Podcasts about Hurdy Gurdy Man

Label: Epic 10345Year: 1968Condition: MLast Price: $35.00. Not currently available for sale.Here's an especially beautiful copy of one of the most interesting tracks in Donovan's catalogue. Here is a description from the wordiq.com website: Released in May 1968, his next single was the swirling psychedelic nugget 'The Hurdy Gurdy Man', a song he originally intended for his old friend and guitar mentor Mac MacLeod who had a heavy rock band called Hurdy Gurdy. Donovan had also considered giving it to Jimi Hendrix, but when Mickie Most heard it, he convinced Donovan that the song was a sure-fire single and that he should record it himself. Donovan tried to get Hendrix to play on the recording, but he was on tour and unavailable for the session. In his place they brought in a brilliant young British guitarist, Allan Holdsworth. Jimmy Page also played on the session, and it is believed that John Paul Jones may have played bass with (possibly) John Bonham on drums. If so, this would make it the first recorded performance featuring the three future members of Led Zeppelin. Both Jones and Page have stated that the idea of Led Zeppelin was formed during the Hurdy Gurdy Man sessions. The B side is a non-album track. Note: This beautiful copy has Mint labels and comes with simply awesome sound. The picture sleeve is Near Mint with one tiny tear at the top edge.

Grab your animal crackers, queue up Hurdy Gurdy Man, and meet us in a California basement because it's time to finally close the book on our Journalism series with David Fincher's ZODIAC (2007). If you enjoy this episode, come join the Video Monsters crew on Discord - be a part of the discussion and listen in live when we record our episodes!! Go to linktree.com/videomonsterpod for the link to Discord, our socials, and other highlights!! Video Monsters is brought to you by the Chattanooga Film Festival and Central Cinema in Knoxville, TN. Follow them on Facebook, Twitter, and Instagram, or online at chattfilmfest.org and centralcinema865.com. Links for each of these can also be found on our pages, so be sure to follow us at videomonsterpod on Facebook, Twitter, and Instagram as well. music for Video Monsters by Evan Simmons

Meet Daniella,Half American, half Swedish, and part Malawi, she is the definition of multi-cultural. In this episode she shares her struggle to understand her identity and the multiple moves she made as a young woman eager to discover the world and what it has to offer.After a couple of years in the US running after bills, she made the move to Sweeden for a new start in life, enrolled in University, and moved to a few other European countries before settling in France to join her partner in life. They spent a couple of years in Paris suburbs, and then decided on La Rochelle as a compromise to life abroad to settle their roots in a small city by the sea.Her recommendations for La Rochelle

**Pre-recorded for Patreon**In this months super-sized exclusive episode, Zee and Danielle cover the infamous Zodiac Killer.Stalk us here!Merch - ghosts-n-heauxsTwitter - ghostsnheauxsInstagram - ghosts_n_heauxsFacebook - GhostsnHeauxsPodcastAnd don't forget to send your stories to ghostsnheauxs@gmail.com

"Thrown like a star in my vast sleepI opened my eyes to take a peekTo find that I was by the sea gazing with tranquility'Twas then when the Hurdy Gurdy ManCame singing songs of loveThen when the Hurdy Gurdy ManCame singing songs of love"Please allow me to be your Hurdy Gurdy Man with 2 Hours of tunes you won't hear anywhere else on the Sunday edition of Whole 'Nuther Thing. Joining us are William Ackerman, Miles Davis, Linda Ronstadt, Ben Sidran,, George Benson, Humble Pie, Jack Bruce, Garland Jeffreys, Gabor Szabo, Peter Frampton, Eric Clapton, The Doors, Mindbenders, Maria Muldaur, Cream, Leslie West, Jethro Tull, Oliver Nelson, Baker Gurvitz Army, Big Brother & The Holding Company, The Vogues, Genesis and Donovan...

Episode 171 looks at "Hey Jude", the White Album, and the career of the Beatles from August 1967 through November 1968. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifty-seven-minute bonus episode available, on "I Love You" by People!. 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/ Errata Not really an error, but at one point I refer to Ornette Coleman as a saxophonist. While he was, he plays trumpet on the track that is excerpted after that. Resources No Mixcloud this week due to the number of songs by the Beatles. I have read literally dozens of books on the Beatles, and used bits of information from many of them. All my Beatles episodes refer to: The Complete Beatles Chronicle by Mark Lewisohn, All The Songs: The Stories Behind Every Beatles Release by Jean-Michel Guesdon, And The Band Begins To Play: The Definitive Guide To The Songs of The Beatles by Steve Lambley, The Beatles By Ear by Kevin Moore, Revolution in the Head by Ian MacDonald, and The Beatles Anthology. For this episode, I also referred to Last Interview by David Sheff, a longform interview with John Lennon and Yoko Ono from shortly before Lennon's death; Many Years From Now by Barry Miles, an authorised biography of Paul McCartney; and Here, There, and Everywhere: My Life Recording the Music of the Beatles by Geoff Emerick and Howard Massey. This time I also used Steve Turner's The Beatles: The Stories Behind the Songs 1967-1970. I referred to Philip Norman's biographies of John Lennon, George Harrison, and Paul McCartney, to Graeme Thomson's biography of George Harrison, Take a Sad Song by James Campion, Yoko Ono: An Artful Life by Donald Brackett, Those Were the Days 2.0 by Stephan Granados, and Sound Pictures by Kenneth Womack. Sadly the only way to get the single mix of “Hey Jude” is on this ludicrously-expensive out-of-print box set, but a remixed stereo mix is easily available on the new reissue of the 1967-70 compilation. The original mixes of the White Album are also, shockingly, out of print, but this 2018 remix is available for the moment. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, a quick note -- this episode deals, among other topics, with child abandonment, spousal neglect, suicide attempts, miscarriage, rape accusations, and heroin addiction. If any of those topics are likely to upset you, you might want to check the transcript rather than listening to this episode. It also, for once, contains a short excerpt of an expletive, but given that that expletive in that context has been regularly played on daytime radio without complaint for over fifty years, I suspect it can be excused. The use of mantra meditation is something that exists across religions, and which appears to have been independently invented multiple times, in multiple cultures. In the Western culture to which most of my listeners belong, it is now best known as an aspect of what is known as "mindfulness", a secularised version of Buddhism which aims to provide adherents with the benefits of the teachings of the Buddha but without the cosmology to which they are attached. But it turns up in almost every religious tradition I know of in one form or another. The idea of mantra meditation is a very simple one, and one that even has some basis in science. There is a mathematical principle in neurology and information science called the free energy principle which says our brains are wired to try to minimise how surprised we are --  our brain is constantly making predictions about the world, and then looking at the results from our senses to see if they match. If they do, that's great, and the brain will happily move on to its next prediction. If they don't, the brain has to update its model of the world to match the new information, make new predictions, and see if those new predictions are a better match. Every person has a different mental model of the world, and none of them match reality, but every brain tries to get as close as possible. This updating of the model to match the new information is called "thinking", and it uses up energy, and our bodies and brains have evolved to conserve energy as much as possible. This means that for many people, most of the time, thinking is unpleasant, and indeed much of the time that people have spent thinking, they've been thinking about how to stop themselves having to do it at all, and when they have managed to stop thinking, however briefly, they've experienced great bliss. Many more or less effective technologies have been created to bring about a more minimal-energy state, including alcohol, heroin, and barbituates, but many of these have unwanted side-effects, such as death, which people also tend to want to avoid, and so people have often turned to another technology. It turns out that for many people, they can avoid thinking by simply thinking about something that is utterly predictable. If they minimise the amount of sensory input, and concentrate on something that they can predict exactly, eventually they can turn off their mind, relax, and float downstream, without dying. One easy way to do this is to close your eyes, so you can't see anything, make your breath as regular as possible, and then concentrate on a sound that repeats over and over.  If you repeat a single phrase or word a few hundred times, that regular repetition eventually causes your mind to stop having to keep track of the world, and experience a peace that is, by all accounts, unlike any other experience. What word or phrase that is can depend very much on the tradition. In Transcendental Meditation, each person has their own individual phrase. In the Catholicism in which George Harrison and Paul McCartney were raised, popular phrases for this are "Lord Jesus Christ, Son of God, have mercy on me, a sinner" or "Hail, Mary, full of grace, the Lord is with you; blessed are you among women, and blessed is the fruit of your womb, Jesus. Holy Mary, Mother of God, pray for us sinners now and at the hour of our death. Amen." In some branches of Buddhism, a popular mantra is "_NAMU MYŌHŌ RENGE KYŌ_". In the Hinduism to which George Harrison later converted, you can use "Hare Krishna Hare Krishna, Krishna Krishna Hare Hare, Hare Rama Hare Rama, Rama Rama Hare Hare", "Om Namo Bhagavate Vāsudevāya" or "Om Gam Ganapataye Namaha". Those last two start with the syllable "Om", and indeed some people prefer to just use that syllable, repeating a single syllable over and over again until they reach a state of transcendence. [Excerpt: The Beatles, "Hey Jude" ("na na na na na na na")] We don't know much about how the Beatles first discovered Maharishi Mahesh Yogi, except that it was thanks to Pattie Boyd, George Harrison's then-wife. Unfortunately, her memory of how she first became involved in the Maharishi's Spiritual Regeneration Movement, as described in her autobiography, doesn't fully line up with other known facts. She talks about reading about the Maharishi in the paper with her friend Marie-Lise while George was away on tour, but she also places the date that this happened in February 1967, several months after the Beatles had stopped touring forever. We'll be seeing a lot more of these timing discrepancies as this story progresses, and people's memories increasingly don't match the events that happened to them. Either way, it's clear that Pattie became involved in the Spiritual Regeneration Movement a good length of time before her husband did. She got him to go along with her to one of the Maharishi's lectures, after she had already been converted to the practice of Transcendental Meditation, and they brought along John, Paul, and their partners (Ringo's wife Maureen had just given birth, so they didn't come). As we heard back in episode one hundred and fifty, that lecture was impressive enough that the group, plus their wives and girlfriends (with the exception of Maureen Starkey) and Mick Jagger and Marianne Faithfull, all went on a meditation retreat with the Maharishi at a holiday camp in Bangor, and it was there that they learned that Brian Epstein had been found dead. The death of the man who had guided the group's career could not have come at a worse time for the band's stability.  The group had only recorded one song in the preceding two months -- Paul's "Your Mother Should Know" -- and had basically been running on fumes since completing recording of Sgt Pepper many months earlier. John's drug intake had increased to the point that he was barely functional -- although with the enthusiasm of the newly converted he had decided to swear off LSD at the Maharishi's urging -- and his marriage was falling apart. Similarly, Paul McCartney's relationship with Jane Asher was in a bad state, though both men were trying to repair their damaged relationships, while both George and Ringo were having doubts about the band that had made them famous. In George's case, he was feeling marginalised by John and Paul, his songs ignored or paid cursory attention, and there was less for him to do on the records as the group moved away from making guitar-based rock and roll music into the stranger areas of psychedelia. And Ringo, whose main memory of the recording of Sgt Pepper was of learning to play chess while the others went through the extensive overdubs that characterised that album, was starting to feel like his playing was deteriorating, and that as the only non-writer in the band he was on the outside to an extent. On top of that, the group were in the middle of a major plan to restructure their business. As part of their contract renegotiations with EMI at the beginning of 1967, it had been agreed that they would receive two million pounds -- roughly fifteen million pounds in today's money -- in unpaid royalties as a lump sum. If that had been paid to them as individuals, or through the company they owned, the Beatles Ltd, they would have had to pay the full top rate of tax on it, which as George had complained the previous year was over ninety-five percent. (In fact, he'd been slightly exaggerating the generosity of the UK tax system to the rich, as at that point the top rate of income tax was somewhere around ninety-seven and a half percent). But happily for them, a couple of years earlier the UK had restructured its tax laws and introduced a corporation tax, which meant that the profits of corporations were no longer taxed at the same high rate as income. So a new company had been set up, The Beatles & Co, and all the group's non-songwriting income was paid into the company. Each Beatle owned five percent of the company, and the other eighty percent was owned by a new partnership, a corporation that was soon renamed Apple Corps -- a name inspired by a painting that McCartney had liked by the artist Rene Magritte. In the early stages of Apple, it was very entangled with Nems, the company that was owned by Brian and Clive Epstein, and which was in the process of being sold to Robert Stigwood, though that sale fell through after Brian's death. The first part of Apple, Apple Publishing, had been set up in the summer of 1967, and was run by Terry Doran, a friend of Epstein's who ran a motor dealership -- most of the Apple divisions would be run by friends of the group rather than by people with experience in the industries in question. As Apple was set up during the point that Stigwood was getting involved with NEMS, Apple Publishing's initial offices were in the same building with, and shared staff with, two publishing companies that Stigwood owned, Dratleaf Music, who published Cream's songs, and Abigail Music, the Bee Gees' publishers. And indeed the first two songs published by Apple were copyrights that were gifted to the company by Stigwood -- "Listen to the Sky", a B-side by an obscure band called Sands: [Excerpt: Sands, "Listen to the Sky"] And "Outside Woman Blues", an arrangement by Eric Clapton of an old blues song by Blind Joe Reynolds, which Cream had copyrighted separately and released on Disraeli Gears: [Excerpt: Cream, "Outside Woman Blues"] But Apple soon started signing outside songwriters -- once Mike Berry, a member of Apple Publishing's staff, had sat McCartney down and explained to him what music publishing actually was, something he had never actually understood even though he'd been a songwriter for five years. Those songwriters, given that this was 1967, were often also performers, and as Apple Records had not yet been set up, Apple would try to arrange recording contracts for them with other labels. They started with a group called Focal Point, who got signed by badgering Paul McCartney to listen to their songs until he gave them Doran's phone number to shut them up: [Excerpt: Focal Point, "Sycamore Sid"] But the big early hope for Apple Publishing was a songwriter called George Alexander. Alexander's birth name had been Alexander Young, and he was the brother of George Young, who was a member of the Australian beat group The Easybeats, who'd had a hit with "Friday on My Mind": [Excerpt: The Easybeats, "Friday on My Mind"] His younger brothers Malcolm and Angus would go on to have a few hits themselves, but AC/DC wouldn't be formed for another five years. Terry Doran thought that Alexander should be a member of a band, because bands were more popular than solo artists at the time, and so he was placed with three former members of Tony Rivers and the Castaways, a Beach Boys soundalike group that had had some minor success. John Lennon suggested that the group be named Grapefruit, after a book he was reading by a conceptual artist of his acquaintance named Yoko Ono, and as Doran was making arrangements with Terry Melcher for a reciprocal publishing deal by which Melcher's American company would publish Apple songs in the US while Apple published songs from Melcher's company in the UK, it made sense for Melcher to also produce Grapefruit's first single, "Dear Delilah": [Excerpt: Grapefruit, "Dear Delilah"] That made number twenty-one in the UK when it came out in early 1968, on the back of publicity about Grapefruit's connection with the Beatles, but future singles by the band were much less successful, and like several other acts involved with Apple, they found that they were more hampered by the Beatles connection than helped. A few other people were signed to Apple Publishing early on, of whom the most notable was Jackie Lomax. Lomax had been a member of a minor Merseybeat group, the Undertakers, and after they had split up, he'd been signed by Brian Epstein with a new group, the Lomax Alliance, who had released one single, "Try as You May": [Excerpt: The Lomax Alliance, "Try As You May"] After Epstein's death, Lomax had plans to join another band, being formed by another Merseybeat musician, Chris Curtis, the former drummer of the Searchers. But after going to the Beatles to talk with them about them helping the new group financially, Lomax was persuaded by John Lennon to go solo instead. He may later have regretted that decision, as by early 1968 the people that Curtis had recruited for his new band had ditched him and were making a name for themselves as Deep Purple. Lomax recorded one solo single with funding from Stigwood, a cover version of a song by an obscure singer-songwriter, Jake Holmes, "Genuine Imitation Life": [Excerpt: Jackie Lomax, "Genuine Imitation Life"] But he was also signed to Apple Publishing as a songwriter. The Beatles had only just started laying out plans for Apple when Epstein died, and other than the publishing company one of the few things they'd agreed on was that they were going to have a film company, which was to be run by Denis O'Dell, who had been an associate producer on A Hard Day's Night and on How I Won The War, the Richard Lester film Lennon had recently starred in. A few days after Epstein's death, they had a meeting, in which they agreed that the band needed to move forward quickly if they were going to recover from Epstein's death. They had originally been planning on going to India with the Maharishi to study meditation, but they decided to put that off until the new year, and to press forward with a film project Paul had been talking about, to be titled Magical Mystery Tour. And so, on the fifth of September 1967, they went back into the recording studio and started work on a song of John's that was earmarked for the film, "I am the Walrus": [Excerpt: The Beatles, "I am the Walrus"] Magical Mystery Tour, the film, has a mixed reputation which we will talk about shortly, but one defence that Paul McCartney has always made of it is that it's the only place where you can see the Beatles performing "I am the Walrus". While the song was eventually relegated to a B-side, it's possibly the finest B-side of the Beatles' career, and one of the best tracks the group ever made. As with many of Lennon's songs from this period, the song was a collage of many different elements pulled from his environment and surroundings, and turned into something that was rather more than the sum of its parts. For its musical inspiration, Lennon pulled from, of all things, a police siren going past his house. (For those who are unfamiliar with what old British police sirens sounded like, as opposed to the ones in use for most of my lifetime or in other countries, here's a recording of one): [Excerpt: British police siren ca 1968] That inspired Lennon to write a snatch of lyric to go with the sound of the siren, starting "Mister city policeman sitting pretty". He had two other song fragments, one about sitting in the garden, and one about sitting on a cornflake, and he told Hunter Davies, who was doing interviews for his authorised biography of the group, “I don't know how it will all end up. Perhaps they'll turn out to be different parts of the same song.” But the final element that made these three disparate sections into a song was a letter that came from Stephen Bayley, a pupil at Lennon's old school Quarry Bank, who told him that the teachers at the school -- who Lennon always thought of as having suppressed his creativity -- were now analysing Beatles lyrics in their lessons. Lennon decided to come up with some nonsense that they couldn't analyse -- though as nonsensical as the finished song is, there's an underlying anger to a lot of it that possibly comes from Lennon thinking of his school experiences. And so Lennon asked his old schoolfriend Pete Shotton to remind him of a disgusting playground chant that kids used to sing in schools in the North West of England (and which they still sang with very minor variations at my own school decades later -- childhood folklore has a remarkably long life). That rhyme went: Yellow matter custard, green snot pie All mixed up with a dead dog's eye Slap it on a butty, nice and thick, And drink it down with a cup of cold sick Lennon combined some parts of this with half-remembered fragments of Lewis Carrol's The Walrus and the Carpenter, and with some punning references to things that were going on in his own life and those of his friends -- though it's difficult to know exactly which of the stories attached to some of the more incomprehensible bits of the lyrics are accurate. The story that the line "I am the eggman" is about a sexual proclivity of Eric Burdon of the Animals seems plausible, while the contention by some that the phrase "semolina pilchard" is a reference to Sgt Pilcher, the corrupt policeman who had arrested three of the Rolling Stones, and would later arrest Lennon, on drugs charges, seems less likely. The track is a masterpiece of production, but the release of the basic take on Anthology 2 in 1996 showed that the underlying performance, before George Martin worked his magic with the overdubs, is still a remarkable piece of work: [Excerpt: The Beatles, "I am the Walrus (Anthology 2 version)"] But Martin's arrangement and production turned the track from a merely very good track into a masterpiece. The string arrangement, very much in the same mould as that for "Strawberry Fields Forever" but giving a very different effect with its harsh cello glissandi, is the kind of thing one expects from Martin, but there's also the chanting of the Mike Sammes Singers, who were more normally booked for sessions like Englebert Humperdinck's "The Last Waltz": [Excerpt: Engelbert Humperdinck, "The Last Waltz"] But here were instead asked to imitate the sound of the strings, make grunting noises, and generally go very far out of their normal comfort zone: [Excerpt: The Beatles, "I am the Walrus"] But the most fascinating piece of production in the entire track is an idea that seems to have been inspired by people like John Cage -- a live feed of a radio being tuned was played into the mono mix from about the halfway point, and whatever was on the radio at the time was captured: [Excerpt: The Beatles, "I am the Walrus"] This is also why for many decades it was impossible to have a true stereo mix of the track -- the radio part was mixed directly into the mono mix, and it wasn't until the 1990s that someone thought to track down a copy of the original radio broadcasts and recreate the process. In one of those bits of synchronicity that happen more often than you would think when you're creating aleatory art, and which are why that kind of process can be so appealing, one bit of dialogue from the broadcast of King Lear that was on the radio as the mixing was happening was *perfectly* timed: [Excerpt: The Beatles, "I am the Walrus"] After completing work on the basic track for "I am the Walrus", the group worked on two more songs for the film, George's "Blue Jay Way" and a group-composed twelve-bar blues instrumental called "Flying", before starting production. Magical Mystery Tour, as an idea, was inspired in equal parts by Ken Kesey's Merry Pranksters, the collective of people we talked about in the episode on the Grateful Dead who travelled across the US extolling the virtues of psychedelic drugs, and by mystery tours, a British working-class tradition that has rather fallen out of fashion in the intervening decades. A mystery tour would generally be put on by a coach-hire company, and would be a day trip to an unannounced location -- though the location would in fact be very predictable, and would be a seaside town within a couple of hours' drive of its starting point. In the case of the ones the Beatles remembered from their own childhoods, this would be to a coastal town in Lancashire or Wales, like Blackpool, Rhyl, or Prestatyn. A coachload of people would pay to be driven to this random location, get very drunk and have a singsong on the bus, and spend a day wherever they were taken. McCartney's plan was simple -- they would gather a group of passengers and replicate this experience over the course of several days, and film whatever went on, but intersperse that with more planned out sketches and musical numbers. For this reason, along with the Beatles and their associates, the cast included some actors found through Spotlight and some of the group's favourite performers, like the comedian Nat Jackley (whose comedy sequence directed by John was cut from the final film) and the surrealist poet/singer/comedian Ivor Cutler: [Excerpt: Ivor Cutler, "I'm Going in a Field"] The film also featured an appearance by a new band who would go on to have great success over the next year, the Bonzo Dog Doo-Dah Band. They had recorded their first single in Abbey Road at the same time as the Beatles were recording Revolver, but rather than being progressive psychedelic rock, it had been a remake of a 1920s novelty song: [Excerpt: The Bonzo Dog Doo-Dah Band, "My Brother Makes the Noises For the Talkies"] Their performance in Magical Mystery Tour was very different though -- they played a fifties rock pastiche written by band leaders Vivian Stanshall and Neil Innes while a stripper took off her clothes. While several other musical sequences were recorded for the film, including one by the band Traffic and one by Cutler, other than the Beatles tracks only the Bonzos' song made it into the finished film: [Excerpt: The Bonzo Dog Doo-Dah Band, "Death Cab for Cutie"] That song, thirty years later, would give its name to a prominent American alternative rock band. Incidentally the same night that Magical Mystery Tour was first broadcast was also the night that the Bonzo Dog Doo-Dah Band first appeared on a TV show, Do Not Adjust Your Set, which featured three future members of the Monty Python troupe -- Eric Idle, Michael Palin, and Terry Jones. Over the years the careers of the Bonzos, the Pythons, and the Beatles would become increasingly intertwined, with George Harrison in particular striking up strong friendships and working relationships with Bonzos Neil Innes and "Legs" Larry Smith. The filming of Magical Mystery Tour went about as well as one might expect from a film made by four directors, none of whom had any previous filmmaking experience, and none of whom had any business knowledge. The Beatles were used to just turning up and having things magically done for them by other people, and had no real idea of the infrastructure challenges that making a film, even a low-budget one, actually presents, and ended up causing a great deal of stress to almost everyone involved. The completed film was shown on TV on Boxing Day 1967 to general confusion and bemusement. It didn't help that it was originally broadcast in black and white, and so for example the scene showing shifting landscapes (outtake footage from Stanley Kubrick's Dr. Strangelove, tinted various psychedelic colours) over the "Flying" music, just looked like grey fuzz. But also, it just wasn't what people were expecting from a Beatles film. This was a ramshackle, plotless, thing more inspired by Andy Warhol's underground films than by the kind of thing the group had previously appeared in, and it was being presented as Christmas entertainment for all the family. And to be honest, it's not even a particularly good example of underground filmmaking -- though it looks like a masterpiece when placed next to something like the Bee Gees' similar effort, Cucumber Castle. But there are enough interesting sequences in there for the project not to be a complete failure -- and the deleted scenes on the DVD release, including the performances by Cutler and Traffic, and the fact that the film was edited down from ten hours to fifty-two minutes, makes one wonder if there's a better film that could be constructed from the original footage. Either way, the reaction to the film was so bad that McCartney actually appeared on David Frost's TV show the next day to defend it and, essentially, apologise. While they were editing the film, the group were also continuing to work in the studio, including on two new McCartney songs, "The Fool on the Hill", which was included in Magical Mystery Tour, and "Hello Goodbye", which wasn't included on the film's soundtrack but was released as the next single, with "I Am the Walrus" as the B-side: [Excerpt: The Beatles, "Hello Goodbye"] Incidentally, in the UK the soundtrack to Magical Mystery Tour was released as a double-EP rather than as an album (in the US, the group's recent singles and B-sides were added to turn it into a full-length album, which is how it's now generally available). "I Am the Walrus" was on the double-EP as well as being on the single's B-side, and the double-EP got to number two on the singles charts, meaning "I am the Walrus" was on the records at number one and number two at the same time. Before it became obvious that the film, if not the soundtrack, was a disaster, the group held a launch party on the twenty-first of December, 1967. The band members went along in fancy dress, as did many of the cast and crew -- the Bonzo Dog Doo-Dah Band performed at the party. Mike Love and Bruce Johnston of the Beach Boys also turned up at the party, and apparently at one point jammed with the Bonzos, and according to some, but not all, reports, a couple of the Beatles joined in as well. Love and Johnston had both just met the Maharishi for the first time a couple of days earlier, and Love had been as impressed as the Beatles were, and it may have been at this party that the group mentioned to Love that they would soon be going on a retreat in India with the guru -- a retreat that was normally meant for training TM instructors, but this time seemed to be more about getting celebrities involved. Love would also end up going with them. That party was also the first time that Cynthia Lennon had an inkling that John might not be as faithful to her as she previously supposed. John had always "joked" about being attracted to George Harrison's wife, Patti, but this time he got a little more blatant about his attraction than he ever had previously, to the point that he made Cynthia cry, and Cynthia's friend, the pop star Lulu, decided to give Lennon a very public dressing-down for his cruelty to his wife, a dressing-down that must have been a sight to behold, as Lennon was dressed as a Teddy boy while Lulu was in a Shirley Temple costume. It's a sign of how bad the Lennons' marriage was at this point that this was the second time in a two-month period where Cynthia had ended up crying because of John at a film launch party and been comforted by a female pop star. In October, Cilla Black had held a party to celebrate the belated release of John's film How I Won the War, and during the party Georgie Fame had come up to Black and said, confused, "Cynthia Lennon is hiding in your wardrobe". Black went and had a look, and Cynthia explained to her “I'm waiting to see how long it is before John misses me and comes looking for me.” Black's response had been “You'd better face it, kid—he's never gonna come.” Also at the Magical Mystery Tour party was Lennon's father, now known as Freddie Lennon, and his new nineteen-year-old fiancee. While Hunter Davis had been researching the Beatles' biography, he'd come across some evidence that the version of Freddie's attitude towards John that his mother's side of the family had always told him -- that Freddie had been a cruel and uncaring husband who had not actually wanted to be around his son -- might not be the whole of the truth, and that the mother who he had thought of as saintly might also have had some part to play in their marriage breaking down and Freddie not seeing his son for twenty years. The two had made some tentative attempts at reconciliation, and indeed Freddie would even come and live with John for a while, though within a couple of years the younger Lennon's heart would fully harden against his father again. Of course, the things that John always resented his father for were pretty much exactly the kind of things that Lennon himself was about to do. It was around this time as well that Derek Taylor gave the Beatles copies of the debut album by a young singer/songwriter named Harry Nilsson. Nilsson will be getting his own episode down the line, but not for a couple of years at my current rates, so it's worth bringing that up here, because that album became a favourite of all the Beatles, and would have a huge influence on their songwriting for the next couple of years, and because one song on the album, "1941", must have resonated particularly deeply with Lennon right at this moment -- an autobiographical song by Nilsson about how his father had left him and his mother when he was a small boy, and about his own fear that, as his first marriage broke down, he was repeating the pattern with his stepson Scott: [Excerpt: Nilsson, "1941"] The other major event of December 1967, rather overshadowed by the Magical Mystery Tour disaster the next day, was that on Christmas Day Paul McCartney and Jane Asher announced their engagement. A few days later, George Harrison flew to India. After John and Paul had had their outside film projects -- John starring in How I Won The War and Paul doing the soundtrack for The Family Way -- the other two Beatles more or less simultaneously did their own side project films, and again one acted while the other did a soundtrack. Both of these projects were in the rather odd subgenre of psychedelic shambolic comedy film that sprang up in the mid sixties, a subgenre that produced a lot of fascinating films, though rather fewer good ones. Indeed, both of them were in the subsubgenre of shambolic psychedelic *sex* comedies. In Ringo's case, he had a small role in the film Candy, which was based on the novel we mentioned in the last episode, co-written by Terry Southern, which was in itself a loose modern rewriting of Voltaire's Candide. Unfortunately, like such other classics of this subgenre as Anthony Newley's Can Heironymus Merkin Ever Forget Mercy Humppe and Find True Happiness?, Candy has dated *extremely* badly, and unless you find repeated scenes of sexual assault and rape, ethnic stereotypes, and jokes about deformity and disfigurement to be an absolute laugh riot, it's not a film that's worth seeking out, and Starr's part in it is not a major one. Harrison's film was of the same basic genre -- a film called Wonderwall about a mad scientist who discovers a way to see through the walls of his apartment, and gets to see a photographer taking sexy photographs of a young woman named Penny Lane, played by Jane Birkin: [Excerpt: Some Wonderwall film dialogue ripped from the Blu-Ray] Wonderwall would, of course, later inspire the title of a song by Oasis, and that's what the film is now best known for, but it's a less-unwatchable film than Candy, and while still problematic it's less so. Which is something. Harrison had been the Beatle with least involvement in Magical Mystery Tour -- McCartney had been the de facto director, Starr had been the lead character and the only one with much in the way of any acting to do, and Lennon had written the film's standout scene and its best song, and had done a little voiceover narration. Harrison, by contrast, barely has anything to do in the film apart from the one song he contributed, "Blue Jay Way", and he said of the project “I had no idea what was happening and maybe I didn't pay enough attention because my problem, basically, was that I was in another world, I didn't really belong; I was just an appendage.” He'd expressed his discomfort to his friend Joe Massot, who was about to make his first feature film. Massot had got to know Harrison during the making of his previous film, Reflections on Love, a mostly-silent short which had starred Harrison's sister-in-law Jenny Boyd, and which had been photographed by Robert Freeman, who had been the photographer for the Beatles' album covers from With the Beatles through Rubber Soul, and who had taken most of the photos that Klaus Voorman incorporated into the cover of Revolver (and whose professional association with the Beatles seemed to come to an end around the same time he discovered that Lennon had been having an affair with his wife). Massot asked Harrison to write the music for the film, and told Harrison he would have complete free rein to make whatever music he wanted, so long as it fit the timing of the film, and so Harrison decided to create a mixture of Western rock music and the Indian music he loved. Harrison started recording the music at the tail end of 1967, with sessions with several London-based Indian musicians and John Barham, an orchestrator who had worked with Ravi Shankar on Shankar's collaborations with Western musicians, including the Alice in Wonderland soundtrack we talked about in the "All You Need is Love" episode. For the Western music, he used the Remo Four, a Merseybeat group who had been on the scene even before the Beatles, and which contained a couple of classmates of Paul McCartney, but who had mostly acted as backing musicians for other artists. They'd backed Johnny Sandon, the former singer with the Searchers, on a couple of singles, before becoming the backing band for Tommy Quickly, a NEMS artist who was unsuccessful despite starting his career with a Lennon/McCartney song, "Tip of My Tongue": [Excerpt: Tommy Quickly, "Tip of My Tongue"] The Remo Four would later, after a lineup change, become Ashton, Gardner and Dyke, who would become one-hit wonders in the seventies, and during the Wonderwall sessions they recorded a song that went unreleased at the time, and which would later go on to be rerecorded by Ashton, Gardner, and Dyke. "In the First Place" also features Harrison on backing vocals and possibly guitar, and was not submitted for the film because Harrison didn't believe that Massot wanted any vocal tracks, but the recording was later discovered and used in a revised director's cut of the film in the nineties: [Excerpt: The Remo Four, "In the First Place"] But for the most part the Remo Four were performing instrumentals written by Harrison. They weren't the only Western musicians performing on the sessions though -- Peter Tork of the Monkees dropped by these sessions and recorded several short banjo solos, which were used in the film soundtrack but not in the soundtrack album (presumably because Tork was contracted to another label): [Excerpt: Peter Tork, "Wonderwall banjo solo"] Another musician who was under contract to another label was Eric Clapton, who at the time was playing with The Cream, and who vaguely knew Harrison and so joined in for the track "Ski-ing", playing lead guitar under the cunning, impenetrable, pseudonym "Eddie Clayton", with Harrison on sitar, Starr on drums, and session guitarist Big Jim Sullivan on bass: [Excerpt: George Harrison, "Ski-ing"] But the bulk of the album was recorded in EMI's studios in the city that is now known as Mumbai but at the time was called Bombay. The studio facilities in India had up to that point only had a mono tape recorder, and Bhaskar Menon, one of the top executives at EMI's Indian division and later the head of EMI music worldwide, personally brought the first stereo tape recorder to the studio to aid in Harrison's recording. The music was all composed by Harrison and performed by the Indian musicians, and while Harrison was composing in an Indian mode, the musicians were apparently fascinated by how Western it sounded to them: [Excerpt: George Harrison, "Microbes"] While he was there, Harrison also got the instrumentalists to record another instrumental track, which wasn't to be used for the film: [Excerpt: George Harrison, "The Inner Light (instrumental)"] That track would, instead, become part of what was to be Harrison's first composition to make a side of a Beatles single. After John and George had appeared on the David Frost show talking about the Maharishi, in September 1967, George had met a lecturer in Sanskrit named Juan Mascaró, who wrote to Harrison enclosing a book he'd compiled of translations of religious texts, telling him he'd admired "Within You Without You" and thought it would be interesting if Harrison set something from the Tao Te Ching to music. He suggested a text that, in his translation, read: "Without going out of my door I can know all things on Earth Without looking out of my window I can know the ways of heaven For the farther one travels, the less one knows The sage, therefore Arrives without travelling Sees all without looking Does all without doing" Harrison took that text almost verbatim, though he created a second verse by repeating the first few lines with "you" replacing "I" -- concerned that listeners might think he was just talking about himself, and wouldn't realise it was a more general statement -- and he removed the "the sage, therefore" and turned the last few lines into imperative commands rather than declarative statements: [Excerpt: The Beatles, "The Inner Light"] The song has come in for some criticism over the years as being a little Orientalist, because in critics' eyes it combines Chinese philosophy with Indian music, as if all these things are equally "Eastern" and so all the same really. On the other hand there's a good argument that an English songwriter taking a piece of writing written in Chinese and translated into English by a Spanish man and setting it to music inspired by Indian musical modes is a wonderful example of cultural cross-pollination. As someone who's neither Chinese nor Indian I wouldn't want to take a stance on it, but clearly the other Beatles were impressed by it -- they put it out as the B-side to their next single, even though the only Beatles on it are Harrison and McCartney, with the latter adding a small amount of harmony vocal: [Excerpt: The Beatles, "The Inner Light"] And it wasn't because the group were out of material. They were planning on going to Rishikesh to study with the Maharishi, and wanted to get a single out for release while they were away, and so in one week they completed the vocal overdubs on "The Inner Light" and recorded three other songs, two by John and one by Paul. All three of the group's songwriters brought in songs that were among their best. John's first contribution was a song whose lyrics he later described as possibly the best he ever wrote, "Across the Universe". He said the lyrics were “purely inspirational and were given to me as boom! I don't own it, you know; it came through like that … Such an extraordinary meter and I can never repeat it! It's not a matter of craftsmanship, it wrote itself. It drove me out of bed. I didn't want to write it … It's like being possessed, like a psychic or a medium.” But while Lennon liked the song, he was never happy with the recording of it. They tried all sorts of things to get the sound he heard in his head, including bringing in some fans who were hanging around outside to sing backing vocals. He said of the track "I was singing out of tune and instead of getting a decent choir, we got fans from outside, Apple Scruffs or whatever you call them. They came in and were singing all off-key. Nobody was interested in doing the tune originally.” [Excerpt: The Beatles, "Across the Universe"] The "jai guru deva" chorus there is the first reference to the teachings of the Maharishi in one of the Beatles' records -- Guru Dev was the Maharishi's teacher, and the phrase "Jai guru dev" is a Sanskrit one which I've seen variously translated as "victory to the great teacher", and "hail to the greatness within you". Lennon would say shortly before his death “The Beatles didn't make a good record out of it. I think subconsciously sometimes we – I say ‘we' though I think Paul did it more than the rest of us – Paul would sort of subconsciously try and destroy a great song … Usually we'd spend hours doing little detailed cleaning-ups of Paul's songs, when it came to mine, especially if it was a great song like ‘Strawberry Fields' or ‘Across The Universe', somehow this atmosphere of looseness and casualness and experimentation would creep in … It was a _lousy_ track of a great song and I was so disappointed by it …The guitars are out of tune and I'm singing out of tune because I'm psychologically destroyed and nobody's supporting me or helping me with it, and the song was never done properly.” Of course, this is only Lennon's perception, and it's one that the other participants would disagree with. George Martin, in particular, was always rather hurt by the implication that Lennon's songs had less attention paid to them, and he would always say that the problem was that Lennon in the studio would always say "yes, that's great", and only later complain that it hadn't been what he wanted. No doubt McCartney did put in more effort on his own songs than on Lennon's -- everyone has a bias towards their own work, and McCartney's only human -- but personally I suspect that a lot of the problem comes down to the two men having very different personalities. McCartney had very strong ideas about his own work and would drive the others insane with his nitpicky attention to detail. Lennon had similarly strong ideas, but didn't have the attention span to put the time and effort in to force his vision on others, and didn't have the technical knowledge to express his ideas in words they'd understand. He expected Martin and the other Beatles to work miracles, and they did -- but not the miracles he would have worked. That track was, rather than being chosen for the next single, given to Spike Milligan, who happened to be visiting the studio and was putting together an album for the environmental charity the World Wildlife Fund. The album was titled "No One's Gonna Change Our World": [Excerpt: The Beatles, "Across the Universe"] That track is historic in another way -- it would be the last time that George Harrison would play sitar on a Beatles record, and it effectively marks the end of the period of psychedelia and Indian influence that had started with "Norwegian Wood" three years earlier, and which many fans consider their most creative period. Indeed, shortly after the recording, Harrison would give up the sitar altogether and stop playing it. He loved sitar music as much as he ever had, and he still thought that Indian classical music spoke to him in ways he couldn't express, and he continued to be friends with Ravi Shankar for the rest of his life, and would only become more interested in Indian religious thought. But as he spent time with Shankar he realised he would never be as good on the sitar as he hoped. He said later "I thought, 'Well, maybe I'm better off being a pop singer-guitar-player-songwriter – whatever-I'm-supposed-to-be' because I've seen a thousand sitar-players in India who are twice as better as I'll ever be. And only one of them Ravi thought was going to be a good player." We don't have a precise date for when it happened -- I suspect it was in June 1968, so a few months after the "Across the Universe" recording -- but Shankar told Harrison that rather than try to become a master of a music that he hadn't encountered until his twenties, perhaps he should be making the music that was his own background. And as Harrison put it "I realised that was riding my bike down a street in Liverpool and hearing 'Heartbreak Hotel' coming out of someone's house.": [Excerpt: Elvis Presley, "Heartbreak Hotel"] In early 1968 a lot of people seemed to be thinking along the same lines, as if Christmas 1967 had been the flick of a switch and instead of whimsy and ornamentation, the thing to do was to make music that was influenced by early rock and roll. In the US the Band and Bob Dylan were making music that was consciously shorn of all studio experimentation, while in the UK there was a revival of fifties rock and roll. In April 1968 both "Peggy Sue" and "Rock Around the Clock" reentered the top forty in the UK, and the Who were regularly including "Summertime Blues" in their sets. Fifties nostalgia, which would make occasional comebacks for at least the next forty years, was in its first height, and so it's not surprising that Paul McCartney's song, "Lady Madonna", which became the A-side of the next single, has more than a little of the fifties about it. Of course, the track isn't *completely* fifties in its origins -- one of the inspirations for the track seems to have been the Rolling Stones' then-recent hit "Let's Spend The Night Together": [Excerpt: The Rolling Stones, "Let's Spend the Night Together"] But the main source for the song's music -- and for the sound of the finished record -- seems to have been Johnny Parker's piano part on Humphrey Lyttleton's "Bad Penny Blues", a hit single engineered by Joe Meek in the fifties: [Excerpt: Humphrey Lyttleton, "Bad Penny Blues"] That song seems to have been on the group's mind for a while, as a working title for "With a Little Help From My Friends" had at one point been "Bad Finger Blues" -- a title that would later give the name to a band on Apple. McCartney took Parker's piano part as his inspiration, and as he later put it “‘Lady Madonna' was me sitting down at the piano trying to write a bluesy boogie-woogie thing. I got my left hand doing an arpeggio thing with the chord, an ascending boogie-woogie left hand, then a descending right hand. I always liked that, the  juxtaposition of a line going down meeting a line going up." [Excerpt: The Beatles, "Lady Madonna"] That idea, incidentally, is an interesting reversal of what McCartney had done on "Hello, Goodbye", where the bass line goes down while the guitar moves up -- the two lines moving away from each other: [Excerpt: The Beatles, "Hello Goodbye"] Though that isn't to say there's no descending bass in "Lady Madonna" -- the bridge has a wonderful sequence where the bass just *keeps* *descending*: [Excerpt: The Beatles, "Lady Madonna"] Lyrically, McCartney was inspired by a photo in National Geographic of a woman in Malaysia, captioned “Mountain Madonna: with one child at her breast and another laughing into her face, sees her quality of life threatened.” But as he put it “The people I was brought up amongst were often Catholic; there are lots of Catholics in Liverpool because of the Irish connection and they are often religious. When they have a baby I think they see a big connection between themselves and the Virgin Mary with her baby. So the original concept was the Virgin Mary but it quickly became symbolic of every woman; the Madonna image but as applied to ordinary working class woman. It's really a tribute to the mother figure, it's a tribute to women.” Musically though, the song was more a tribute to the fifties -- while the inspiration had been a skiffle hit by Humphrey Lyttleton, as soon as McCartney started playing it he'd thought of Fats Domino, and the lyric reflects that to an extent -- just as Domino's "Blue Monday" details the days of the week for a weary working man who only gets to enjoy himself on Saturday night, "Lady Madonna"'s lyrics similarly look at the work a mother has to do every day -- though as McCartney later noted  "I was writing the words out to learn it for an American TV show and I realised I missed out Saturday ... So I figured it must have been a real night out." The vocal was very much McCartney doing a Domino impression -- something that wasn't lost on Fats, who cut his own version of the track later that year: [Excerpt: Fats Domino, "Lady Madonna"] The group were so productive at this point, right before the journey to India, that they actually cut another song *while they were making a video for "Lady Madonna"*. They were booked into Abbey Road to film themselves performing the song so it could be played on Top of the Pops while they were away, but instead they decided to use the time to cut a new song -- John had a partially-written song, "Hey Bullfrog", which was roughly the same tempo as "Lady Madonna", so they could finish that up and then re-edit the footage to match the record. The song was quickly finished and became "Hey Bulldog": [Excerpt: The Beatles, "Hey Bulldog"] One of Lennon's best songs from this period, "Hey Bulldog" was oddly chosen only to go on the soundtrack of Yellow Submarine. Either the band didn't think much of it because it had come so easily, or it was just assigned to the film because they were planning on being away for several months and didn't have any other projects they were working on. The extent of the group's contribution to the film was minimal – they were not very hands-on, and the film, which was mostly done as an attempt to provide a third feature film for their United Artists contract without them having to do any work, was made by the team that had done the Beatles cartoon on American TV. There's some evidence that they had a small amount of input in the early story stages, but in general they saw the cartoon as an irrelevance to them -- the only things they contributed were the four songs "All Together Now", "It's All Too Much", "Hey Bulldog" and "Only a Northern Song", and a brief filmed appearance for the very end of the film, recorded in January: [Excerpt: Yellow Submarine film end] McCartney also took part in yet another session in early February 1968, one produced by Peter Asher, his fiancee's brother, and former singer with Peter and Gordon. Asher had given up on being a pop star and was trying to get into the business side of music, and he was starting out as a producer, producing a single by Paul Jones, the former lead singer of Manfred Mann. The A-side of the single, "And the Sun Will Shine", was written by the Bee Gees, the band that Robert Stigwood was managing: [Excerpt: Paul Jones, "And the Sun Will Shine"] While the B-side was an original by Jones, "The Dog Presides": [Excerpt: Paul Jones, "The Dog Presides"] Those tracks featured two former members of the Yardbirds, Jeff Beck and Paul Samwell-Smith, on guitar and bass, and Nicky Hopkins on piano. Asher asked McCartney to play drums on both sides of the single, saying later "I always thought he was a great, underrated drummer." McCartney was impressed by Asher's production, and asked him to get involved with the new Apple Records label that would be set up when the group returned from India. Asher eventually became head of A&R for the label. And even before "Lady Madonna" was mixed, the Beatles were off to India. Mal Evans, their roadie, went ahead with all their luggage on the fourteenth of February, so he could sort out transport for them on the other end, and then John and George followed on the fifteenth, with their wives Pattie and Cynthia and Pattie's sister Jenny (John and Cynthia's son Julian had been left with his grandmother while they went -- normally Cynthia wouldn't abandon Julian for an extended period of time, but she saw the trip as a way to repair their strained marriage). Paul and Ringo followed four days later, with Ringo's wife Maureen and Paul's fiancee Jane Asher. The retreat in Rishikesh was to become something of a celebrity affair. Along with the Beatles came their friend the singer-songwriter Donovan, and Donovan's friend and songwriting partner, whose name I'm not going to say here because it's a slur for Romani people, but will be known to any Donovan fans. Donovan at this point was also going through changes. Like the Beatles, he was largely turning away from drug use and towards meditation, and had recently written his hit single "There is a Mountain" based around a saying from Zen Buddhism: [Excerpt: Donovan, "There is a Mountain"] That was from his double-album A Gift From a Flower to a Garden, which had come out in December 1967. But also like John and Paul he was in the middle of the breakdown of a long-term relationship, and while he would remain with his then-partner until 1970, and even have another child with her, he was secretly in love with another woman. In fact he was secretly in love with two other women. One of them, Brian Jones' ex-girlfriend Linda, had moved to LA, become the partner of the singer Gram Parsons, and had appeared in the documentary You Are What You Eat with the Band and Tiny Tim. She had fallen out of touch with Donovan, though she would later become his wife. Incidentally, she had a son to Brian Jones who had been abandoned by his rock-star father -- the son's name is Julian. The other woman with whom Donovan was in love was Jenny Boyd, the sister of George Harrison's wife Pattie.  Jenny at the time was in a relationship with Alexis Mardas, a TV repairman and huckster who presented himself as an electronics genius to the Beatles, who nicknamed him Magic Alex, and so she was unavailable, but Donovan had written a song about her, released as a single just before they all went to Rishikesh: [Excerpt: Donovan, "Jennifer Juniper"] Donovan considered himself and George Harrison to be on similar spiritual paths and called Harrison his "spirit-brother", though Donovan was more interested in Buddhism, which Harrison considered a corruption of the more ancient Hinduism, and Harrison encouraged Donovan to read Autobiography of a Yogi. It's perhaps worth noting that Donovan's father had a different take on the subject though, saying "You're not going to study meditation in India, son, you're following that wee lassie Jenny" Donovan and his friend weren't the only other celebrities to come to Rishikesh. The actor Mia Farrow, who had just been through a painful divorce from Frank Sinatra, and had just made Rosemary's Baby, a horror film directed by Roman Polanski with exteriors shot at the Dakota building in New York, arrived with her sister Prudence. Also on the trip was Paul Horn, a jazz saxophonist who had played with many of the greats of jazz, not least of them Duke Ellington, whose Sweet Thursday Horn had played alto sax on: [Excerpt: Duke Ellington, "Zweet Zursday"] Horn was another musician who had been inspired to investigate Indian spirituality and music simultaneously, and the previous year he had recorded an album, "In India," of adaptations of ragas, with Ravi Shankar and Alauddin Khan: [Excerpt: Paul Horn, "Raga Vibhas"] Horn would go on to become one of the pioneers of what would later be termed "New Age" music, combining jazz with music from various non-Western traditions. Horn had also worked as a session musician, and one of the tracks he'd played on was "I Know There's an Answer" from the Beach Boys' Pet Sounds album: [Excerpt: The Beach Boys, "I Know There's an Answer"] Mike Love, who co-wrote that track and is one of the lead singers on it, was also in Rishikesh. While as we'll see not all of the celebrities on the trip would remain practitioners of Transcendental Meditation, Love would be profoundly affected by the trip, and remains a vocal proponent of TM to this day. Indeed, his whole band at the time were heavily into TM. While Love was in India, the other Beach Boys were working on the Friends album without him -- Love only appears on four tracks on that album -- and one of the tracks they recorded in his absence was titled "Transcendental Meditation": [Excerpt: The Beach Boys, "Transcendental Meditation"] But the trip would affect Love's songwriting, as it would affect all of the musicians there. One of the few songs on the Friends album on which Love appears is "Anna Lee, the Healer", a song which is lyrically inspired by the trip in the most literal sense, as it's about a masseuse Love met in Rishikesh: [Excerpt: The Beach Boys, "Anna Lee, the Healer"] The musicians in the group all influenced and inspired each other as is likely to happen in such circumstances. Sometimes, it would be a matter of trivial joking, as when the Beatles decided to perform an off-the-cuff song about Guru Dev, and did it in the Beach Boys style: [Excerpt: The Beatles, "Spiritual Regeneration"] And that turned partway through into a celebration of Love for his birthday: [Excerpt: The Beatles, "Spiritual Regeneration"] Decades later, Love would return the favour, writing a song about Harrison and their time together in Rishikesh. Like Donovan, Love seems to have considered Harrison his "spiritual brother", and he titled the song "Pisces Brothers": [Excerpt: Mike Love, "Pisces Brothers"] The musicians on the trip were also often making suggestions to each other about songs that would become famous for them. The musicians had all brought acoustic guitars, apart obviously from Ringo, who got a set of tabla drums when George ordered some Indian instruments to be delivered. George got a sitar, as at this point he hadn't quite given up on the instrument, and he gave Donovan a tamboura. Donovan started playing a melody on the tamboura, which is normally a drone instrument, inspired by the Scottish folk music he had grown up with, and that became his "Hurdy-Gurdy Man": [Excerpt: Donovan, "Hurdy Gurdy Man"] Harrison actually helped him with the song, writing a final verse inspired by the Maharishi's teachings, but in the studio Donovan's producer Mickie Most told him to cut the verse because the song was overlong, which apparently annoyed Harrison. Donovan includes that verse in his live performances of the song though -- usually while doing a fairly terrible impersonation of Harrison: [Excerpt: Donovan, "Hurdy Gurdy Man (live)"] And similarly, while McCartney was working on a song pastiching Chuck Berry and the Beach Boys, but singing about the USSR rather than the USA, Love suggested to him that for a middle-eight he might want to sing about the girls in the various Soviet regions: [Excerpt: The Beatles, "Back in the USSR"] As all the guitarists on the retreat only had acoustic instruments, they were very keen to improve their acoustic playing, and they turned to Donovan, who unlike the rest of them was primarily an acoustic player, and one from a folk background. Donovan taught them the rudiments of Travis picking, the guitar style we talked about way back in the episodes on the Everly Brothers, as well as some of the tunings that had been introduced to British folk music by Davey Graham, giving them a basic grounding in the principles of English folk-baroque guitar, a style that had developed over the previous few years. Donovan has said in his autobiography that Lennon picked the technique up quickly (and that Harrison had already learned Travis picking from Chet Atkins records) but that McCartney didn't have the application to learn the style, though he picked up bits. That seems very unlike anything else I've read anywhere about Lennon and McCartney -- no-one has ever accused Lennon of having a surfeit of application -- and reading Donovan's book he seems to dislike McCartney and like Lennon and Harrison, so possibly that enters into it. But also, it may just be that Lennon was more receptive to Donovan's style at the time. According to McCartney, even before going to Rishikesh Lennon had been in a vaguely folk-music and country mode, and the small number of tapes he'd brought with him to Rishikesh included Buddy Holly, Dylan, and the progressive folk band The Incredible String Band, whose music would be a big influence on both Lennon and McCartney for the next year: [Excerpt: The Incredible String Band, "First Girl I Loved"] According to McCartney Lennon also brought "a tape the singer Jake Thackray had done for him... He was one of the people we bumped into at Abbey Road. John liked his stuff, which he'd heard on television. Lots of wordplay and very suggestive, so very much up John's alley. I was fascinated by his unusual guitar style. John did ‘Happiness Is A Warm Gun' as a Jake Thackray thing at one point, as I recall.” Thackray was a British chansonnier, who sang sweetly poignant but also often filthy songs about Yorkshire life, and his humour in particular will have appealed to Lennon. There's a story of Lennon meeting Thackray in Abbey Road and singing the whole of Thackray's song "The Statues", about two drunk men fighting a male statue to defend the honour of a female statue, to him: [Excerpt: Jake Thackray, "The Statues"] Given this was the music that Lennon was listening to, it's unsurprising that he was more receptive to Donovan's lessons, and the new guitar style he learned allowed him to expand his songwriting, at precisely the same time he was largely clean of drugs for the first time in several years, and he started writing some of the best songs he would ever write, often using these new styles: [Excerpt: The Beatles, "Julia"] That song is about Lennon's dead mother -- the first time he ever addressed her directly in a song, though  it would be far from the last -- but it's also about someone else. That phrase "Ocean child" is a direct translation of the Japanese name "Yoko". We've talked about Yoko Ono a bit in recent episodes, and even briefly in a previous Beatles episode, but it's here that she really enters the story of the Beatles. Unfortunately, exactly *how* her relationship with John Lennon, which was to become one of the great legendary love stories in rock and roll history, actually started is the subject of some debate. Both of them were married when they first got together, and there have also been suggestions that Ono was more interested in McCartney than in Lennon at first -- suggestions which everyone involved has denied, and those denials have the ring of truth about them, but if that was the case it would also explain some of Lennon's more perplexing behaviour over the next year. By all accounts there was a certain amount of finessing of the story th

During this week's Segment 1, Comfy Horror Movie Review we're talking about the man who helped to write for the movie Sudden Impact - Charles Pierce - and his classic 1976 pseudo-docu-horror drama called The Town that Dreaded Sundown. Starring the legendary Ben Johnson, The Town that Dreaded Sundown is a first for the DFM pod - we're talking a real killer with real murders - the Texarkana Moonlight Murders took place in post WWII Texarkana Arkansas/Texas. The Phantom Killer may be the 2nd or 3rd most popular serial killer next to the Zodiac Killer and the Golden State killer. With a narration that gives us goosebumps, we can't help but wonder what the fate was of the suspect that was never caught.Speaking of that Hurdy Gurdy Man song by Donovan, in Segment 2, Horror, Etc we're talking the 2007 David Fichner Zodiac that spawned multiple Marvel-verse characters.

Welcome to the Instant Trivia podcast episode 931, where we ask the best trivia on the Internet. Round 1. Category: 1970s album covers 1: 1977:John Travolta strikes a pose and points his finger to the sky. Saturday Night Fever. 2: 1978:Mick, Keith and the boys smile and smirk in wig catalog ads. Some Girls. 3: 1973:Against a black background, a prism bends a beam of light into a colorful spectrum. Dark Side of the Moon. 4: 1973:Paul McCartney and 8 others including James Coburn and Christopher Lee are caught by a police spotlight. Band on the Run. 5: 1978:Billy Joel leans against an alley wall holding a trumpet. 52nd Street. Round 2. Category: water sports 1: Cypress Gardens show done on water, not on snow. water skiing. 2: Fishing from a moving boat. trolling. 3: Competitor in this sport was the model for nude male torso atop L.A.'s Olympic gate. water polo. 4: Name of yacht immortalized after winning the 100-Guinea Cup away from England in 1851. the America. 5: What an unlucky surfer has just experienced in this song. wipeout. Round 3. Category: music of the '60s 1: In 1969 "Something" became the only No. 1 hit he composed for The Beatles. George Harrison. 2: In 1969 B.J. Thomas had the biggest hit of his career with this song from "Butch Cassidy and the Sundance Kid". "Raindrops Keep Fallin' on My Head". 3: In this 1965 hit, Roger Miller tells us that "Two hours of pushing broom buys a eight by twelve four-bit room". "King of the Road". 4: In 1968 his "Hurdy Gurdy Man" came singing songs of love. Donovan. 5: In the 1960s she reached the Top 20 3 times with duets: twice with Lee Hazelwood and once with her father. Nancy Sinatra. Round 4. Category: a "b" city 1: You can cross this city's Francis Scott Key Bridge by the dawn's early light. Baltimore. 2: In 1937 the Loyalists in Spain made this city their capital. Barcelona. 3: Aurelia Aquensis in ancient times, you may want to take a "double" dip in this German city's baths. Baden-Baden. 4: Its first name was F-E-L-S-I-N-A, not O-S-C-A-R. Bologna. 5: The center of the Czech Republic's wool industry, it looks like it needs to buy a vowel. Brno. Round 5. Category: track and field 1: Dutch Warmerdam, the 1st man to vault over 15', in 1940, used poles made of this natural substance. bamboo. 2: They're either 36" or 42" high, depending on the race. a hurdle. 3: In 1989 this country removed Imre Nagy's remains from a potter's field and reburied them with honors. Hungary. 4: In 1986 Jackie Joyner-Kersee was named the amateur athlete of the year; this sister-in-law won in 1988. Florence Griffith Joyner. 5: This son of a Dutch immigrant had the first 15' pole vault--in fact, he had the first 43 15' pole vaults. "Dutch" Warmerdam. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/

Radiowilderlive.com thanks some of its Best Of Business fans and advertisers this week on the show. We have a lot of Self Storage listeners and after this year's winners were announced, we wanted to give a shout out to those who won Self Storage's most prestigious award as presented by Inside Self Storage. The show is a real rock ‘n' roller this week because you will rock when you play and listen to: The Record Company, Fitz &The Tantrums, Green Day, Bruce Springsteen, Bryan Adams, and Alice Cooper! The “Hurdy Gurdy Man” sung by Donovan is referencing an instrument created in the 10th century. Bet you didn't know that! “We don't Talk Anymore” by Cliff Richard who is the UK's number three top seller of all time behind The Beatles and Elvis. He also had 14 #1's in UK and holds the distinction of having two versions of the same song charting number one. Give a listen to Cliff, you might want to pick up some of those #1's. Thanks as always for listening and Capt'n Dave says, ”Enjoy the show because I did”!

Welcome to the Instant Trivia podcast episode 901, where we ask the best trivia on the Internet. Round 1. Category: music of the '60s 1: In 1969 "Something" became the only No. 1 hit he composed for The Beatles. George Harrison. 2: In 1969 B.J. Thomas had the biggest hit of his career with this song from "Butch Cassidy and the Sundance Kid". "Raindrops Keep Fallin' on My Head". 3: In this 1965 hit, Roger Miller tells us that "Two hours of pushing broom buys a eight by twelve four-bit room". "King of the Road". 4: In 1968 his "Hurdy Gurdy Man" came singing songs of love. Donovan. 5: In the 1960s she reached the Top 20 3 times with duets: twice with Lee Hazelwood and once with her father. Nancy Sinatra. Round 2. Category: irish stars 1: This Bond of "Die Another Day" was born in County Meath. Pierce Brosnan. 2: The youngest man to play Henry V for the Royal Shakespeare Company, he starred in the 1989 film, too. Kenneth Branagh. 3: This Irish star of "Michael Collins" stretched his acting abilities to play Scottish legend Rob Roy. Liam Neeson. 4: In July of 2001 he stunned the world when he announced he was putting out his "Feet of Flames" forever. Michael Flatley. 5: In 1976 he returned as John Morgan in "The Return of a Man Called Horse". Richard Harris. Round 3. Category: 1982 1: Spain joined NATO under the stipulation that none of these weapons would be based on its soil. nuclear weapons. 2: In August 1982 Svetlana Savitskaya became the second woman to be sent here by Russia. Space. 3: After 11 months of internment by the Polish government, this Solidarity leader went home in November. Lech Wałęsa. 4: By the time he died in 1982, he'd been top Soviet leader longer than anyone except Stalin. Brezhnev. 5: Family name of the father and daughter who created the following music:"I do not talk funny... /I'm sure (Valley Girl) /Whatsa matter with the way I talk? (Valley Girl)". Zappa. Round 4. Category: utter nonsense 1: This Irish stone gives you the power of persuasion. the Blarney Stone. 2: Luncheon meat named for a city in Italy. Bologna. 3: A bed built on a shelf over another bed. a bunk bed. 4: A tower in Genesis 11:9. (the Tower of) Babel. 5: Helium or this can be used to raise a balloon from which a gondola is suspended. hot air. Round 5. Category: three cheers! 1: It's the breakfast cereal pitched by the animated elves Snap, Crackle and Pop. Rice Krispies. 2: The 3 U.K. countries that make up the island of Great Britain. England, Scotland and Wales. 3: The 4-legged Omaha made the record books in 1935 with this 3-feat. racing's Triple Crown. 4: Since the 1979 incident at this location, no new nuclear reactors have been ordered in the U.S.. Three-Mile Island. 5: Mythical monstrosity manifested here. Cerberus. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/

Singles Going Around- Rag And BoneThe Beatles- "Getting Better" (SMAS 2653)The Yardbirds- "Smokestack Lightning" (LN 24246)Tommy James & The Shondells- "Gotta Get Back To You" (R 7071)The Raconteurs- "Hey Gyp (Dig The Slowness)" (TMR 600)Donovan- "Hurdy Gurdy Man" (BXN 26439)The Beach Boys- "Your So Good To Me" (T 2354)The Rolling Stones- "Mona" (LK 4605)Howlin Wolf- "You'll Be Mine" (DOL 929HG)AC/DC- "Dog Eat Dog" (E 80203)The Monkees- "Tomorrow's Gonna Be Another Day" (COM 101)The Detroit Cobras- "Stupidity" (TMR 372)Van Morrison- "Call Me Up In Dreamland" (RDV1 1884)Sonny & Cher- "The Letter" (ATCO 33-177)Neil Young & Crazy Horse- "Prisoners Of Rock & Roll" (GHS 24154)The Beatles- "What Goes On" (T 2553)Flat Duo Jets- "You Belong To Me" (TMR 059)Led Zepplin- "The Lemon Song" (ATL 8122796640)The White Stripes- "Catch Hell Blues" (TMR 500)The Rolling Stones- "I'm Free" (LON 9792)*All songs from records listed.

Today on Soundtracker I'm joined once again by Desi Jedeikin (@DesiJed on Twitter and IG) and Rachel Fisher (@TheRachelFisher on Twitter, childlikeempress on IG) of Hollywood Crime Scene (@hwoodcrimescene on Twitter, hollywoodcrimescene on IG) only this time, they're both here together, AND, I'm over on Hollywood Crime Scene for my first true Soundtracker crossover episode. And the crossover theme is The Zodiac Killer. They're here talking Fincher's modern masterpiece, ZODIAC, and I'm over there talking the actual Zodiac case!In this episode, we talk about the film's long road to getting made, the overarching theme of obsession destroying lives, Toschi and Armstrong's love of animal crackers, give our own personal Zodiac theories, marvel at how it conveys the passage of time through musical cues, our hopes to bring back the Aqua Velva drink, the basement scene being the scariest thing outside of a horror film, the way Hurdy Gurdy Man will never be heard the same, Greysmith's many faults, Robert Downey Jr's killer performance, and a whole lot more.Check out Hollywood Crime Scene here: https://podcasts.apple.com/us/podcast/hollywood-crime-scene/id1262899883Here's part 1 of my 2 part appearance on Hollywood Crime Scene: https://podcasts.apple.com/us/podcast/episode-279-movie-vs-reality-zodiac-part-1-ft-eric-peacock/id1262899883?i=1000611047609Support them on Patreon here: https://www.patreon.com/hollywoodcrimesceneAlso, I was over on Nerds Without Pants, with former guest Julian Titus from TRANSFORMERS: THE MOVIE talking about music in video games, and you can find that episode here: http://www.pixlbit.com/feature/5211/episode_249_lets_call_it_a_synthSupport the show on Patreon! It's the one thing that's gonna help keep the show going: www.patreon.com/soundtracker

Twitter: @podgaverockInsta: @podgaverockDonovan “Hurdyb Gurdy Man" from the  1968 album "The Hurdy Gurdy Man" released on Pie. Written by Donovan and produced by Mickie Most. Personel:Donovan - vocals, tanpura given to him by George HarrisonAllan Holdsworth and maybe Jimmy Page - electric guitarJohn Paul Jones - arrangements and bassClem Cattini - drumsCover:Performed by Josh BondIntro Music:"Shithouse" 2010 release from "A Collection of Songs for the Kings". Written by Josh Bond. Produced by Frank Charlton.Other Artists Mentioned:Band of Horses "Found It In A Drawer"George Harrison

Twitter: @podgaverockInsta: @podgaverockSpecial Guest Host: John ShafranskiDonovan “Hurdyb Gurdy Man" from the  1968 album "The Hurdy Gurdy Man" released on Pie. Written by Donovan and produced by Mickie Most. Personel:Donovan - vocals, tanpura given to him by George HarrisonAllan Holdsworth and maybe Jimmy Page - electric guitarJohn Paul Jones - arrangements and bassClem Cattini - drumsCover:Performed by Josh BondIntro Music:"Shithouse" 2010 release from "A Collection of Songs for the Kings". Written by Josh Bond. Produced by Frank Charlton.Other Artists Mentioned:Jeff BeckLisa Marie PresleyKeith RichardsStevie Ray VaughnJimi HendrixThe YardbirdsJeff Beck “Beck Ola”The Beatles “A Day in the Life”Nick MasonSyd BarrettPink FloydDavid GilmourAustin ButlerElvisThe BeatlesBob DylanThe Grateful DeadFather John MistyHans Christian AnderssonZodiacButthole SurfersDonovan “Season of the Witch”Donovan “Mellow Yellow”Donovan “Sunshine Superman”Louis ArmstrongRichie SamboraLed ZeppelinGeorge HarrisonBob Dylan “Like a Rolling Stone”HeidegarLord of the RingsThe Beatles “White Album”Tommy James and the ShandellesMac MacLeodThe Animals “House of the Rising Sun”Herman's Hermits “I'm Into Something Good”Don't Look BackBob Dylan “It'All Over Now, Baby Blue”Bob Dylan “Love Minus Zero/No Limit”Donovan “Catch the Wind”The Small Faces “Green Circles”Beastie Boys “Car Thief”Adam HorowitzThree Dog Night “Mama Told Me Not To Me”The Black AngelsBob Dylan “Mr Tambourine Man”Bob Dylan “Lay Lady, Lay”The BEatles “ With a Little Help From My Friends”Peter, Paul, and Mary “Puff the Magic Dragon”Eartha KittSir JudeStingSteve VillageAntietamLA Guns

This week Blast Points becomes WILLOW POINTS (or is it BROWNIE POINTS?) as we celebrate the magic that lies within talking all things WILLOW! Join us as we look back at the classic 1988 film, its legacy, our eternal love for it AND we're going over the first two episodes of the excellent new Disney Plus series! Listen as we break down all the action, all the character moments, all the orange whips and spend some special time chatting about the shocking miracle that is Willow's majestic flashback goatee! So, call up the Hurdy Gurdy Man, listen today and celebrate the love! JOIN THE BLAST POINTS ARMY and SUPPORT BLAST POINTS ON PATREON! LIGHT AND MAGIC COMMENTARIES! KENOBI COMMENTARIES! BOOK OF BOOK REVIEW EPISODES! MANDO SEASON 1 & 2 REVIEW EPISODES! BAD BATCH! CLONE WARS ! BLAST POINTS Q&A EPISODES! ! Theme Music downloadable tracks! Extra goodies! and so much MORE! www.patreon.com/blastpoints new Blast Points T-SHIRTS are now available! Represent your favorite podcast everywhere you go! Get the NEW BLUE LOGO shirts for 2022 and classics like the Ben Burtt and Indiana shirt while supplies last! Perfect for conventions, dates, formal events and more! Get them here: www.etsy.com/shop/Gibnerd?section_id=21195481 visit the Blast Points website for comics, recipes, search for back episodes and so much more! www.blastpointspodcast.com if you dug the show, please leave BLAST POINTS a review on iTunes, Spotify and share the show with friends! If you leave an iTunes review, we will read it on a future episode! honestly! talk to Blast Points on twitter at @blast_points leave feedback, comments or ideas for shows! "like" Blast Points on Facebook for news on upcoming shows and links to some of the stuff we talk about in the show!! Join the Blast Points Super Star Wars Chill Group here www.facebook.com/groups/BlastPointsGroup/ we are also on Instagram! Wow! www.instagram.com/blastpoints your hosts are Jason Gibner & Gabe Bott! contact BLAST POINTS at contact@blastpointspodcast.com send us show ideas, feedback, voice messages or whatever! May the Force be with you, always!

**Warning** Some of these songs are legit disturbing, we're not playing anything inappropriate…but we're not talking about Thriller either. Also, Jay has a great time with his sound effects & Greg's got reverb. Thanks for all the suggestions on Facebook. If scary or disturbing music isn't your thing, you might stay for the laughs…if not, we totally understand!Greg's PicksLeviathan - “VI - XI - VI”Marc Blackwood recommended “100 Years” by The CureTheresa Sanchez recommended “Hurdy Gurdy Man” by DonovanJay's PicksDean Hurley - “Night Electricity Theme”Krzysztof Penderecki - “Threnody for the Victims of Hiroshima” performed by Narodowa Orkiestra Symfoniczna Polskiego Radia w KatowicachMr. Bungle - “Everyone I Went to High School With Is Dead”Nick's PicksPink Floyd - “Welcome to the Machine”Nine Inch Nails - “Mr. Self Destruct”Louis Cole - “Let Me Snack”Episode 168

Episode 80   Electronic Music for Astral Tripping Or, Better Music Through Pharmacology  Playlist Hal Blaine, “Flashes” from Psychedelic Percussion (1967 Dunhill). Drums, Hal Blaine; Electronics (Moog), Paul Beaver; Keyboards, Organ, Electric Piano, Mike Lang; Percussion, Emil Richards, Gary Coleman. 2:22 Raymond Scott, “LSD”public service announcement for the film, The Trip (1967), plus some electronic music snippets from Electronium (2007 Electronium). I'm not sure who the voice of the announcer is but the recording was produced by Raymond Scott and and I sandwiched the PSA between two snippets of Scott's electronic music. Let this be a warning to you. 1:58 Mort Garson, “Astral Projection” from Ataraxia–The Unexplained (Electronic Musical Impressions Of The Occult) (1975 RCA). Composed with an electronic music score (Moog Modular) by Mort Garson. 5:12 Pierre Henry, “Electro-Genèse” from Mise En Musique Du Corticalart De Roger Lafosse (1971 Philips). Live improvisations recorded Feb. 15-21, 1971 by Pierre Henry using Roger Lafosse's Corticalart device, allowing one to transform brainwaves into electronic signals for further raw manipulations. Technical realization by Groupe Artec (Bordeaux) with electroacoustic equipment from Apsome and J. Heuze. I thought that we needed at least one piece that tapped directly into brain waves. 7:39 Ron Jacobs, “Eating Food” and “Listening to Music” from A Child's Garden Of Grass (A Pre-Legalization Comedy) (1971 Elektra). Timely yet instantly dated, this relic capitalized on explaining marijuana to squares. The Electronic Music was by Alex Hassilev, which probably means that Paul Beaver did the synthesizer patchwork (both were involved in 1967 on the Zodiac Cosmic Sounds by Garson). 3:31 Nik Raicevik, “Methedrine” from Numbers (1970 Narco). Although Raicevik went by the name 107-34-8933 for the initial release of this record on his Narco label, it was re-released by Buddha Records under the title Head by Nik Raicevik. Buddha dropped him and Raicevik went on to create several more crazy electronic albums for his Narco label. This was primarily a Moog Modular album. 5:59 Steve Hillage, “Hurdy Gurdy Glissando” from L (1976 Atlantic). This album was produced by Todd Rundgren and featured some of his Utopia bandmates, Kasim Sulton (bass) and the mind-blowing Roger Powell on synthesizers (R.M.I. Keyboard Computer, Minimoog). But the star is guitarist Steve Hillage (Guitar, Guitar-synthesizer, ARP, EMS, Voice) and a 15th Century Hurdy Gurdy by Sonja Malkine. This is an extrapolation of the Donovan Leitch song, “Hurdy Gurdy Man,” also featured on the album. 8:54 Eberhard Schoener and the Secret Society, “Trance-Formation” from Trance-Formation (1977 Harvest). Bass Guitar, Hansi Ströer; Choir, Members Of The Tölzer Knabenchor; Guitar, Andy Summers; Keyboards, Raimund Elleder; Orchestra, Orchestra of the Munich Chamber-Opera; Percussion, Nippi; Moog Synthesizer, Organ, Piano, Mellotron, Conductor Orchestra Conducted By, Composed By, Arranged By, Produced By, Sleeve Notes, Eberhard Schoener; Vocals, Mary Gregoriy, Monks Of The Monastery of Sama. 11:42 Kitaro, “Astral Trip” from 天界 = Ten Kai / Astral Trip (1978 Wergo). Shakuhachi, Biwa, Ryusuke Seto; Sitar, Lavi; Moog, Korg, ARP, and Roland synthesizers, Koto, Mandolin, Acoustic Guitar, Drums, Percussion, Bass, Kitaro. Written and Arranged by Kitaro. 7:40 Ozric Tentacles, “Lull Your Skull” from There Is Nothing (1986 Self-Released). Bass, Adam Mace; Drums, Nick Van Gelder; Guitar, Keyboards, Ed Wynne; Keyboards, Joie Hinton. 3:00 Bill Nelson, “Opium” from Sounding The Ritual Echo (Atmospheres For Dreaming) (1985 Cocteau Records). "Sounding the Ritual Echo was recorded in the privacy of my own home on broken or faulty tape machines & speakers, each track possessing its own technological deformity. For this I offer no apology as the music owes its existence to a very personal & selfish obsession. As a direct result, some pieces will require a little patience.” Bill Nelson. 1:44 Michael Magne, “Trip Psychiatrique” from Elements Nº 1 "La Terre" (1978 Egg). Bongos, Percussion, Grégori Czerkinsky; R.M.I. Keyboard Computer, ARP Odyssey, ARP Omni Polyphonique, ARP 2600, and Minimoog synthesizers, Clavinet D6, Electric Piano (Fender and Yamaha, composed, adapted, arranged by Michel Magne; Drums, Syn-drums, Jean-Paul Batailley. 4:35 Pure Energy, “Spaced Out” from Spaced Out (12” vinyl) (1983 Say What!? Records). From the Netherlands. Need I say more? I'm not sure if this was about space or being spaced-out but it is definitely psychologically disorienting. This is the long version. 7:35 Acid Mothers Temple & The Melting Paraiso U.F.O., “Stone Stoner” from Absolutely Freak Out (Zap Your Mind!!). Bass Monster Bass, Acoustic Guitar, Vocals, Other Cosmic Joker, Tsuyama Atsushi; Drums, Ichiraku Yoshimitsu; Drums, Percussion, Other Sleeping Monk, Koizumi Hajime; Electric Guitar, Synthesizer, Other Dancin' King, Hiroshi Higashi; Electric Guitar, Violin, Tambura, Effects Cosmic Ringmodulator, Rds900, Synthesizer, Organ, Electric Harpsichord, Vocals, Other Speed Guru, Producer, Engineer, Kawabata Makoto; Jew's Harp, Electric Guitar, Other Erotic Underground, Magic Aum Gigi; Narrator Cosmic Narration, Other Freak Power, Wellens Johan; Saxophone, Mano Kazuhiko; Vocals, Suzuki Chisen; Vocals, Synthesizer, Acoustic Guitar, Other Beer and Cigarettes, Cotton CasinoVoice, Other Cosmos, Ginestet Audrey; Recorded at Acid Mothers Temple and FTF Studio, May to July, 2000. Yes, this is what psychedelic music should sound like. I promise to do an entire podcast around Japanese psychedelic music soon. 16:19 Opening background music: Steve Hillage, “Hurdy Gurdy Man” (edit) from L (1976 Atlantic). Steve Hillage (Guitar, Guitar-synthesizer, ARP, EMS, Voice) and a 15th Century Hurdy Gurdy by Sonja Malkine. This is a cover version of the Donovan Leitch song, “Hurdy Gurdy Man.” Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog, Noise and Notations.

Hurdy gurdy hurdy gurdy hurdy gurdy hurdy gurdy! We're talking Donovan's "Hurdy Gurdy Man" this week. Covers by: Eartha Kitt, Butthole Surfers, Color Filter, L.A. Guns, Wild Colonials, Antietam with Catherine Irwin, Will Oldham, Tara O'Bannon, Anna Krippenstapel Spotify playlist here

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0:00 - Pro Clinic w/Dan Brooks-Wells, Mike Carman & Dylan Horst0:35 - Intro Music Provided by Wheels1:00 - Hole 7 - PDGA Rules School - Marking Your Lie12:08 - Mando Talk14:00 - Hole 6 - Stonykill Wipeout 219:34 - Hole 3 - Best Local Hole 327:05 - Hole 4 - WWYLTTA31:09 - Hole 5 - Quiz48:21 - Sweet Up!

Many films examine the nature of evil, but David Fincher's 2007 Zodiac portrays evil as unknowable, without a motive or even a face.  Mike and Dan discuss Fincher's understanding of just what happens when people sit in the dark to watch a film about murder and how he teases his viewers--who know from the start that the case is unsolved--with the promise of filmic resolution.  Zodiac might not be a perfect film or even Fincher's best, but it's certainly interesting and a film that grows upon the viewer.  So turn on "The Hurdy-Gurdy Man" and then give this episode a listen!   Please subscribe to the show wherever you get your podcasts and follow us on Twitter @15MinFilm.  Rate and review the show on Apple podcasts, and contact us at FifteenMinuteFilm@gmail.com.  We take requests!  You can also support the show with a buck or two at Venmo @FifteenMinuteFiIm.  We'll use any donations to buy half and half at Ralph's.  

This week, the intrepid Ellroy Boys venture into serial killer cinema. First, they discuss David Fincher's magnificent, epic procedural drama, 2007's Zodiac, in addition to 1971's singular and bizarre grindhouse oddity, The Zodiac Killer. The latter picture was in part crafted in collaboration with crime reporter, Paul Avery, who thought a movie might draw the real killer out of hiding, by drawing him into an actual movie theater. Furthermore, the boys explore why Fincher's film functions so well and why it remains so strangely addictive. It's a film, unafraid of it's inherent tragedy, of its bold dismissal of the idea that there can be closure and catharsis for the casualties of this monster. It explores how unchecked obsession eats some men alive while others manage to circumvent the abyss without letting it consume them. Despite a lack of closure, we still learn that people move on and that there is hope, but that it's not always in line with expectation. Ultimately, Zodiac is one of the last American cinematic tragedies writ large and is hugely emblematic of a kind of film we no longer see. -produced by @GOLDpny feat: @blauer_geist @luso_brendan @rubberwidow

Once more, it's time for a weekly dose of Stuff to Blow Your Mind and Weirdhouse Cinema listener mail... Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

donovan // manchin // jeffersonian watchmaker deity vs techno-god simulation // Pinker & Miranda // reddit comments // moral panics // McConaughey ~~~Visit hausofdecline.comNostalgia is fleeting, but @hausofdecline is forever Please email complaints, suggestions, or requests to hausofdecline@gmail.com  Thank you for listening.Explicit Content Warning. You WERE warned.  That's what the little E signifies.       

Welcome to the Instant Trivia podcast episode 105, where we ask the best trivia on the Internet. Round 1. Category: Lawn Care 1: Fungicide may be needed when the "powdery" type of this appears in late summer. Mildew. 2: Measuring alkalinity or acidity, test this 2-letter quality of your soil. pH. 3: When planting a new lawn, it's a good idea to add compost and this 4-letter combination of sand, silt and clay. loam. 4: If your lawn has these protrusions, don't make mountains out of them:. Molehills. 5: This tillage tool has leaf and garden types, both suitable for stepping on and bashing yourself in the nose. Rake. Round 2. Category: Sweet Songs 1: It's the theme song of the Harlem Globetrotters. "Sweet Georgia Brown". 2: In a Tony Orlando and Dawn song, "She's got rings on her fingers and bells on her toes". "Sweet Gypsy Rose". 3: This crooner's "Sweet Leilani" from the 1937 film "Waikiki Wedding" won an Oscar for best song. Bing Crosby. 4: "Sweet Dreams (Are Made Of This)" was the first No. 1 hit for this Annie Lennox duo. The Eurythmics. 5: Marvin Gaye and James Taylor each had a hit with this song. "How Sweet It Is To Be Loved By You". Round 3. Category: The Weather Channel 1: In terms of rainfall, it's the driest continent after Antarctica. Australia. 2: A "little" one of these "ages" ran between the 14th and 19th Centuries. ice age. 3: When it's muggy, "it's not the heat, it's" this, the amount of water vapor in the atmosphere. humidity. 4: Each second about 100 of these natural electrical discharges occur somewhere on Earth. lightning strikes. 5: When the folks at the National Weather Service are feeling a bit "DZ," "DZ" stands for this weather condition. drizzle. Round 4. Category: Music Of The '60S 1: In 1969 B.J. Thomas had the biggest hit of his career with this song from "Butch Cassidy and the Sundance Kid". "Raindrops Keep Fallin' on My Head". 2: In the 1960s she reached the Top 20 3 times with duets: twice with Lee Hazelwood and once with her father. Nancy Sinatra. 3: In 1969 "Something" became the only No. 1 hit he composed for the Beatles. George Harrison. 4: In this 1965 hit, Roger Miller tells us that "Two hours of pushing broom buys a eight by twelve four-bit room". "King of the Road". 5: In 1968 his "Hurdy Gurdy Man" came singing songs of love. Donovan. Round 5. Category: The New York Times Travel 1: nytimes.com says the Belle Epoque architecture and late-night cafes of this capital lure expat artists and tango lovers. Buenos Aires. 2: Anyone born on this southern U.S. island is called a conch, also a delicacy there, like stone crab claws. Key West. 3: The Times' "36 Hours" tour of this capital begins at a plaza where people look like extras in an Almodovar film. Madrid. 4: "What to do" at this Greek site is to visit the Museum of the History of the... games in antiquity. Olympia. 5: The "Practical Traveler" reports on budget types of these small, trendy hotels with the name of a kind of shop. boutiques. Thanks for listening! Come back tomorrow for more exciting trivia!

This third series of Lives in Music doesn't just concentrate on peoples' music journeys. It also has one consistent thread running through everyone's lives: that of Covid 19, the resultant lockdown, and the effect it's had on people's activities. My guest in this edition is someone you will almost certainly have seen if you've been to ANY live gigs in Birmingham over the past thirty or forty years. He's graced such bands as Ricky Cool and the Icebergs, The Destroyers, and Terry and Gerry, all in their pomp, along with dozens of other outfits and combos, permanent and casual. But you may not even know his name. You should, though: it's Mick Howson. Mick is a phenomenal guitarist. In fact, give him any kind of stringed instrument and he's at home. And of late he has turned to the Hurdy Gurdy. You're going to hear some of this instrument in this podcast, along with collaborations and excerpts from elsewhere. To explore more of the music, musicians and events mentioned in this podcast, check the detailed companion blog post: 'A Life in Music: Mick Howson', which you can find on the Radio To Go Blog at radiotogo.com. This post overflows with links to interesting musos and YouTube videos.  A footnote: the intro and outro flourishes I'm using in this series of Lives in Music podcast come from Vo Fletcher, who is featured in this series along with Loz Kingsley, here. I asked him for a bit of live impro, and this was the result.   The Lives in Music Podcast series has been running for about two years now. These are interviews with local musicians, looking at how music has shaped them throughout their lives. Series 3 also looks hard at how lockdown has had an impact. There are some lovely stories. To see all the artists, here's a link to every episode.

Five Things 1. Boulder and Altra https://www.altrarunning.com/bolder-boulder-escalante-racer?utm_medium=email&utm_source=Altra+Master+List&utm_campaign=20210326_BoulderDonationLaunch%E2%80%8B%E2%80%8B&utm_content=body-learnmore%E2%80%8B&eid=ZWR3YXJkLmFiYm90dEBnbWFpbC5jb20= 2. The Magical Cure All of Coca-Cola 3. The Trails of Troy https://www.google.com/maps/d/u/0/viewer?mid=1P88YClldaZ5LhLaqas7LVSDQ6Fq6ikma&ll=42.72039847088627%2C-73.68440670650409&z=16 https://www.transporttroy.com 4. The Excelsior Pass! https://www.npr.org/sections/coronavirus-live-updates/2021/03/26/981695884/new-york-launches-first-covid-19-vaccination-test-result-app-for-event-attendanc 5. Hurdy Gurdy Man covered by the Butthole Surfers. https://youtu.be/W1aGAYUUUTM

Label: Epic 10345Year: 1968Condition: M-Last Price: $20.00. Not currently available for sale.This track is one of the most interesting in Donovan's catalogue. Here is a description from the wordiq.com website: Released in May 1968, his next single was the swirling psychedelic nugget 'The Hurdy Gurdy Man', a song he originally intended for his old friend and guitar mentor Mac MacLeod who had a heavy rock band called Hurdy Gurdy. Donovan had also considered giving it to Jimi Hendrix, but when Mickie Most heard it, he convinced Donovan that the song was a sure-fire single and that he should record it himself. Donovan tried to get Hendrix to play on the recording, but he was on tour and unavailable for the session. In his place they brought in a brilliant young British guitarist, Allan Holdsworth. Jimmy Page also played on the session, and it is believed that John Paul Jones may have played bass with (possibly) John Bonham on drums. If so, this would make it the first recorded performance featuring the three future members of Led Zeppelin. Both Jones and Page have stated that the idea of Led Zeppelin was formed during the Hurdy Gurdy Man sessions. The B side is a non-album cut. Note: This beautiful copy has a drillhole and comes in a vintage Epic Records factory sleeve. It has awesome, pristine Mint sound.

Donovan : "Hurdy Gurdy Man" Learn more about your ad choices. Visit megaphone.fm/adchoices

"Histories of ages past, unenlightened shadows castDown through all eternity, the crying of humanity'Tis then when the Hurdy Gurdy Man comes singing songs of love"Please join me and allow me to be your Hurdy Gurdy Man and serenade you with great tuneage on this Valentines Eve...I'll be serving up treats from Garland Jeffreys, The Beatles, Shangri-Las, Steve Miller Band, Dion Dimucci, Bruce Springsteen, Traffic, Rolling Stones, Robert Plant, Savoy Brown, Big Brother & The Holding Company, The Ad-Libs, Miles Davis, Rod Stewart, Led Zeppelin, Super Session, Love, Dobie Gray, Ten Years After, Python Lee Jackson, Dire Straits and Donovan...

ALERTA: Essa é a Parte II do Episódio do Zodíaco, por isso recomendamos ouvir a Parte I antes. Novas cartas, novos códigos, novas ameaças e até novos imitadores! O fenômeno do Zodíaco fez com que broches fossem comercializados e que os investigadores assistissem às operas. Mas afinal, quem é Arthur Leigh Allen? E o que a decodificação de 2020 revelou de novo? A gente te explica isso e muitos outros detalhes nesse Episódio 35. Quer aparecer em um episódio do Fábrica de Crimes? Então nos envie uma mensagem de voz por direct no Instagram @podcastfabricadecrimes nós só publicaremos com a sua autorização e vamos AMAR ter você por aqui! Fontes citadas: Livro “Zodíaco”, de Robert Graysmith Música "Hurdy Gurdy Man", de Donovan, disponível aqui Entrevista do falso Zodíaco para o programa de Jim Dunbar, disponível aqui --- Send in a voice message: https://anchor.fm/fabricadecrimes/message

Cet épisode Retro est l'occasion pour Jérôme et Julien de revenir sur l'un de leurs films préférés de tous les temps, à savoir Zodiac de David Fincher qui était sorti en 2007. Dans la première partie sans spoiler, Jérôme et Julien reviennent sur les coulisses du film et donnent leur avis (sans surprise) sur cette production, puis à partir de 1:06:55 lorsque retentit le signal sonore, ils reviennent sur tous les principaux passages du film avec leurs impressions et beaucoup d'infos sur la réalisation du film ainsi que la réalité des événements qui y sont montrés. Bonne écoute et n'hésitez pas à partager vos théories sur l'identité du tueur ! Crédits musicaux : Easy To Be Hard de Three Dog Night, issu de l'album Suitable For Framing (1969), et Hurdy Gurdy Man de Donovan, issu de l'album Hurdy Gurdy Man (1968) Bonus - regardez ici la vidéo du décodage tout récent du code 340 : https://youtu.be/-1oQLPRE21o 24FPS est un podcast du label PodShows

Playlist for this show :- 1 Hurdy Gurdy Man .. Steve Hillage ( L )( Nostalgia ) 2 That Face .. Laughing Stock ( The Island )( Album Of The Week ) 3 Descension .. Laughing Stock ( The Island )(Album Of The Week 4Black Train .. Profuna Ocean ( Continuation ) 5 Vultures Bats […]

In this episode, Diane and Sean talk about David Fincher's true-crime film, Zodiac. Who was the Zodiac killer? Our hosts let the theories and speculations fly. Episode Music is "Hurdy Gurdy Man" by Donovan. Follow the podcast on Twitter @whydoweownthis1Support the show (https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=FDAK8MLABD6SG&source=url)

We talk this week's comics, Vertigo comics, and Garrett & Alex find the ultimate winner! (605) 215-1849 - Leave us a Voicemail Twitter:  twitter.com/wednesdaycomics @alexprostrollo @garot2188 @marvin_salguero Facebook:  Facebook.com/WednesdayComicspodcast Instagram: Wednesday Comics Podcast Email: wednesdaycomics605@gmail.com Thank you to Karley Kirsch. Karley is a professional photographer and shot the picture for the new logo. You can contact her at karley.kirsch@yahoo.com with any business inquiries.  Visit RootsoftheSwampThing.com today and follow them online at facebook.com/rootsoftheswampthing and on twitter @dcworldswampy Intro music: Hurdy Gurdy Man by Donovan Outro: Easy to be Hard by Three Dog Night --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/wednesday-comics-podcast/message Support this podcast: https://anchor.fm/wednesday-comics-podcast/support

The post Beat Club : Hurdy Gurdy Man appeared first on NiTfm.

The post Beat Club : Hurdy Gurdy Man appeared first on NiTfm.

The Ballad of Josh White, with guests Elijah Wald and Doug Yeager. Here's the playlist: 1. Jim Crow Train - Josh White (Josh White: American Folk Hero) 2. Scandalous & a Shame - Blind Joe Taggart (Complete Recorded Works In Chronological Order, Volume 1 -- 1926-1928, Document Records) 3. Jesus Gonna Make Up My Dyin' Bed - Josh White (The Best of Josh White, Rhino/Elektra) 4. Uncle Sam Says-Joshua White 5. Pickin' Low Cotton (TwinBirdz) 6. Silicosis Is Killin' Me-Josh White (Blues Legends: Josh White,Kateland) 7. Trouble-Josh White(Chain Gang Songs, Rhino/Elektra) 8. House of the Rising Sun(Live)- Josh White Jr. (Live in Franconia, Silverwolf) 9. Strange Fruit- Josh White(Josh White: American Folk Hero,Black Sheep Music) 10. One Meatball (Live) Josh White Jr.(Live in Franconia, Silverwolf) 11. Jelly Jelly-Josh White (Everest Records) 12. I Left a Good Deal In Mobile-Josh White(Suncoast Music)

Author Lauren Speeth discusses her debut novel ‘Thread for Pearls'. Set during one of the most politically divisive eras in American history, “Thread for Pearls” is a coming-of-age tale that takes the reader on a wild ride as they experience for themselves what it was like to be a child of the ‘60s and ‘70s. Readers follow young heroine Fiona Sprechelbach as she experiences bomb scares and be-ins, ashrams and acid trips, finding her path to adulthood. www.ThreadforPearls.comFeatured music is ‘Hurdy Gurdy Man' by Raspin Stuwart - www.Raspin.com Thank you www.NationalParksArtsFoundation.org for sponsoring this episode.

В выпуске Music from Big Pink не просто пятидесятилетие альбома, а юбилей с точностью до месяца. «Hurdy Gurdy Man» авторства и исполнения шотландского сингера-сонграйтера Donovan был выпущен в сентябре 1968 года с продюсером Микки Мостом. Ставит в эфир Артур Ямпольский, рассказывая истории его создания.

It's Serial Killer Week on Pod Sematary! Entirely by chance, it's also David Fincher Week, which has Chris excited because Fincher is one of his all-time favorite directors. First up is 1995's se7en, where you can hear Chris express his love for Brad Pitt (who is as an angel). Then it's on to 2007's based-on-a-true-story Zodiac, where Kelsey admits she might just die if she were in the same situation. We've got some absolute bangers this week, folks! Get more at podsematary.com! Read our afterthoughts for this episode at https://twitter.com/PodSematary/status/998377566653198336 Audio Sources: "David Fincher - And the Other Way is Wrong" via Every Frame a Painting @ https://www.youtube.com/watch?v=QPAloq5MCUA "David Fincher - Invisible Details" via kaptainkristian @ https://www.youtube.com/watch?v=QChWIFi8fOY "How David Fincher Hijacks Your Eyes" via Nerdwriter1 @ https://www.youtube.com/watch?v=GfqD5WqChUY "Hurdy Gurdy Man" written and performed by Donovan "Pet Sematary" written by Dee Dee Ramone & Daniel Rey and performed by The Ramones "se7en" produced by New Line Cinema, et al "Star Wars" produced by Lucasfilm and Twentieth Century Fox "True Romance" produced by August Entertainment, et al "Zodiac" produced by Paramount Pictures, et al "Zodiac | When Truth is Stranger Than Fiction" via Film Radar @ https://www.youtube.com/watch?v=Lb75EkzE24k&t=1s

Tess, Molly, and Emily are joined by Richard Lawson (Vanity Fair) to talk about Netflix’s recent documentary series Wild Wild Country, the esoteric Nazi origins of athletic shoe brands, Instagram troupes and coming around later in life to the music of William “Billy” Joel. This episode is sponsored by: [Stuff They Don't Want You To Know](https://www.stufftheydontwantyoutoknow.com/) Call in to Night Call at 240-46-NIGHT Articles and media mentioned this episode: Book, [All We Can Do is Wait](https://www.indiebound.org/book/9780448494111) by Richard Lawson Adam Ellis's [twitter thread](https://bit.ly/2RGVHbL) about a [ghost boy](https://bit.ly/2Svwplj) Song, ["Scenes from an Italian Restaurant"](https://www.youtube.com/watch?reload=9&v=JUz48xw_OiM) by Billy Joel Song, "[Keeping the Faith](https://www.youtube.com/watch?v=ph7oZnBH05s)" by Billy Joel Film, [Isle of Dogs](https://www.imdb.com/title/tt5104604/?ref_=fn_al_tt_1) Song, ["River of Dreams"](https://www.youtube.com/watch?v=hSq4B_zHqPM) by Billy Joel Film, [Oliver and Company](https://www.imdb.com/title/tt0095776/?ref_=fn_al_tt_2) Film, [Ghostbusters](https://www.imdb.com/title/tt0087332/?ref_=fn_al_tt_2) Film, [Glory](https://www.imdb.com/title/tt0097441/?ref_=fn_al_tt_1) Film, [Follow That Bird](https://www.imdb.com/title/tt0089994/?ref_=fn_al_tt_1) Film, [The Black Cauldron](https://www.imdb.com/title/tt0088814/?ref_=nv_sr_2) Article, GOOP, ["Katie Lee Joel’s Dark Chocolate Chunk & Dried Cherry Cookies"](https://bit.ly/2Sd4lnx) (William Joel) Song, ["Empire State of Mind"](https://www.youtube.com/watch?v=oMX1sc3eOTE) by Alicia Keys Instagram: [@kararbrown](https://www.instagram.com/kararbrown/) [Fancy Pasta Bitch](http://www.fancypastabitch.com/) Instagram: [@alisoneroman](https://www.instagram.com/alisoneroman/?hl=en) [Loko Kitchen](https://www.lokokitchen.com/) TV Show, [Friends](https://www.imdb.com/title/tt0108778/?ref_=fn_al_tt_1) TV Show, [Wild Wild Country](https://www.imdb.com/title/tt7768848/?ref_=nv_sr_1) TV Show, [True Detective](https://www.imdb.com/title/tt2356777/?ref_=nv_sr_1) Song, ["Hurdy Gurdy Man"](https://www.youtube.com/watch?v=CHxfOZH8cew) by Donovan Film, [Zodiac](https://www.imdb.com/title/tt0443706/?ref_=nv_sr_1) Film, [Silence of the Lambs](https://www.imdb.com/title/tt0102926/?ref_=fn_al_tt_1) "Night Call" by [4aStables](https://www.4astables.com). Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

Featuring: Amanda Jacobson (Wine & Crime), Haley Gray (Murder Road Trip), Jason Leroy (The Binge)In this Halloween special, we share the songs that give us the creeps.Plus: Slender Man's new theme song. The perfect wine for H.H. Holmes. Round 2 of Joanna Newsom: Josh vs. Amanda. Round 3 of Josh vs. Bjork. Andy Samberg's cum face. A cameo from a 9-1-1 call. And we determine that the scariest monsters are horny, straight men.This week's playlist:Hurdy Gurdy Man by Donovan (Josh)Mad World by Michael Andrews (Haley)Peach Plum Pear by Joanna Newsom (Amanda)A Psychopath by Lisa Germano (Jason)Island by Heather Nova (Josh)Oceania by Bjork (Amanda)Caress Me Down by Sublime (Haley)Taut by John Parish & Polly Jean Harvey (Jason)Listen to the playlist at our-americana.com/playlist

Lee & Daniel are joined this week by the fantastic Mike Murphy of the Badasses, Boobs and Bodycounts podcast to talk about the 2007 David Fincher-directed "Zodiac". How accurate is it? Is it overrated? Does it work as a film as a whole? All these things and more are mulled over in this lengthy episode, including if the Zodiac was, in fact, Mike's dad. Also, Mike gets to play the Movie God Game, and the hosts talk about what they've watched as of late and respond to listener comments. "Zodiac" IMDB Check out Mike Murphy and the BBandBC right here.   Daniel and Jack Graham's Wrong With Authority episode on "Zodiac" can be found here.   Featured Music: "Trailer Park" by David Shire and "Hurdy Gurdy Man" by Donovan.

One of the greatest musicians of all time, Donovan's hits include "Mellow Yellow," "Sunshine Superman," "Catch the Wind," "Universal Soldier" and "Hurdy Gurdy Man." On this episode of PRIMO NUTMEG, Donovan discusses his music, the flower power movement, being one of the first British musicians arrested for marijuana, and collaborating with other great artists. Subscribe to PRIMO NUTMEG on YouTube, SoundCloud, iTunes and Vidme! https://www.primonutmeg.com/ https://youtube.com/c/primonutmeg/ https://soundcloud.com/primonutmeg https://vid.me/PRIMONUTMEG https://facebook.com/primonutmeg/ https://twitter.com/primonutmeg/ https://instagram.com/primonutmeg/Support the show (https://www.patreon.com/primonutmeg)

Beginning his career as a key player in the UK folk revival of the early 1960s, Donovan scored early hits with “Catch the Wind” and “Colours.” Embracing jazz, world music, and psychedelic influences, he expanded his sound and found success with the major hits “Sunshine Superman” and “Mellow Yellow” in 1966. Additional hits followed, including the Top 20 US singles “Epistle to Dippy” and “There is a Mountain,” as well as the Top 10 hits “Hurdy Gurdy Man” and “Atlantis.” He has recorded nearly thirty albums. Donovan’s songs have been recorded by Neil Young, Joan Baez, Judy Collins, Richie Havens, Van Dyke Parks, Jefferson Airplane, the Animals, the Allman Brothers Band, Cher, Eartha Kitt, Glen Campbell, Johnny Rivers, Duane Eddy, Buck Owens, Chet Atkins, Kenny Loggins, Susanna Hoffs, Joan Jett, Sarah McLachlan, Richard Thompson, and many others. He was awarded the prestigious BMI Icon award in 2009, inducted into the Rock and Roll Hall of Fame in 2012, and inducted into the Songwriters Hall of Fame in 2014.

To be honest, one of the reasons I started doing Random Old Records Podcast again was because I was so close to episode #50 when I went on my hiatus. To be so close to that milestone when I gave it up never really sat well with me. Well, here we are, and I'll probably do another 50 before I'm done.In that spirit, there's no looking back in this episode. No compilation of the "best" songs I've ever played or the best in-between bits I've scavenged and put together. They're all supposed to be the best anyway, right? Soon all of the old episodes will be back online and then you'll be free to check those out any time. If you scroll down, you'll see that episodes #2 and #3 are back online for the first time in years. Episode #3 features a run of classic Dischord Records jams from Void, Embrace, and The Make-Up, while episode #2 takes a trip from The Rezillos to The Gun Club to The Lovin' Spoonful ("6' O'Clock", what a song!). Don't forget to check back frequently to the Podcast Archive below for more old episodes.Anyway, episode #50 contains nearly an hour's worth of songs that have never been played on Random Old Records before, kicking off with the opening track of La Sera's amazing 2014 album Hour Of The Dawn, and also featuring the opening track off the brand new La Sera album, which isn't quite amazing but is still really, really good. You'll also hear grungy punk jams from Fleabite, Sports, and Personal Best, classic power pop from Zombies frontman Colin Blunstone, a hot modern disco track from Pharoahs featuring Maria Minerva, and a closing monster of a track: Catwoman Eartha Kitt taking on "Hurdy Gurdy Man" by Donovan and leaving no prisoners!Stream the episode in the player below, or go HERE directly to stream or download. As always, thanks for listening! I'll be back in a month with episode #51!!Random Old Records #50Released 04/01/20161. La Sera - "Hour Of The Dawn"(Hour Of The Dawn, Hardly Art 2014)2. Tacocat - "Bridge To Hawaii"(NVM, Hardly Art 2014)3. Personal Best - "The Mission/If You Meet Someone In Love (Wish Them Well)"(Arnos Vale, Specialist Subject 2015)4. Fleabite - "Missing Everyone"(T.T.Y.L. 7", Puzzle Pieces 2015)5. Sports - "Clean Jeans"(Sunchokes, self-released 2014)--Zombies Ate My Neighbors!6. Colin Blunstone - "She Loves The Way They Love Her"(One Year, Epic 1971)7. Foxygen - "How Can You Really"(...And Star Power, Jagjaguwar 2014)8. The Go-Betweens - "The Old Way Out"(Spring Hill Fair, Sire 1984)9. Dick Diver - "Beat Me Up (Talk To A Counsellor)"(Melbourne, Florida, Trouble In Mind 2015)10. Ultimate Painting - "Break The Chain"(Green Lanes, Trouble In Mind 2015)--The stud!11. Pharaohs ft. Maria Minerva - "Miraculous Feet"(Replicant Moods, 100% Silk 2013)12. Marie Davidson - "Excès De Vitesse"(Un Autre Voyage, Holodeck 2015)13. White Poppy - "Dizzy"(White Poppy, Not Not Fun 2013)--Vocal power!14. La Sera - "High Notes"(Music For Listening To Music To, Polyvinyl 2016)15. Charlie Hilton - "Long Goodbye"(Palana, Captured Tracks 2016)16. Bridget St. John - "Curl Your Toes"(Ask Me No Questions, Dandelion 1969)17. Margo Guryan - "Sunday Morning"(Take A Picture, Bell 1968)18. Lynn Castle & Last Friday's Fire - "The Lady Barber"(Soft Sounds For Gentle People Presents: Sounds Of She, Pet 2008)19. Eartha Kitt - "The Hurdy Gurdy Man"(Hello Everyone: Popsike Sparks From Denmark Street 1968-70, Grapefruit 2014)

Stephen Hough chooses Schubert’s song The Hurdy Gurdy Man, from Winterreise. Plus archive interviews with singers Thomas Hampson and Mark Padmore, and Donald Macleod on Schubert. Full details at Front Row’s Cultural Exchange website.

With Mark Lawson. James Baldwin's play, The Amen Corner, tells the story of Margaret, the uncompromising pastor of a Harlem church, who has to face a secret from her past. Marianne Jean-Baptiste stars in a new National Theatre production, featuring a gospel choir. Writer and critic Bidisha gives her verdict. Best-selling crime writer Peter James discusses his latest book Dead Man's Time, the ninth novel in the Roy Grace Series, and reveals the high-profile real-life inspiration for his character Amis Smallbone. For Cultural Exchange, concert pianist Stephen Hough chooses a song called The Hurdy Gurdy Man by Franz Schubert, from his 1828 song cycle Die Winterreise. After directing the blockbuster Avengers Assemble, Joss Whedon now releases a very different film: a modern-day version of Shakespeare's Much Ado About Nothing, shot in his own home, in black and white, and featuring a cast of his friends - most of whom appeared in his various cult TV series. Larushka Ivan-Zadeh reviews. Producer Nicki Paxman.

Black Sabbath - Planet Caravan (Alternative lyrics version)Three Dog Night - Easy to Be HardDonovan - Hurdy Gurdy ManThe 4 Levels of Existence - Child's SongLeaf Hound - With A Minute To GoSam Gopal - Angry FacesQuicksilver Messenger Service - The FoolIf - Here Comes Mr. TimeCat Mother - Track In AChicago - I'm A ManDIRECT DOWNLOAD Paul's Boutique #171 : The Psychedelic Rock Edition 2012 by Paul Kersey on Mixcloud

Hello. This is Mystic Babylon Open Mike Poetry Podcast broadcasting from near the Haight. Today we have two poets besides me. These poets are H.D. Moe and Doug Reese. H.D. Moe has many, many books out which can be purchased from numerous places, the main one being his web site at: http://www.hdmoe.com . The second poet, Doug Reese is a close friend of Moe’s and has some very good poems here. I, being much like the Huichol Indians in Mexico who eat Peyote, don’t have curse words in my vocabulary, (http://en.wikipedia.org/wiki/Huichol), but I try not to rationalize and censor, when people want to use them in their poems, so, I have permitted a few to slip under the wire. Even when censoring serves its purpose it is also a form of rational analysis based on preset values that impose upon the freedom of the mind. I have thusly put explicit on this particular podcast in iTunes, whatever that must mean. May I remind you to buy the author’s books. My book is, “Spirits of Bondage and Inherent Transcendence”. It is fun buying books to put on your shelves. I am waiting, for instance, for Donovon’s newly published autobiography: “The Hurdy Gurdy Man”. My new book, “Little Bird Told Me” might delay a little bit, but be patient, and it will be out soon.