boy, resented his younger brother coming along and taking the attention he saw as his by right, while Dave always looked up to his older brother but never really got to know him. Ray was always a quiet child, but he became more so after the event that was to alter the lives of the whole family in multiple ways forever. Rene, the second-oldest of his sisters, had been in an unhappy marriage and living in Canada with her husband, but moved back to the UK shortly before Ray’s thirteenth birthday. Ray had been unsuccessfully pestering his parents to buy him a guitar for nearly a year, since Elvis had started to become popular, and on the night before his birthday, Rene gave him one as his birthday present. She then went out to a dance hall. She did this even though she’d had rheumatic fever as a child, which had given her a heart condition. The doctors had advised her to avoid all forms of exercise, but she loved dancing too much to give it up for anyone. She died that night, aged only thirty-one, and the last time Ray ever saw his sister was when she was giving him his guitar. For the next year, Ray was even more introverted than normal, to the point that he ended up actually seeing a child psychologist, which for a working-class child in the 1950s was something that was as far from the normal experience as it’s possible to imagine. But even more than that, he became convinced that he was intended by fate to play the guitar. He started playing seriously, not just the pop songs of the time, though there were plenty of those, but also trying to emulate Chet Atkins. Pete Quaife would later recall that when they first played guitar together at school, while Quaife could do a passable imitation of Hank Marvin playing “Apache”, Davies could do a note-perfect rendition of Atkins’ version of “Malaguena”: [Excerpt: Chet Atkins, “Malaguena”] Ray’s newfound obsession with music also drew him closer to his younger brother, though there was something of a cynical motive in this closeness. Both boys got pocket money from their parents, but Dave looked up to his older brother and valued his opinion, so if Ray told him which were the good new records, Dave would go out and buy them — and then Ray could play them, and spend his own money on other things. And it wasn’t just pop music that the two of them were getting into, either. A defining moment of inspiration for both brothers came when a sixteen-minute documentary about Big Bill Broonzy’s tour of Belgium, Low Light and Blue Smoke, was shown on the TV: [Excerpt: Big Bill Broonzy, “When Did You Leave Heaven?”] Like Broonzy’s earlier appearances on Six-Five Special, that film had a big impact on a lot of British musicians — you’ll see clips from it both in the Beatles Anthology and in a 1980s South Bank Show documentary on Eric Clapton — but it particularly affected Ray Davies for two reasons. The first was that Ray, more than most people of his generation, respected the older generation’s taste in music, and his father approved of Broonzy, saying he sounded like a real man, not like those high-voiced girly-sounding pop singers. The other reason was that Broonzy’s performance sounded authentic to him. He said later that he thought that Broonzy sounded like him — even though Broonzy was Black and American, he sounded *working class* (and unlike many of his contemporaries, Ray Davies did have a working-class background, rather than being comparatively privileged like say John Lennon or Mick Jagger were). Soon Ray and Dave were playing together as a duo, while Ray was also performing with two other kids from school, Pete Quaife and John Start, as a trio. Ray brought them all together, and they became the Ray Davies Quartet — though sometimes, if Pete or Dave rather than Ray got them the booking, they would be the Pete Quaife Quartet or the Dave Davies Quartet. The group mostly performed instrumentals, with Dave particularly enjoying playing “No Trespassing” by the Ventures: [Excerpt: The Ventures, “No Trespassing”] Both Ray and Dave would sing sometimes, with Ray taking mellower, rockabilly, songs, while Dave would sing Little Richard and Lightnin’ Hopkins material, but at first they thought they needed a lead singer. They tried with a few different people, including another pupil from the school they all went to who sang with them at a couple of gigs, but John Start’s mother thought the young lad’s raspy voice was so awful she wouldn’t let them use her house to rehearse, and Ray didn’t like having another big ego in the group, so Rod Stewart soon went back to the Moontrekkers and left them with no lead singer. But that was far from the worst problem the Davies brothers had. When Dave was fifteen, he got his sixteen-year-old girlfriend Susan pregnant. The two were very much in love, and wanted to get married, but both children’s parents were horrified at the idea, and so each set of parents told their child that the other had dumped them and never wanted to see them again. Both believed what they were told, and Dave didn’t see his daughter for thirty years. The trauma of this separation permanently changed him, and you can find echoes of it throughout Dave’s songwriting in the sixties. Ray and Pete, after leaving school, went on to Hornsey Art School, where coincidentally Rod Stewart had also moved on to the year before, though Stewart had dropped out after a few weeks after discovering he was colour-blind. Quaife also dropped out of art school relatively soon after enrolling — he was kicked out for “Teddy Boy behaviour”, but his main problem was that he didn’t feel comfortable as a working-class lad mixing with Bohemian middle-class people. Ray, on the other hand, was in his element. While Ray grew up on a council estate and was thoroughly working-class, he had always had a tendency to want to climb the social ladder, and he was delighted to be surrounded by people who were interested in art and music, though his particular love at the time was the cinema, and he would regularly go to the college film society’s showings of films by people like Bergman, Kurosawa and Truffaut, or silent films by Eisenstein or Griffith, though he would complain about having to pay a whole shilling for entry. Davies also starred in some now-lost experimental films made by the person who ran the film society, and also started branching out into playing with other people. After a gig at the art college, where Alexis Korner had been supported by the young Rolling Stones, Davies went up to Korner and asked him for advice about moving on in the music world. Korner recommended he go and see Giorgio Gomelsky, the promoter and manager who had put on most of the Stones’ early gigs, and Gomelsky got Davies an audition with a group called the Dave Hunt Rhythm and Blues Band. Tom McGuinness had been offered a job with them before he went on to Manfred Mann, but McGuinness thought that the Dave Hunt band were too close to trad for his tastes. Davies, on the other hand, was perfectly happy playing trad along with the blues, and for a while it looked like the Ray Davies Quartet were over, as Ray was getting more prestigious gigs with the Dave Hunt group. Ray would later recall that the Dave Hunt band’s repertoire included things like the old Meade Lux Lewis boogie piece “Honky Tonk Train Blues”, which they would play in the style of Bob Crosby’s Bobcats: [Excerpt: Bob Crosby and the Bobcats, “Honky Tonk Train Blues”] But while the group were extremely good musicians — their soprano saxophone player, Lol Coxhill, would later become one of the most respected sax players in Britain and was a big part of the Canterbury Scene in the seventies — Ray eventually decided to throw his lot in with his brother. While Ray had been off learning from these jazz musicians, Dave, Pete, and John had continued rehearsing together, and occasionally performing whenever Ray was free to join them. The group had by now renamed themselves the Ramrods, after a track by Duane Eddy, who was the first rock and roll musician Ray and Dave had see live: [Excerpt: Duane Eddy, “Ramrod”] Dave had become a far more accomplished guitarist, now outshining his brother, and was also getting more into the London R&B scene. Ray later remembered that the thing that swung it for him was when Dave played him a record by Cyril Davies, “Country Line Special”, which he thought of as a bridge between the kind of music he was playing with Dave Hunt and the kind of music he wanted to be playing, which he described as “Big Bill Broonzy with drums”: [Excerpt: Cyril Davies, “Country Line Special”] That was, coincidentally, the first recording to feature the piano player Nicky Hopkins, who would later play a big part in the music Ray, Dave, and Pete would make. But not John. Shortly after Ray got serious about the Ramrods — who soon changed their name again to the Boll Weevils — John Start decided it was time to grow up, get serious, give up the drums, and become a quantity surveyor. There were several factors in this decision, but a big one was that he simply didn’t like Ray Davies, who he viewed as an unpleasant, troubled, person. Start was soon replaced by another drummer, Mickey Willett, and it was Willett who provided the connection that would change everything for the group. Willett was an experienced musician, who had contacts in the business, and so when a rich dilettante wannabe pop star named Robert Wace and his best friend and “manager” Grenville Collins were looking for a backing band for Wace, one of Willett’s friends in the music business pointed them in the direction of the Boll Weevils. Robert Wace offered the Boll Weevils a deal — he could get them lucrative gigs playing at society functions for his rich friends, if they would allow him to do a couple of songs with them in the middle of the show. Wace even got Brian Epstein to come along and see a Boll Weevils rehearsal, but it wasn’t exactly a success — Mickey Willett had gone on holiday to Manchester that week, and the group were drummerless. Epstein said he was vaguely interested in signing Ray as a solo artist, but didn’t want the group, and nothing further came of it. This is particularly odd because at the time Ray wasn’t singing any solo leads. Robert Wace would sing his solo spot, Dave would take the lead vocals on most of the upbeat rockers, and Ray and Dave would sing unison leads on everything else. The group were soon favourites on the circuit of society balls, where their only real competition was Mike d’Abo’s band A Band of Angels — d’Abo had been to Harrow, and so was part of the upper class society in a way that the Boll Weevils weren’t. However, the first time they tried to play a gig in front of an audience that weren’t already friends of Wace, he was booed off stage. It became clear that there was no future for Robert Wace as a pop star, but there was a future for the Boll Weevils. They came to a deal — Wace and Collins would manage the group, Collins would put in half his wages from his job as a stockbroker, and Wace and Collins would get fifty percent of the group’s earnings. Wace and Collins funded the group recording a demo. They recorded two songs, the old Coasters song “I’m A Hog For You Baby”: [Excerpt: The Boll Weevils, “I’m A Hog For You Baby”] and a Merseybeat pastiche written by Dave Davies, “I Believed You”: [Excerpt: The Ravens, “I Believed You”] It shows how up in the air everything was that those tracks have since been released under two names — at some point around the time of the recording session, the Boll Weevils changed their name yet again, to The Ravens, naming themselves after the recent film, starring Vincent Price, based on the Edgar Allen Poe poem. This lineup of the Ravens wasn’t to last too long, though. Mickey Willett started to get suspicious about what was happening to all of the money, and became essentially the group’s self-appointed shop steward, getting into constant rows with the management. Willett soon found himself edged out of the group by Wace and Collins, and the Ravens continued with a temporary drummer until they could find a permanent replacement. Wace and Collins started to realise that neither of them knew much about the music business, though, and so they turned elsewhere for help with managing the group. The person they turned to was Larry Page. This is not the Larry Page who would later co-found Google, rather he was someone who had had a brief career as an attempt at producing a British teen idol under the name “Larry Page, the Teenage Rage” — a career that was somewhat sabotaged by his inability to sing, and by his producer’s insistence that it would be a good idea to record this, as the original was so bad it would never be a hit in the UK: [Excerpt: Larry Page, “That’ll be the Day”] After his career in music had come to an ignominious end, Page had briefly tried working in other fields, before going into management. He’d teamed up with Eddie Kassner, an Austrian songwriter who had written for Vera Lynn before going into publishing. Kassner had had the unbelievable fortune to buy the publishing rights for “Rock Around the Clock” for two hundred and fifty dollars, and had become incredibly rich, with offices in both London and New York. Page and Kassner had entered into a complicated business arrangement by which Kassner got a percentage of Page’s management income, Kassner would give Page’s acts songs, and any song Page’s acts wrote would be published by Kassner. Kassner and Page had a third partner in their complicated arrangements — independent producer Shel Talmy. Talmy had started out as an engineer in Los Angeles, and had come over to the UK for a few weeks in 1962 on holiday, and thought that while he was there he might as well see if he could get some work. Talmy was a good friend of Nik Venet, and Venet gave him a stack of acetates of recent Capitol records that he’d produced, and told him that he could pretend to have produced them if it got him work. Talmy took an acetate of “Surfin’ Safari” by the Beach Boys, and one of “Music in the Air” by Lou Rawls, into Dick Rowe’s office and told Rowe he had produced them. Sources differ over whether Rowe actually believed him, or if he just wanted anyone who had any experience of American recording studio techniques, but either way Rowe hired him to produce records for Decca as an independent contractor, and Talmy started producing hits like “Charmaine” by the Bachelors: [Excerpt: The Bachelors, “Charmaine”] Page, Kassner, Talmy, and Rowe all worked hand in glove with each other, with Page managing artists, Kassner publishing the songs they recorded, Talmy producing them and Rowe signing them to his record label. And so by contacting Page, Wace and Collins were getting in touch with a team that could pretty much guarantee the Ravens a record deal. They cut Page in on the management, signed Ray and Dave as songwriters for Kassner, and got Talmy to agree to produce the group. The only fly in the ointment was that Rowe, showing the same judgement he had shown over the Beatles, turned down the opportunity to sign the Ravens to Decca. They had already been turned down by EMI, and Phillips also turned them down, which meant that by default they ended up recording for Pye records, the same label as the Searchers. Around the time they signed to Pye, they also changed their name yet again, this time to the name that they would keep for the rest of their careers. In the wake of the Profumo sex scandal, and the rumours that went around as a result of it, including that a Cabinet minister had attended orgies as a slave with a sign round his neck saying to whip him if he displeased the guests, there started to be a public acknowledgement of the concept of BDSM, and “kinky” had become the buzzword of the day, with the fashionable boots worn by the leather-clad Honor Blackman in the TV show The Avengers being publicised as “kinky boots”. Blackman and her co-star Patrick MacNee even put out a novelty single, “Kinky Boots”, in February 1964: [Excerpt: Patrick MacNee and Honor Blackman, “Kinky Boots”] Page decided that this was too good an opportunity to miss, and that especially given the camp demeanour of both Dave Davies and Pete Quaife it would make sense to call the group “the Kinks”, as a name that would generate plenty of outrage but was still just about broadcastable. None of the group liked the name, but they all went along with it, and so Ray, Dave, and Pete were now The Kinks. The ever-increasing team of people around them increased by one more when a promoter and booking agent got involved. Arthur Howes was chosen to be in charge of the newly-named Kinks’ bookings primarily because he booked all the Beatles’ gigs, and Wade and Collins wanted as much of the Beatles’ reflected glory as they could get. Howes started booking the group in for major performances, and Ray finally quit art school — though he still didn’t think that he was going to have a huge amount of success as a pop star. He did, though, think that if he was lucky he could make enough money from six months of being a full time pop musician that he could move to Spain and take guitar lessons from Segovia. Pye had signed the Kinks to a three-single deal, and Arthur Howes was the one who suggested what became their first single. Howes was in Paris with the Beatles in January 1964, and he noticed that one of the songs that was getting the biggest reaction was their cover version of Little Richard’s “Long Tall Sally”, and that they hadn’t yet recorded the song. He phoned Page from Paris, at enormous expense, and told him to get the Kinks into the studio and record the song straight away, because it was bound to be a hit for someone. The group worked up a version with Ray on lead, and recorded it three days later: [Excerpt: The Kinks, “Long Tall Sally”] Ray later recollected that someone at the studio had said to him “Congratulations, you just made a flop”, and they were correct — the Kinks’ version had none of the power of Little Richard’s original or of the Beatles’ version, and only scraped its way to number forty-two on the charts. As they had no permanent drummer, for that record, and for the next few they made, the Kinks were augmented by Bobby Graham, who had played for Joe Meek as one of Mike Berry and the Outlaws before becoming one of the two main on-call session drummers in the UK, along with fellow Meek alumnus Clem Cattini. Graham is now best known for having done all the drumming credited to Dave Clark on records by the Dave Clark Five such as “Bits and Pieces”: [Excerpt: The Dave Clark Five, “Bits and Pieces”] It’s also been reported by various people, notably Shel Talmy, that the session guitarist Jimmy Page played Ray Davies’ rhythm parts for him on most of the group’s early recordings, although other sources dispute that, including Ray himself who insists that he played the parts. What’s definitely not in doubt is that Dave Davies played all the lead guitar. However, the group needed a full-time drummer. Dave Davies wanted to get his friend Viv Prince, the drummer of the Pretty Things, into the group, but when Prince wasn’t available they turned instead to Mick Avory, who they found through an ad in the Melody Maker. Avory had actually been a member of the Rolling Stones for a very brief period, but had decided he didn’t want to be a full-time drummer, and had quit before they got Charlie Watts in. Avory was chosen by Ray and the management team, and Dave Davies took an instant dislike to him, partly because Ray liked Avory, but accepted that he was the best drummer available. Avory wouldn’t play on the next few records — Talmy liked to use musicians he knew, and Avory was a bit of an unknown quantity — but he was available for the group’s first big tour, playing on the bottom of the bill with the Dave Clark Five and the Hollies further up, and their first TV appearance, on Ready Steady Go. That tour saw the group getting a little bit of notice, but mostly being dismissed as being a clone of the Rolling Stones, because like the Stones they were relying on the same set of R&B standards that all the London R&B bands played, and the Stones were the most obvious point of reference for that kind of music for most people. Arthur Howes eventually sent someone up to work on the Kinks’ stage act with them, and to get them into a more showbiz shape, but the person in question didn’t get very far before Graham Nash of the Hollies ordered him to leave the Kinks alone, saying they were “OK as they are”. Meanwhile, Larry Page was working with both Ray and Dave as potential songwriters, and using their songs for other acts in the Page/Kassner/Talmy stable of artists. With Talmy producing, Shel Naylor recorded Dave’s “One Fine Day”, a song which its writer dismisses as a throwaway but is actually quite catchy: [Excerpt: Shel Naylor, “One Fine Day”] And Talmy also recorded a girl group called The Orchids, singing Ray’s “I’ve Got That Feeling”: [Excerpt: The Orchids, “I’ve Got That Feeling”] Page also co-wrote a couple of instrumentals with Ray, who was the brother who was more eager to learn the craft of songwriting — at this point, Dave seemed to find it something of a chore. Page saw it as his job at this point to teach the brothers how to write — he had a whole set of ideas about what made for a hit song, and chief among them was that it had to make a connection between the singer and the audience. He told the brothers that they needed to write songs with the words “I”, “Me”, and “You” in the title, and repeat those words as much as possible. This was something that Ray did on the song that became the group’s next single, “You Still Want Me”, a Merseybeat pastiche that didn’t even do as well as the group’s first record: [Excerpt: The Kinks, “You Still Want Me”] The group were now in trouble. They’d had two flop singles in a row, on a three-single contract. It seemed entirely likely that the label would drop them after the next single. Luckily for them, they had a song that they knew was a winner. Ray had come up with the basic melody for “You Really Got Me” many years earlier. The song had gone through many changes over the years, and had apparently started off as a jazz piano piece inspired by Gerry Mulligan’s performance in the classic documentary Jazz On A Summer’s Day: [Excerpt: Gerry Mulligan, “As Catch Can”] From there it had apparently mutated first into a Chet Atkins style guitar instrumental and then into a piece in the style of Mose Allison, the jazz and R&B singer who was a huge influence on the more Mod end of the British R&B scene with records like “Parchman Farm”: [Excerpt: Mose Allison, “Parchman Farm”] Through all of this, the basic melody had remained the same, as had the two chords that underpinned the whole thing. But the song’s final form was shaped to a large extent by the advice of Larry Page. As well as the “you” and “me” based lyrics, Page had also advised Ray that as he wasn’t a great singer at this point, what the group needed to do was to concentrate on riffs. In particular, he’d pointed Ray to “Louie Louie” by the Kingsmen, which had recently been released in the UK on Pye, the same label the Kinks were signed to, and told him to do something like that: [Excerpt: The Kingsmen, “Louie Louie”] Ray was instantly inspired by “Louie Louie”, which the Kinks quickly added to their own set, and he retooled his old melody in its image, coming up with a riff to go under it. It seems also to have been Page who made one minor change to the lyric of the song. Where Ray had started the song with the line “Yeah, you really got me going,” Page suggested that instead he sing “Girl, you really got me going”, partly to increase that sense of connection with the audience again, partly to add a tiny bit of variety to the repetitive lyrics, but also partly because the group’s sexuality was already coming in for some question — Dave Davies is bisexual, and Ray has always been keen to play around with notions of gender and sexuality. Starting with the word “girl” might help reassure people about that somewhat. But the final touch that turned it into one of the great classics came from Dave, rather than Ray. Dave had been frustrated with the sound he was getting from his amplifier, and had slashed the cone with a knife. He then fed the sound from that slashed amp through his new, larger, amp, to get a distorted, fuzzy, sound which was almost unknown in Britain at the time. We’ve heard examples of fuzz guitar before in this series, of course — on “Rocket ’88”, and on some of the Johnny Burnette Rock ‘n’ Roll Trio records, and most recently last week on Ellie Greenwich’s demo of “Do-Wah-Diddy”, but those had been odd one-offs. Dave Davies’ reinvention of the sound seems to be the point where it becomes a standard part of the rock guitar toolbox — but it’s very rarely been done as well as it was on “You Really Got Me”: [Excerpt: The Kinks, “You Really Got Me”] But that introduction, and the classic record that followed, nearly never happened. The original recording of “You Really Got Me” has been lost, but it was apparently very different. Ray and Dave Davies have said that Shel Talmy overproduced it, turning it into a Phil Spector soundalike, and drenched the whole thing with echo. Talmy, for his part, says that that’s not the case — that the main difference was that the song was taken much slower, and that it was a very different but equally valid take on the song. Ray, in particular, was devastated by the result, and didn’t want it released. Pye were insistent — they had a contract, and they were going to put this record out whatever the performers said. But luckily the group’s management had faith in their singer’s vision. Larry Page insisted that as he and Kassner owned the publishing, the record couldn’t come out in the state it was in, and Robert Wace paid for a new recording session out of his own pocket. The group, plus Bobby Graham, piano player Arthur Greenslade, and Talmy, went back into the studio. The first take of the new session was a dud, and Ray worried that Talmy would end the session then and there, but he allowed them to do a second take. And that second take was extraordinary. Going into the solo, Ray yelled “Oh no!” with excitement, looking over at Dave, and became convinced that he’d distracted Dave at the crucial moment. Instead, he delivered one of the defining solos of the rock genre: [Excerpt: The Kinks, “You Really Got Me”] “You Really Got Me” was released on the fourth of August 1964, and became a smash hit, reaching number one in September. It was also released in the US, and made the top ten over there. The Kinks were suddenly huge, and Pye Records quickly exercised their option — so quickly, that the group needed to get an album recorded by the end of August. The resulting album is, as one might expect, a patchy affair, made up mostly of poor R&B covers, but there were some interesting moments, and one song from the album in particular, “Stop Your Sobbing”, showed a giant leap forward in Ray’s songwriting: [Excerpt: The Kinks, “Stop Your Sobbing”] There may be a reason for that. “Stop Your Sobbing” features backing vocals by someone new to the Kinks’ circle, Ray’s new girlfriend Rasa Didzpetris, who would become a regular feature on the group’s records for the next decade. And when we next look at the Kinks, we’ll see some of the influence she had on the group.

Charles Skaggs & Xan Sprouse watch Goldfinger, the 1964 James Bond series espionage film directed by Guy Hamilton and featuring Sean Connery as James Bond, Honor Blackman as Pussy Galore, Gert Fröbe as Auric Goldfinger, and Harold Sakata as Oddjob! Find us here:Twitter:  @DrunkCinemaCast, @CharlesSkaggs, @udanax19 Facebook:  @DrunkCinema Email:  DrunkCinemaPodcast@gmail.com Listen and subscribe to us on Apple Podcasts and leave us a review!

  Join Jonny Larkin and special guest star Steve Hughes as they trawl through ‘FRIGHT’, an obscure British shocker from 1971. A predecessor to Halloween and When A Stranger Calls, Fright follows a nubile young babysitter stuck in a rambling country manor with a psychopath breathing down her neck. Surprisingly sleazy, Fright wastes no time in getting its star Susan George out of her clothes, whilst Honor Blackman swooshes about in a cape and Dennis Waterman dons some aubergine bell bottoms to perv over the beleaguered babysitter. But is Fright a delight? Or a bit shite? Find out with our spoilery review, and also hear about Steve’s first ever wet dream about one of the stars of the film. Oh yes. We keep it classy at Screaming Queenz. Not for the eagerly offended.

Charles Skaggs is joined by special guest companion Rachel Frend to discuss "Terror of the Vervoids", Parts Nine to Twelve of "The Trial of a Time Lord", the third serial from Doctor Who Season 23 in 1986, featuring Colin Baker as the Sixth Doctor, Honor Blackman as Professor Sarah Lasky, Michael Craig as Commodore Travers, and the debut of Bonnie Langford as Melanie "Mel" Bush! Find us here:Twitter: @NextStopSMG @CharlesSkaggs @JesseJacksonDFW @beatlesblonde Facebook:  Facebook.com/NextStopEverywherePodcast Instagram:  @nextstopeverywherepodcast Email:  NextStopEverywhereSMG@gmail.com Listen and subscribe to us in Apple Podcasts and leave us a review!

Andi, Max und Stu geben sich dieses Mal als echte Männer aus und besprechen Goldfinger, Anchorman und Road House. Info Anchorman - Die Legende von Ron Burgundy Original: Anchorman: The Legend of Ron Burgundy Startdatum: 04.11.2004 Länge (min): 94 FSK: 12 Regie: Adam McKay Darsteller: Will Ferrell, Christina Appegate, Steve Carrell uvm. Verleih: Paramount Home Entertainment Trailer: https://youtu.be/2YZ2VXK5ss0 +++ James Bond 007 - Goldfinger Original: James Bond 007 - Goldfinger Startdatum: 14.01.1965 Länge (min): 109 FSK: 16 Regie: Guy Hamilton Darsteller: Sean Connery, Gert Fröbe, Honor Blackman uvm. Verleih: MGM Trailer: https://youtu.be/6ylpQBKdsKI +++ Road House Original: Road House Startdatum: 06.07.1989 Länge (min): 114 FSK: 16 Regie: Rowdy Harrington Darsteller: Patrick Swayze, Ben Gazarra, Sam Elliott uvm. Verleih: MGM Trailer: https://youtu.be/oByMeAfwARs Die Episode erschien am 10.06.2020 beim Tele-Stammtisch. Über uns Andi Papelitzky, Maximilian Rauscher und Sebastian 'Stu' Groß haben sich beim Podcast-Projekt Tele-Stammtisch kennen und liebhassen gelernt. Seit März 2020 besprechen sie im Tele-Hørst regelmäßig drei Filme zu einem speziellen Thema. Seit Januar 2021 tun sie das unabhängig vom Tele-Stammtisch. Tele-Hørst versteht sich als chaotisch-leidenschaftlicher Film-Podcast. Eine kleine Wohlfühl-Oase für das Trio und hoffentlich auch die Zuhörer da draußen.

First broadcast on FAB RADIO INTERNATIONAL at 19:00 on January 3rd 2021 SANDY McGREGOR and I have a natter that reflects briefly on watching TV during the Festive Season before moving on to the main topic of the day which involves us reflecting - in no particular order and with no sense of precedence - upon the sad passing of several of the iconic TV performers who we lost over the course of the year just ended. So we cover - perhaps with an astonishing lack of detail - an eclectic list of names such as Terry Jones, Tim Brooke-Taylor, Roy Hudd, Sean Connery, Nicholas Parsons, Michael Angelis, John Sessions, Jill Gascoigne, Heather Couper, Honor Blackman, Diana Rigg, Geoffrey Palmer, Bobby Ball, Eddie Large, Earl Cameron, Derek Fowldes, and Dave Prowse. PLEASE NOTE - For Copyright reasons, musical content has to be removed for the podcast edition. All the spoken word content remains (mostly) as it was in the broadcast version. Hopefully this won't spoil your enjoyment of the show.

The Avengers was a classic 1960s spy series from ITV. Over six series, it gradually incorporated more science-fiction elements. Patrick Macnee played John Steed along with a variety of colleagues in espionage. In this two-part discussion, we cover the first three series (1961 – 1964), which featured Ian Hendry as David Keel and Honor Blackman […]

This week on the Columbo Files! John and Antonicus (Anthony to his friends) go across the pond to get into 1972's "Dagger of the Mind." This week, the boys discuss guest stars Richard Basehart, Honor Blackman, Bernard Fox, Wilfrid Hyde-White, and John Williams (not that one). They discuss how the episode works in the Columbo Files' standard three act breakdown, ultimately giving them one of the more flawed episodes in Columbo history.Follow us on Twitter: The Ludic Lounge: @LudicLoungeAntonicus: @RojoLoco44John: @just_john_0891Or feel free to email us: theludiclounge@gmail.com

Goldfinger, the film that made Sean Connery a household name. The film that defined the franchise. In remembrance of the late Sean Connery, The Flick Lab goes once more to visit Bond. Episode guest appearance by Tom Frankland. Goldfinger (1964). Directed by Guy Hamilton. Starring Sean Connery, Honor Blackman, Gert Fröbe, Harold Sakata, Shirley Eaton. Episode image adapted from the original by Comet Photo, licensed under CC BY-SA 4.0. Image of gold bars adapted from the original by Pixabay, licensed under CC 0. This show can be listened to on Spotify, Apple Podcasts or wherever you listen to your podcasts. You can find us also on social media – Facebook, Twitter, Youtube, Instagram, and www.theflicklab.com. Hosted by Karri Ojala and Henrik Telkki. Guest Tom Frankland. Edit by Karri Ojala. The Flick Lab theme tune by Nick Grivell. 

Sean Connery ist tot. Zu Ehren dieses grossartigen Schauspielers, widmen wir uns mit Goldfinger einem seiner besten Filme als britischer Geheimagent James Bond.

Jim and Mark stray a little off the traditional path to pay tribute to the life and career of Sean Connery in  this special edition, which includes a review of what many consider the definitive James Bond film, 1964's "Goldfinger," starring Sean Connery, Honor Blackman, Gert Fröbe, Harold Sakata, Shirley Eaton, Bernard Lee and Cec Linder. Join us for a loving tribute to a remarkable actor in this week's episode of "Monster Attack!"   , 

Kritiken zu "Comey Rule", "The Third Day" und "James Bond: Goldfinger" Review, Kritik Titel: The Comey Rule Original: The Comey Rule Startdatum: 2.11.2020 Länge(min): 4x50 FSK: keine Angaben Regie: Billy Ray Darsteller: Jeff Daniels, Holly Hunter, Michael Kelly Verleih: Sky Atlantic Trailer Titel: The Third Day Original: The Third Day Startdatum: 26.11.2020 Länge(min): 6x60 FSK: keine Angabe Regie: Marc Munden, Philippa Lowthorpe Darsteller: Jude Law, Naomie Harris, Emily Watson uvm. Verleih: HBO Trailer Titel: James Bond 007- Goldfinger Original: Goldfinger Startdatum: 14.1.1965 Länge(min): 110 FSK: 16 Regie: Guy Hamilton Darsteller: Sean Connery, Gert Fröbe, Honor Blackman uvm. Verleih: United International Pictures Trailer Lockere Filmkritiken zum selbst mitmachen! Meldet euch via Mail (info@tele-stammtisch.de), Facebook, Twitter oder Instagram für den nächsten Podcast an! Haupt-RSS-Feed | Filmkritiken-RSS-Feed iTunes (Hauptfeed) | iTunes (Filmkritiken) Spotify (Hauptfeed) | Spotify (Filmkritiken) Website | Twitter | Facebook | Instagram Skype: dertelestammtisch@gmail.com Teilnehmer*innen: Berg Facebook Mo Facebook | Instagram SvenFacebook | Instagram FrostiTwitter | Instagram MatthiasFacebook DominikFacebook | Twitter | Instagram | Profil auf Moviepilot | Letterboxd TillFacebook | Letterboxd WernerFacebook i used the following sounds of freesound.org: Musical Snapshots by Columbia Orchestra Short Crowd Cheer 2.flac by qubodup License (Copyright): Attribution 4.0 International (CC BY 4.0) Folge direkt herunterladen

Sean Connery, James Bond, 007, Honor Blackman, Pussy Galore, Goldfinger, The Hunt for Red October, Herb Adderley, Northeast HS, MIchigan State,Packers, Cowboys, Championships, Super Bow titles, Lombardi, Eagles, Merrill Reese, Temple, Willie Wood, Philadelphia Bell, Eagles, Cowboys, Wentz, Pederson, Roseman, Johnson, Sanders, Jeffery, Djax, Slay, Steelers, Big Ben, Juju, Claypoole, Johnson, Burrow, Clemson, Trevor Lawrence, Alabama, PSU, Franklin, Joe Buck, Skip Bayless, Collinsworth, AcostaMark & Mark Talk Sports Radio Show is broadcast live at 7pm ET Mondays on W4CY Radio (www.w4cy.com) part of Talk 4 Radio (www.talk4radio.com) on the Talk 4 Media Network (www.talk4media.com). This podcast is also available on Talk 4 Podcasting (www.talk4podcasting.com).

On Episode 017 (a bonus episode!) of the RETROZEST podcast, Curtis quickly discusses 3 more films which celebrated a 35th Anniversary in August 2020: Fright Night Pee Wee's Big Adventure Teen Wolf Chris Sarandon, Roddy McDowall, Paul Reubens (Pee Wee Herman), Dee Snider, Twisted Sister and Michael J. Fox are all discussed. Additionally August 2020 Retro Landmark Celebrity Birthdays are covered; including Martin Sheen, Sean Penn, Timothy Hutton, Sean Connery, Jill St. John, Honor Blackman, Debbie Gibson, Malcolm Jamal-Warner, etc.  

Born on this Day: is a daily podcast hosted by Bil Antoniou, Amanda Barker & Marco Timpano. Celebrating the famous and sometimes infamous born on this day. Check out their other podcasts: Bad Gay Movies, Bitchy Gay Men Eat & Drink Every Place is the Same My Criterions The Insomnia Project Marco's book: 25 Things I Wish I Knew Before I Started My Podcast Celebrating birthday's on this day: Richard Armitage, Kristen Wiig, Colm Feore, Ty Burrell, Rodrigo Santoro, Adewale Akinnuoye-Agbaje, James Corden, Cindy Williams, Andrew Wilson , Honor Blackman, Valerie Harper, Aparna Nancherla, Israel Broussard, Dua Lipa, Kay Cannon, Sylva Koscina, Giada de Laurentiis, Leni Riefenstahl, Laurent Lafitte --- Send in a voice message: https://anchor.fm/born-on-this-day-podcast/message

James Watt spoke to Honor Blackman a few years ago . Here it is as a podcast

James Watt in conversation . Let’s hear again the amazing Honor Blackman

Movie Sushi - GoldfingerGoldfinger is smuggling gold, but the authorities can't prove it. Bond is dispatched to investigate, but uncovers something far more devious. Goldfinger wants to nuke the gold reserves at Fort Knox - causing his own unirradiated holdings to leap in value. Starring Sean Connery. Gert Fröbe. Honor Blackman. Rated PG. Dir Guy Hamilton. Released in the UK 1964. Runtime 1hr 50mins

Filmkritiken zu "Anchorman", "James Bond 007 - Goldfinger" und "Road House" - Der Tele-Hørst Lockere Filmkritiken zum selbst mitmachen! Meldet euch via Mail (info@tele-stammtisch.de), Facebook, Twitter oder Instagram für den nächsten Podcast an! Haupt-RSS-Feed | Filmkritiken-RSS-Feed iTunes (Hauptfeed) | iTunes (Filmkritiken) Spotify (Hauptfeed) | Spotify (Filmkritiken) Website | Twitter | Facebook | Instagram Skype: dertelestammtisch@gmail.com Titel: Anchorman - Die Legende von Ron Burgundy Original: Anchorman: The Legend of Ron Burgundy Startdatum: 04.11.2004 Länge (min): 94 FSK: 12 Regie: Adam McKay Darsteller: Will Ferrell, Christina Appegate, Steve Carrell uvm. Verleih: Paramount Home Entertainment Trailer Titel: James Bond 007 - Goldfinger Original: James Bond 007 - Goldfinger Startdatum: 14.01.1965 Länge (min): 109 FSK: 16 Regie: Guy Hamilton Darsteller: Sean Connery, Gert Fröbe, Honor Blackman uvm. Verleih: MGM Trailer Titel: Road House Original: Road House Startdatum: 06.07.1989 Länge (min): 114 FSK: 16 Regie: Rowdy Harrington Darsteller: Patrick Swayze, Ben Gazarra, Sam Elliott uvm. Verleih: MGM Trailer Teilnehmer*innen: Andi Facebook | Twitter | Instagram Max Rauscher Website | Facebook | Instagram Stu Facebook | Twitter | Instagram Moviebreak Website | Facebook | Twitter | Instagram i used the following sounds of freesound.org: Short Crowd Cheer 2.flac by qubodup License (Copyright): Attribution 4.0 International (CC BY 4.0) Folge direkt herunterladen

Geeksweat takes a moment to go into memoriam to remember and also recognize some influential figures in the film and televsion world of years gone by.King Dom takes the lead in this humble tribute episode that chooses to recognize Irrfan Khan, Max von Sydow, Honor Blackman.Taking a moment to pause in this segment is Jay who is joined by our other presenter pausing for reflection Steven, as we recall the highlights of each of their careers.#HonorBlackman, #InMemoriam. #IrrfanKhan, #MaxVonSydow, #respect, #RIP

This month, our guard of honour continues with an episode of Danger Man from 1960, in which the glorious Honor Blackman stars as the wife of a journalist falsely accused of espionage. Will the eponymous Patrick McGoohan be able to save him from the clutches of the opportunistic Colonel Rodriguez? And, more importantly, can he do it in less than 25 minutes?

In this episode: celebrity deaths (Kirk Douglas, Roy Horn, Kobe Bryant, Little Richard, Brian Dennehy, Howard Finkel, Lee Fierro, Honor Blackman, Max Von Sydow), old Nickelodeon cartoon Spartakus, crappy sci-fi movie Saturn 3 starring Harvey Kietel, Kirk Douglas, and Farah Fawcett, badly dubbed Netflix series Dark, Wheel of Fortune episode with Weird Al, Little Richard, and James Brown, how Bond film Thunderball got remade as Never Say Never Again, the non-Stan-Lee-created Avengers British spy show, Tom Cruise wants to go to space for real this time, politics schmolitics, Corey Feldman's disastrous documentary movie My Truth, Scott Schwartz calls out Feldman's lies, old TV and movie casts reuniting on video chats, War Stories series on Ars Technica, Prince of Persia rotoscoping, old school video game engines, From Bedroom to Billions a UK computer gaming documentary, homebrew games lacking proper physics, ONSUG's The Exit Ramp podcast, Rob's guitar tutorials return, keeping somewhat busy during quarantine, and the Nintendo data leak featuring console design secrets. 132 minutes - http://www.paunchstevenson.com

As lockdown continues, the crew rejoin - remotely, of course - for Timothy Dalton's inaugral appearance as Fleming's secret agent in The Living Daylights. Released in 1987 and the fourth Bond directed by John Glen, the film marked a stark tonal shift from the lighter camp of the Moore era into a more back-to-basics, no-nonsense darker take on 007 with tremendous success. Listen in as we give our full spoilerific thoughts on the film, as well as a tribute to the late Honor Blackman and general life under lockdown. Enjoy!

With the Splendid Isolation mini-series ended, we are back to regular episodes. Thanks to those who listened while I tried to keep busy. We welcome back John Champion (@dvdgeeks) from the Mission Log Podcast (@missionlogpod) to discuss the recently-completed Star Trek Picard season one. We chat about what we liked and what was problematic and where the show might go in future seasons. On the Trek front, we talk about the changes to Mission Log, with Ken Ray departing and Norman Lao arriving at the beginning of the year. From there, it's lots of spy talk, starting naturally with Get Smart (since it's episode 86). From there, it's a cornucopia of shows on the docket, including Mission: Impossible, the Man from UNCLE and more. With the passing of Robert Conrad, we of course discussed the Wild Wild West, including why the show was so fun. And with the recent death of Honor Blackman, we talk about the Cathy Gale version of The Avengers, as well as her role in Goldfinger. To round up the show, it's some other British programs to examine, including Danger Man, the Prisoner, Randal and Hopkirk Deceased (which John had not seen before) , Department S, Jason King and how the star of the last two shows had a connection to the Bronze Age X-Men comic books. Thanks for listening. We hope you enjoy the show.

Season Five of The Columbo Confab Podcast begins with Steve and Sean dissecting "Dagger of the Mind" (1972) starring Richard Basehart and Honor Blackman as Shakespearean actors who accidentally murder their producer and ensure that the show will go on. Is "Dagger of the Mind" worthy of a BAFTA?  Or is it just a performance worthy of the Grand Guignol?  Listen in and find out! Have a comment or question for the hosts?  Email Steve and Sean at columboconfab@gmail.com, follow the podcast on Twitter via @columboconfab, and look for the podcast's Facebook page.