Podcast appearances and mentions of Justin Hayward

(S4 EP23) Moody Blues - “Days of Future Past” (Derem Records)Released November 17, 1967. Recorded May 9-Nov 3, 1967 Days of Future Passed (1967) by The Moody Blues is a landmark concept album that fused rock with orchestral music, marking a pivotal moment in the evolution of progressive rock. Initially commissioned by Decca Records to showcase stereo sound with a rock adaptation of Dvořák's New World Symphony, the band instead created an original work that follows a symbolic day from dawn to night. Featuring the London Festival Orchestra and pioneering use of the Mellotron by Mike Pinder, the album blends lush orchestration with introspective songwriting. Highlights include Justin Hayward's “Nights in White Satin” and “Tuesday Afternoon,” both emotionally resonant and enduringly popular. The album's innovative structure, poetic lyrics, and seamless integration of classical elements redefined the LP as an artistic format. Days of Future Passed remains a foundational piece in the history of progressive music, influencing bands like Genesis and Yes, while solidifying The Moody Blues' legacy as sonic visionaries.Signature Songs: "Dawn: Dawn is A Feeling", "The Afternoon: Forever Afternoon" "The Night: Nights In White Satin" Full Album: YouTube, Spotify Playlist: YouTube, Spotify

Ron Onesti, CEO of Onesti Entertainment, joins Wendy Snyder (in for Bob Sirott) to talk about some upcoming shows, including Justin Hayward and Ace Frehley. He also shares details about the reopening of the National Italian American Sports Hall of Fame and the Studio 64 dance parties at the Arcada Theatre.

On episode #89 of “Sound Up!,” Mark Goodman and Alan Light welcome Rock & Roll Hall of Famer Justin Hayward, former member of the Moody Blues, to talk about his new music and upcoming tour and the adjustments he made going from a legendary band to a solo career. In music news, we recap some of the big moments from the first weekend of Coachella—including Weezer playing a set following the arrest of the bass player's wife after a shoot-out with the police, Billie Joe Armstrong joining the Go-Go's on stage, and memorable sets from Lady Gaga, MIssy Elliott, and Benson Boone covering “Bohemian Rhapsody” with guest Brian May. We report your responses to this week's Throwback Thursday question: What is your favorite band logo? Our New Music picks this week include songs from Green Day, Bob Moses, Frou Frou, Pulp, Lexi Jones (David Bowie's daughter), and Ernest featuring Snoop Dogg. We want to make you part of the conversation. Leave us your comments via text or audio message at connect@sounduppod.com https://www.instagram.com/sounduppod/https://twitter.com/sounduppod

Uur 1 1.         It's been a long long time – Doris Day 2.         Kleiner Fratz – Herman van Veen 3.         One ray of shine – Alison Krauss & Union Station 4.         Avondland – Stef Bos & Koos Kombuis 5.         The shadow of your smile – Singers Unlimited & Oscar Peterson 6.         Life in a northern town – Justin Hayward & Mike Batt 7.         Je t'aimais, je t'aime, je t'aimerais – Francis Cabrel 8.         Ancient light – I'm With Her 9.         Ik ben blij – Toon Hermans 10.       Lieverd – Paul de Leeuw 11.       Casaco marron – Femke Smit & Mike del Ferro 12.       It's only a paper moon – Rosemary Clooney & John Pizzarelli 13.       The wrong direction – Passenger 14.       Sunny day – Lenny En De Wespen   Uur 2 1.         Dance with me – Orleans 2.         Black coffee – Peggy Lee 3.         Ten thousand miles – Leoni Jansen & Carel Kraayenhof 4.         Sonho meu – Maria Bethania & Gal Costa 5.         Simpel verlangen – Huub van der Lubbe 6.         Down to joy – Van Morrison 7.         Why – Annie Lennox 8.         De boom – Lenny En De Wespen 9.         Je n'aurais pas le temps – Michel Fugain 10.       La ballade des gens heureux – Gérard Lenorman & Zaz 11.       The truth and other things – Chip Taylor 12.       Don't take it that way – Raul Midon 13.       Crush – Jennifer Paige 14.       Maquina – Super db 15.       Pop corn – Gershon Kingsley

Uur 1 1.         No other love – Jo Stafford 2.         Lacrimosa – Juan Luis Guerra 3.         Heel even klein – Tess Merlot 4.         Hey Laura – Gregory Porter 5.         Comin' home – Lori Spee 6.         Tegen beter weten in – Rob de Nijs 7.         On s'habitue a tout – Renan Luce 8.         Ancient light – I'm With Her 9.         Vier maten glimlach – Toon Hermans 10.       Een beetje – Herman van Veen 11.       Refur – Svavar Knútur 12.       Why can't we live together – Sade 13.       Down to joy – Van Morrison   Uur 2 1.         Leader of the band – Dan Fogelberg 2.         My man – Billie Holiday 3.         Goudlijm – Meermens 4.         Una de esas noches sin final – Inma Cuesta & Javier Limón 5.         I'll take care of you – Beth Hart & Joe Bonamassa 6.         Life in a northern town – Justin Hayward & Mike Batt 7.         Achter de schuur – Bennie Jolink 8.         Je pardonne – Zaz 9.         Tomorrow (Better you better me) – Tevin Campbell 10.       The eyes of love – Gil Bernal 11.       One half of a dream – Piers Faccini & Ballaké Sissoko 12.       Zitten in de trein – Yentl & De Boer 13.       The flyer – Diethelm & Famulari

Onnur einstaklingaútgávan hjá Agnethu á enskum hevur løg um 'One Way Love' og 'I Won't Let You Go', ið javnan hava verið spæld í føroyskum útvarpi. Ljóðið er eyðkent fýrsáraljóð við nógvum synthi, men vanlig ljóðføri sum gittar, bassur og trummur verða eisini nýtt. Abba-bassgittaristurin, Rutger Gunnarsson, lat el-bassspæl til hesa plátuna, umframt at synthbassur varð nýttur aftrat. Framleiðarin, Eric Stewart, skrivaði fleiri løg til útgávuna og 'I Won't Let You Go' saman við Agnethu sjálvari. Haraftrat vóru har fleiri aðrir kendir tónlekarar, ið lótu løg til útgávuna; fyrst og fremst eingilsmenn. Elvis Costella sigst vera ein Abba-fjeppari, ið fegin vildi, at Agnetha nýtti sín sang, 'Shatter Proof', men eftir øllum at døma hevði Fältskog ikki hug at hava hann við á Eyes of a woman. Hvat Costello segði til tað, vita vit ikki. Men annar kendur komponistur á útgávuni er Justin Hayward frá Moody Blues. Hansara íkast var tað sorgblíða 'The Angels Cry'. Endalagið, 'We Move As One, skrivaðu Asia-tónleikararnir, John Wetton og Geoff Downes. Og 'One Way Love' var ein bílegging frá Jeff Lynne í E.L.O. Plátubarrin 22. mars 2025  

Sugrįžtame apžvelgti pasaulinės roko, soulo, džiazroko ir įdomiausių muzikinių samplaikų plokštelių, kurios šiemet mini penkiasdešimtmetį ir išlieka žymiausios bei įtakingos. Taip pat priminsime senokai negirdėtus įrašus ir dainą, laimėjusią 1975 m. „Eurovizijos“ konkursą. Grojaraštyje – ansambliai „Return to Forever“, „Led Zeppelin“, „The Who“, „Teach-In“, „Mahavishnu Orchestra“ bei dainininkai Roberta Flack, Tim Rose, Elton John, David Bowie, Justin Hayward ir John Lodge.Ved. Lukas Devita

Singer-songwriter Justin Hayward of Moody Blues fame talks about his 2025 solo tour titled ‘The Blue World' Tour,' and the essence of songwriting and the possibility of AI dominating creatively in the future. Learn more about your ad choices. Visit megaphone.fm/adchoices

Nights In White Satin - 260 million streams on Spotify - is still the central plank in the set Justin Hayward's touring in October. He talks to us here about the first shows he ever saw and played, the ballroom circuit of the mid-'60s remembered in particularly vivid detail and involving the odd burst of song - “My kind of town, Great Yarmouth is …!”. Along with … … the appeal of “a Moody Blues crowd”. ... “Name Singer seeks guitar player”: the Melody Maker ad that got him into the Marty Wilde band, aged 17. … playing a summer season on the same bill as a water feature – aka the Waltzing Waters. … his early band All Things Bright and their Chuck Berry, Buddy Holly, Coasters setlist. … the “onerous” publishing deal he signed with Lonnie Donegan that siphoned off the profits of Nights In White Satin. … seeing Tommy Cooper at the Bournemouth Pavilion and the Barron Knights at the Locarno in Swindon. … “Terry the Pill” in Eric Burden's office. … toying with the idea of “a rock version of Dvorak”. … the uncertain fate of Nights In White Satin and the plugger who threatened to resign over it. … how Days Of Future Passed was the “Deramic Sound” demo record. … and the highpoint of the Moody Blues story and their Second Coming. Justin Hayward tickets here: https://justinhayward.com/pages/current-tour-dates https://justinhayward.com/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Nights In White Satin - 260 million streams on Spotify - is still the central plank in the set Justin Hayward's touring in October. He talks to us here about the first shows he ever saw and played, the ballroom circuit of the mid-'60s remembered in particularly vivid detail and involving the odd burst of song - “My kind of town, Great Yarmouth is …!”. Along with … … the appeal of “a Moody Blues crowd”. ... “Name Singer seeks guitar player”: the Melody Maker ad that got him into the Marty Wilde band, aged 17. … playing a summer season on the same bill as a water feature – aka the Waltzing Waters. … his early band All Things Bright and their Chuck Berry, Buddy Holly, Coasters setlist. … the “onerous” publishing deal he signed with Lonnie Donegan that siphoned off the profits of Nights In White Satin. … seeing Tommy Cooper at the Bournemouth Pavilion and the Barron Knights at the Locarno in Swindon. … “Terry the Pill” in Eric Burdon's office. … toying with the idea of “a rock version of Dvorak”. … the uncertain fate of Nights In White Satin and the plugger who threatened to resign over it. … how Days Of Future Passed was the “Deramic Sound” demo record. … and the highpoint of the Moody Blues story and their Second Coming. Justin Hayward tickets here: https://justinhayward.com/pages/current-tour-dates https://justinhayward.com/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Nights In White Satin - 260 million streams on Spotify - is still the central plank in the set Justin Hayward's touring in October. He talks to us here about the first shows he ever saw and played, the ballroom circuit of the mid-'60s remembered in particularly vivid detail and involving the odd burst of song - “My kind of town, Great Yarmouth is …!”. Along with … … the appeal of “a Moody Blues crowd”. ... “Name Singer seeks guitar player”: the Melody Maker ad that got him into the Marty Wilde band, aged 17. … playing a summer season on the same bill as a water feature – aka the Waltzing Waters. … his early band All Things Bright and their Chuck Berry, Buddy Holly, Coasters setlist. … the “onerous” publishing deal he signed with Lonnie Donegan that siphoned off the profits of Nights In White Satin. … seeing Tommy Cooper at the Bournemouth Pavilion and the Barron Knights at the Locarno in Swindon. … “Terry the Pill” in Eric Burdon's office. … toying with the idea of “a rock version of Dvorak”. … the uncertain fate of Nights In White Satin and the plugger who threatened to resign over it. … how Days Of Future Passed was the “Deramic Sound” demo record. … and the highpoint of the Moody Blues story and their Second Coming. Justin Hayward tickets here: https://justinhayward.com/pages/current-tour-dates https://justinhayward.com/Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

On this week's episode we are joined by Jeff Wayne. Jeff Wayne is a renowned composer, conductor, and music producer best known for his groundbreaking musical adaptation of H.G. Wells' science fiction classic, "The War of the Worlds." Released in 1978, Wayne's album uniquely blends rock music with orchestral elements, featuring a star-studded cast that includes Richard Burton as the narrator and rock icons like Justin Hayward of The Moody Blues. The album not only gained critical acclaim but also became a significant part of pop culture, leading to numerous stage adaptations and tours. Wayne's innovative approach combines storytelling with rich musical landscapes, captivating audiences with its dramatic narrative and compelling soundscapes. Today, Jeff Wayne continues to celebrate the legacy of his work, engaging new generations with the timeless tale of humanity's struggle against extraterrestrial invaders. Jeff will be touring his latest stage version of "The War of the Worlds" across Ireland and the UK  in April 2025. Let Christy Take It are delighted to bring you Jeff Wayne  If you enjoy our show please Like and subscribe wherever you listen to your podcasts

Released on the 9th June 1978, “Jeff Wayne's Musical Version of The War of the Worlds” went on to sell an estimated 15 million copies. As you likely know, the album features an adaptation of H.G. Wells' classic sci-fi story, narrated by actor Richard Burton set to music, with vocal performances from the likes of David Essex, Justin Hayward, Phil Lynott, Chris Thompson, and Julie Covington. A single, “Forever Autumn”, reached number 5 on the UK singles chart, and has become an enduring classic. In 2006, the album was brought to life as a touring stage show. It's has had several revival tours since, including a London West End run in 2016. Jeff Wayne is picking up the baton again for the 2025 arena tour featuring Max George and Maisie Smith. Jeff Wayne was born in 1943 and wrote around 3000 advertising jingles which appeared on TV in the 1970s, as well as various television themes. He's also been a professional tennis player. He joined me from his home studio in Hertfordshire for our chat. Instagram: @sendingsignalspodcast

In this month's programme, Howard looks forward to the end of Astronomical Twlight - and the chance to see more in the darker skies over the Island. Perhaps a Perseid meteor shower? The planets Mars and Jupiter are back and - dare we say it - the sun is still very active so it's just possible that there COULD be another aurora!The music break is Forever Autumn from Justin Hayward, and after that, Howard will be reporting on some of the latest space stories - including - a lunar cave that could be a good place to set up a base on the Moon; Perseverance has found a large rock on Mars which may show fossilised organic material - a sign of life? Starliner is still at the International Space Station - the 5-day trip now seems as if it will be a 3-month stay for the astronauts - and it's possible that the ISS will be visible from the Island around the end of August - weather permitting!Queries and questions are welcome - email howardparkin@manx.net

"Ain't it just like the night to play tricks when you're tryin' to be so quiet ?We sit here stranded, though we're all doing our best to deny it  And Louise holds a handful of rain, tempting you to defy itLights flicker from the opposite loftIn this room the heat pipes just coughThe country music station plays softBut there's nothing really nothing to turn offJust Louise and her lover so entwinedAnd these visions of Johanna that conquer my mind."Please join me and perhaps a glimpse of Johanna on the Saturday Edition of Whole 'Nuther Thing live from Laguna Beach California.Joining us are Renaissance, Sandy Denny, Bruce Springsteen, Procol Harum, Joan Osborne, Ian Matthews, Elton John, Coldplay, Moody Blues, Mountain, Jefferson Airplane, Pink Floyd, Ben Folds, Justin Hayward, Porcupine Tree, King Crimson and Bob Dylan.

MICHAEL PINDER MOODY BLUES LEGEND 'THE LOST INTERVIEWS' EPISODE 5 Michael Pinder was affectionately labeled “Micky the Moonboy” as a youth for his preoccupation of the moon, stars, music and electronics. But who could have predicted that a silly nickname perhaps more suited for a sci-fi cartoon superhero would forecast his destiny. Pinder's fascination with the cosmos and a life-changing realization that we are not alone in the universe became the basis for composing intricate and surreal musical masterpieces. Michael played Hymns on the piano in Church every Sunday at his Colonel's request; in return Pinder received an early discharge from the British Army. Pinder asked for the early-out after hearing The Beatles “She Loves You” on the radio. Ten days later, Pinder was back in Birmingham, England. He quickly found a job working with Streetly Electronics where he learned the mechanics of the Mellotron. Michael Pinder would become an illustrious keyboardist and trendsetter for the instrument. In 1964 … Michael Pinder (piano, organ and vocals) and Ray Thomas (tambourine, flute and vocals) formed The Moody Blues along with members …Denny Laine (guitars, harmonica and lead vocals), Clint Warwick (bass guitar and vocals) and Graeme Edge (drums and vocals). The R&B/Rock/Pop Birmingham band scored a Top 10 hit in the U.S. with “Go Now” (1965) from their debut album The Magnificent Moodies. The Moody Blues became part of ‘The British Invasion' and supported The Beatles on their final UK tour in December of 1965. They followed the tour with their first trip to the U.S. appearing on The Ed Sullivan Show. In 1966 … after the departure of Denny Laine and Clint Warwick … The Moody Blues reformed with old friend John Lodge (bass guitar and vocals) and Justin Hayward (lead vocals and guitars) who was recommended to Pinder by Eric Burdon of The Animals. The band had an awakening after a disgruntled audience member visited their dressing room complaining about their music. The group immediately changed their musical direction and style, hence … the commencement of one of the most amazing transformations in rock history. Meanwhile …Michael Pinder suggested to his friend John Lennon that The Beatles use the Mellotron on Magical Mystery Tour …and they did. Pinder's Mellotron influence is undeniably detected on “Strawberry Fields Forever.” Pinder and bandmate Ray Thomas were also invited to play harmonica on the tracks… “I Am the Walrus” and “The Fool on the Hill.”  “In 1967 …The Moody Blues first attempt at a dissimilar musical direction had consummated with an awe-inspiring masterpiece entitled… Days of Future Passed. It would be the first Decca/Deram Records release in stereo. Michael Pinder's Mellotron ingrained a brave new transcendental manner and Progressive Rock was born. The proficient players of The Moody Blues were also accompanied by The London Festival Orchestra while creating the band's first concept album. Days of Future Passed spawned two of the band's biggest commercial hits with its new lineup … “Nights in White Satin” and “Tuesday Afternoon.” Pinder wrote the tracks… “Dawn is a Feeling” and “The Sunset.” Pinder's dramatic reading of “Late Lament” added a mind-blowing conclusion to a superlative album. Producer Tony Clarke's influence also had a huge impact on the group. The Moody Blues subsequent release … In Search of the Lost Cord (1968) was recorded without an orchestra … although Pinder's ingenious performance on the Mellotron often sounded like a symphony. Pinder composed “The Best Way to Travel” and “Om” on the album. “Ride My See-saw” became a commercial hit for the band. In 1969 … The Moody Blues released On the Threshold of a Dream. The group's signature sound became exclusive to the rest of the rock world. Pinder had considerable songwriting duties on the album with … “So Deep Within You,” “Have You Heard (Part 1),” “The Voyage,” and “Have You Heard (Part 2).” Inspired by the 1969 moon landing …To Our Children's Children's Children was their first album released on the band's newly formed Threshold Records. The band followed the critically acclaimed release with … Question of Balance (1970). Pinder penned … “How Is It (We are Here)” and his proverbial classic … “Melancholy Man.” Every Good Boy Deserves Favour was released in 1971. For the first time, the entire band lyrically collaborated on “Procession” the opening track. Michael Pinder also penned the final track on the album entitled … “My Song.” The release spawned yet another Top 40 hit with … “The Story in Your Eyes.” Also in 1971 … Pinder played tambourine on John Lennon's Imagine album on the track … “I Don't Wanna Be A Soldier Mama.” Seventh Sojourn released in 1972 brought an end to the classic Moody Blues era. Michael Pinder penned … “Lost in a Lost World,” and “When You're a Free Man.” The album also spawned… “I'm Just a Singer (In a Rock and Roll Band) and became one of the bands highest charting hits reaching #12 on Billboard's Hot 100 in the U.S. Pinder also substituted the Mellotron with its precursor the Chamberlin. In 1976 …Pinder released his solo album entitled … The Promise.  After a lengthy hiatus, The Moody Blues released Octave (1978). Michael Pinder departed the band during the sessions but contributed… “One Step Into the Light.” Pinder was replaced by YES Swiss keyboardist Patrick Moraz. Without Pinder's Mellotron and Chamberlin influence, The Moody Blues intricate progressive period was over. The Moody Blues continue to tour and record as a band with Justin Hayward, John Lodge and Graeme Edge (the only original band member left in the group).  In 1994 …Pinder released his solo effort … Among the Stars (a private mail order release). MOST RECENTLY … Esoteric Recordings has released Michael Pinder's 3-Disc CD & DVD set of ‘The Promise (1976) & Among the Stars' (1994) plus new bonus material featuring Michael's sons (The Pinder Brothers) and Ray Thomas (The Moody Blues) on flute. I had the rare pleasure of chatting with Michael Pinder recently. We chatted about his remarkable days with The Moody Blues, his relationship and influence on The Beatles, and UFO'S! Here's my interview with legendary Moody Blues singer, songwriter, keyboardist,Mellotron pioneer, and technological beneficence to the music world …MICHAEL PINDER (1941 – 2024)   Support us on PayPal!

"Well, I really wasn't, such a Johnny Ace fanBut I felt bad all the sameSo I sent away for his photograph and I waited till it cameIt came all the way from Texas  with a sad and simple faceAnd they signed it on the bottom From the late great Johnny Ace,"Plese join me and The Late Great Johnny Ace on the Sunday Edition Of Whole 'Nuther Thing. Also joining us are Phil Collins, Michael Hedges, Cat Stevens, Traffic, Porcupine Tree, Pat metheny, Tears For Fears, Jeff Beck, Justin Hayward, Jean Luc Ponty, Van Morrison, Pink Floyd, Lou Reed, The Beatles, Jeff Buckley, Neil Diamond, Joni Mitchell, Moody Blues, Dire Straits, Harry Nilsson and Paul Simon

Our guests this week were mother/daughter producing team Martina Webster and Dalea Faulkner. They recently released a Christmas film called "Hashtag Blessed". Martina Webster is a producer with passion for making "Movies with Meaning" and to bring more film industry into the Arizona White Mountains. She runs the Show Low Film Festival with her daughter Dalea. Some of Martina's past projects include former Moody Blues frontman Justin Hayward's Music Video "The Wind of Heaven" and features "Hashtag Blessed The Movie" and "Turnover". Martina currently has several films in pre-production in various genres. Dalea Faulkner is a producer, writer and author among many other things. Her most recent film was "Hashtag Blessed: The Movie" which was released Dec. 1st, 2023 . She has 3 more features in various stages of development: a screen adaptation of her YA Fantasy novel, “The Christmas Witch” and two Family Films. To obtain the Zoom link for upcoming live interviews, you must register at The Filmmaker's Life webpage at https://www.filmmakersuccess.com/The-Filmmakers-Life-Home .

"I need to laugh and when the sun is outI've got something I can laugh aboutI feel good in a special wayI'm in love and it's a sunny dayGood day sunshine, good day sunshine, good day sunshine"Yes Boys & Girls, the deluge is over and we can once again play in the sun and shed our Umbrellas just 2 days from Christmas. Please join me on the Saturday Edition of Whole 'Nuther Thing, joining us are Peter gabriel, Charles Lloyd, James Taylor, ELO, Don McLean, Derek & The Dominos, Glen Campbell, Phil Collins, Radiohead, The Kinks, Jethro Tull, Aerosmith, Procol Harum, The Beach Boys, Justin Hayward, Dire Straits, Deep Purple, Nelson Riddle, Bob Dylan, Neil Diamond, Simon & Garfunkel, America, Pat Metheny and The Beatles...

Justin Hayward joined the Moody Blues in 1966 and wrote and sang most of the band's singles from “Nights in White Satin” and “Tuesday Afternoon” through such '80s hits as “The Voice” and “Your Wildest Dreams.” How much did the Moody Blues shape his songwriting, and how much did his songwriting shape the Moody Blues? Did he write to fit the albums' concepts? Did he especially enjoy writing songs with multiple parts and tempo changes? When he performs now, does he feel more emotionally connected to material from one era or another? Will he ever again perform with the surviving Moody Blues? He still has that golden voice, whether singing or discussing his days of future passed. (Photo by Joe Schaeffer.)

"Guinnevere had green eyesLike yours, mi'lady, like yoursWhen she'd walk down through the gardenIn the morning after it rainedAs she turns her gazeDown the slope to the harbor where I layAnchored for a day"Please join me for a 2 hour musical journey with some old friends and familiar voices on the Red Eye Edition ofWhole 'Nuther Thing. Joining us are Father John Misty, Radiohead, Dire Straits, Justin Hayward, Tangerine Dream, Jim Croce, Paul Winter Consort, Cat Stevens, Judy Collins, Moody Blues, Doors, Cream, Beatles, King Crimson, Mahavishnu Orchestra, Santana, Lyle Mays w Pat Metheny, Gordon Lightfoot, Liz Story, John Abercrombie, Jean Luc Ponty, Don McLean, Pink Floyd, Elton John and Crosby Stills & Nash.

Rock and Roll Hall of Famer Justin Hayward joins Nancy to talk about his recent visit to Windsor Castle where he received an OBE (Officer of the Order of the British Empire) for his contribution to the arts, sharing the day with his grandson, and the details and meaning of the investiture experience. Plus, Nancy and Justin discuss the 1972 Moody Blues hit “Nights in White Satin” (written and composed by Hayward) and its recent audio close-up in the 2023 Chanel campaign for its fragrance Bleu de Chanel starring actor Timothée Chalamet* and why the classic song continues to capture and intrigue listeners. Justin also shares his upcoming projects and plans for 2024 including hosting the On The Blue Cruise. *The Chanel campaign film directed by Martin Scorsese is slated for a fall release. Read Nancy's story about Justin Hayward via Forbes.com Hollywood & Entertainment Hollywood & Entertainment. Catch up with Justin Hayward here. Find out more about the On The Blue Cruise here. Check out more from the Moody Blues. Visit Nancy's website. Catch a laugh with segment sponsor Humoroutcasts.com.

"I watch the ripples change their sizeBut never leave the stream of warm impermanence andSo the days float through my eyes, but still the days seem the sameAnd these children that you spit on, As they try to change their worlds, Are immune to your consultationsThey're quite aware of what they're going throughCh-ch-ch-ch-changes (Turn and face the strange).No changes here, just the great music curation on our journey you expect every week. Please make the journey along with Justin Hayward, Flo & Eddie, The Youngbloods, Beatles, Joni Mitchell, Traffic, Noel Paul Stookey, Chuck Berry, The Band, Lovin' Spoonful, Donovan, Van Morrison, Poco, Kenny Loggins, Gino Vanelli, Bo Diddley, Byrds, Lynyr Skynyrd, Supertramp, U2, Trevor Gordon Hall, Lonnie Mack, Tufano & Giamerese, Hall & Oates, John Sebastian & David Bowie.

Today's Bonus Track features the legendary John Lodge of the Moody Blues. John's heading out this week for a special tour starting on July 18 where he'll be playing the entire classic Moody Blues album Days of Future Passed.We dig into a lot of different topics, including Days of Future Passed, of course -- and John also shares some stories regarding the individual members of the Moody Blues and some of his favorite memories.A couple of weeks after this interview, John announced that he'd completed a full re-recording of the album, titled Days of Future Passed - My Sojourn. Information on how the new version of the record came together follows.Our thanks to John as always for taking the time to chat!--John Lodge, legendary bass player, songwriter and vocalist of The Moody Blues and Rock and Roll Hall of Famer, has announced that he will be releasing his version of the iconic album ‘Days of Future Passed', entitled ‘Days of Future Passed – My Sojourn', to accompany his upcoming tour of the same name. The album is to be released on CD as special fan club only release, and will be available at the upcoming shows starting July 18th, and through John's website https://shop.johnlodge.com for pre-orders, with shipping on August 7th. The album was recorded over the last year, and has grown from John's current live show as he, and his 10,000 Light Years Band, lovingly recreate this classic album. The album also features a special recording by the late Graeme Edge and performances by Jon Davison of YES. It is being released as part of John's celebration of the album ‘that changed his life', and with the hope that it will continue to introduce fans to the original iconic recording. The album's orchestration is by John's long-term collaborator, and great friend, Alan Hewitt. “November 2023 will be the 56th anniversary of 'Days of Future Passed'. It's incredible to look back on this album that changed my life, and that still has so much impact today on so many, and I felt that it deserved celebrating, and so I began rehearsals in 2021/2022 to bring this celebration to life on stage. What was important to me was to make this concert another milestone in the history of ‘Days of Future Passed', and so I asked Graeme if he would record his poetry, ‘Morning Glory' and ‘Late Lament', to include in my concert. Graeme gave me his blessing and said, ‘John, Keep the Moody Blues music alive'. We had a fantastic time putting the show together, with Alan, Duffy, Billy and Jason, and Jon Davison, giving me so much support and helping bring my vision to life. After the final rehearsals for the concert, I realised I should capture this new moment in time, although a reflection of the past, forever, by going into the studio and recording the album, ‘Days of Future Passed – My Sojourn'. I am hoping that this will bring a new generation of listeners to the album, that they then may rediscover the original recording, and the beautiful vocals of Mike Pinder, Justin Hayward, Ray Thomas and myself.  I dedicate this album to Graeme, Justin, Mike and Ray, to Tony Clarke, and to all the fans that are with me on this sojourn, no matter when you joined…”  John Lodge July 2023 The CD in Digipak will be available starting July 18th at John's first show in Rockford, IL, and a vinyl album is due to follow in the Fall.  The album will also be available to stream and download from July 14th. The cover features a poignant photograph of John and his wife, Kirsten, taken by his daughter-in-law, Inga Wilson - for John, this was an image that perfectly encapsulated the idea of past and future and what this album means to him. Go here to stream and download, https://slinky.to/DaysOfFuturePassed

Get your own “Rock History Music” baseball cap https://rock-history-music-store.creator-spring.com/listing/rock-history-music-hatIf you would like to donate to "Rock History Music"https://www.paypal.com/donate/?hosted...Support “Rock History Music” on Patreonhttp://patreon.com/rockhistorychannelsCHECK OUT MANY INTERVIEWS ON OUR INSTAGRAM ACCOUNThttps://www.instagram.com/rockhistorymusic/?hl=enCHECK OUT OUR TIKTOK CHANNEL https://www.tiktok.com/@johnbeaudin80HELP SUPPORT ROCK HISTORY MUSIC..CHECK OUT OUR STORE FOR T-SHIRTS, MUGS ETChttps://rock-history-music-store.creator-spring.comOUR NEW INSTAGRAM ACCOUNT https://www.instagram.com/rockhistory...Check out the ‘Rock History Book' Podcast https://open.spotify.com/show/0LYdVTf...https://podcasts.apple.com/ca/podcast...https://www.iheart.com/podcast/269-ro...https://tunein.com/podcasts/p1419168/We have 4 active YouTube Channels featuring John Beaudin Subscribe to this (RockHistoryMusic) Channel https://www.youtube.com/channel/UChUv...RockHistoryBook -Top 10 Rock & Pop Support the show

Paul Da Vinci is a highly talented British singer and musician with a career spanning several decades. Best known as the lead vocalist on the 1974 hit recording by the Rubettes, "Sugar Baby Love," Paul's distinctive falsetto voice captured the hearts of music lovers worldwide. Although he didn't perform with the Rubettes at the time, his vocals on the track became iconic.Born in Grays, Thurrock, Essex, Paul embarked on his musical journey in the late 1960s. He began as the lead singer for the group 1984, recording two singles on the Big T label in 1969. Following the group's breakup in the early 1970s, Paul established himself as a sought-after session singer in London. He worked with renowned artists such as Gary Moore, Ringo Starr, Barry Blue, and David Essex, lending his incredible vocal talents to their recordings. Paul even had the opportunity to showcase his singing on Top of the Pops alongside Elton John and Justin Hayward.In 1973, Paul sang on a demo recording of "Sugar Baby Love," which eventually became a massive hit. However, he had already signed a solo contract with Penny Farthing Records, leading him to pursue a successful solo career. His debut solo single, "Your Baby Ain't Your Baby Anymore," co-written and co-produced by Paul himself, achieved significant success in the UK, reaching number 19 on the singles chart. The song topped the charts in the Netherlands and found popularity in other European countries.Throughout the 1970s and 1980s, Paul continued to contribute his exceptional vocals to various projects. He sang most of the voices backing and lead on the Tight Fit hit "Back to the Sixties, Part 2" and co-wrote "Anyway You Do It" for the group Liquid Gold. His versatile talent allowed him to excel in different musical genres and collaborate with a wide range of artists.In addition to his singing prowess, Paul is also a skilled songwriter and composer. In the 1990s, he composed several pieces for cello and piano, including the three-movement tone poem "Visions of Aaron," performed at the prestigious Purcell Room in London. His concerto, "Hope," was recorded by the Innovation Chamber Ensemble and showcased at the renowned Wigmore Hall.In recent years, Paul has continued to captivate audiences with his dynamic performances. In 2016, he launched his show, The Paul da Vinci Explosion, which has been touring extensively. Notably, on the 13th of July, he will be performing with his band at Viva Blackpool, a highly anticipated event for his fans.Residing in Somerset, Paul Da Vinci remains a respected and influential figure in the music industry. His contributions as a singer, songwriter, and performer have left an indelible mark on the world of music, and his enduring talent continues to shine brightly. Hosted on Acast. See acast.com/privacy for more information.

Justin Hayward's voice has been heard the world over. Known principally as the vocalist, lead guitarist and composer for the innovating and trail blazing band Moody Blues, Justin Hayward is an enduring talent that has helped to define the times in which he worked. Over the last forty-five years the band has sold over seventy million albums and in 2018 they were inducted into the legendary Rock and Roll Hall of Fame.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

"They sat on the stoney ground and he took a cigarette outAnd everyone else came down to listenHe said in winter 1963 it felt like the world would freezeWith John F. Kennedy and The BeatlesYeah, yeah ah hey ma ma mommy doo-din-nie-yaAh hey ma ma ma hey-y-yahLife in a Northern Town"Please take a musical journey back 60 years with me as we revisit the phenomenon known as "Beatlemania". Joining us will be Television, The Lovin' Spoonful, Dire Straits, The Moody Blues, Crack The Sky, Sweet Thursday, Fleetwood Mac, ELO, The Byrds, John McLaughlin, Genesis, Steely Dan, Jimi Hendrix Experience, Steve Miller band, The Who, Justin Hayward & John Lodge and Dream Academy.

Of the Moody Blues...See omnystudio.com/listener for privacy information.

אודיה חולה בבית, אבל זה לא אומר שלא נשדר! הקצב אחר כשלא רואים זה את זו, קורונה זה כל-כך 2020, נתן בתקופה מוזרה - הוא בוכה מכל מיני דברים,  וגם - אנחנו בחיפוש מתמיד אחר פליאה.  שירים: 1. Crying - Roy Orbison 2. The eve of the war - Jeff Wayn & Justin Hayward

"Passing a white sandy beach we're sailingTurning the radio on we're dancingNinety-nine miles from LAI want you, I need you, please be there"Yes, please join me after your Thanksgiving get together, I promise there'll be no leftovers, just fresh choices before the Tryptophan kicks in...Joing us on tonight's Red Eye Flight are Cat Mother & The All Night Newsboys, Justin Hayward, Nilsson, Pat Metheny & Lyle Mays, Isaac Hayes, Yes, Dan Fogelberg, Ambrosia, James Taylor, Simon & Garfunkel, Carole King, Three Dog Night, Ambrosia, Chicago, Curtis Mayfield, Santana, Harry Chapin, King Crimson, Glen Campbell, Traffic and Art Garfunkel.

Mike Dawes is hailed as one of the world's finest modern acoustic guitar players. He was voted ‘Best Acoustic Guitarist in the World' by Total Guitar Magazine & MusicRadar twice consecutively, in both the 2017 & 2018 readers polls with three additional 2nd place rankings.   His solo music, littered with virtuoso nuances and micro-techniques, has seen him tour almost every continent on the planet. He has recorded with multiple Grammy award-wining and Rock n Roll Hall of Fame inducted artists, featured on international film and TV (including Better Call Saul and Sky TV's Guitar Star) and achieved over 100 million music video hits online for his solo covers of songs including Somebody That I Used To Know, Slow Dancing in a Burning Room, Jump & One as well as his originals The Impossible, Boogie Shred & more. Additionally, Mike tours as lead guitar player for Justin Hayward, performing The Moody Blues classics throughout the world. He has also teamed up with grammy-nominated Periphery vocalist Spencer Sotelo and ex Sunrise Avenue multi-platinum producer Jukka Backlund to form Nik Mystery, a Las Vegas popwave trio. Other collaborators include Plini, Fink, Alestorm & Dr. John. Popular YouTube personality Rick Beato has praised Mike's work as among the top in the genre. September 2022 saw the release of ‘Accomplice Series, Vol. 3‘ – a sublime duo EP with the legendary Tommy Emmanuel recorded live in a Los Angeles studio with analogue equipment. The EP features 5 cover songs from 5 diverse artists. ‘This is so insanely mental and such a massive honour, wow' – Matty Healy, The 1975.Tickets for upcoming tour dates at https://mikedawes.co.uk/tour/ (https://mikedawes.co.uk/tour/) Mark Stinson Copyright 2022 Mark Stinson Music tracks are copyrighted by the artists and used for editorial review purposes. Mentioned in this episode: THE ALAURA SHOW Hey, it's Alaura Lovelight. And if you're enjoying "unlocking your world of creativity," make sure to check out my new show, "The Alaura Show" ... on Roku and Amazon Fire TV.

With an endearing classic that broke the mould, a wealth of hit singles and albums, induction into the Rock & Roll Hall of Fame and being awarded an OBE by the Queen, places Justin Hayward in the upper echelons of the music business. Today is his 76th birthday and on this episode you'll hear his Moody Blues bandmate John Lodge talk of his friendship with the groups lead singer.

Justin Hayward of the Moody Blues guests on the Fake Show podcast with host Jim Tofte...enjoy!

The Mitch Lafon and Jeremy White Show is pleased to welcome Rock N Roll Hall of Fame Inductee Justin Hayward from The Moody Blues! Known principally as the vocalist, lead guitarist and composer for The Moody Blues - Justin Hayward is delighted to release his brand new single entitled “Living For Love” via BMG. “Living For Love” is his first release from Hayward in over two years and comes ahead of his tour of the UK, you can listen HERE: https://justinhayward.lnk.to/LivingforLovePRHelp support the show. Please consider a donation: https://www.paypal.me/MitchLafonSee omnystudio.com/listener for privacy information.

Another oldie that I thought deserved a remaster! Anyway, on this program I'm shaking the family tree of the legendary band, the Moody Blues! We'll hear lots of great stuff from the Moodies, Justin Hayward, John Lodge, Ray Thomas, Mike Pinder, Graeme Edge and more! See what shakes out!

Episode one hundred and fifty-four of A History of Rock Music in Five Hundred Songs is the last of our four-part mini-series on LA sunshine pop and folk-rock in summer 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "Baby, Now That I've Found You" by the Foundations. 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/ Resources There is no Mixcloud this week, because there were too many Turtles songs in the episode. There's relatively little information available about the Turtles compared to other bands of their era, and so apart from the sources on the general LA scene referenced in all these podcasts, the information here comes from a small number of sources. This DVD is a decent short documentary on the band's career. Howard Kaylan's autobiography, Shell Shocked: My Life with the Turtles, Flo and Eddie, and Frank Zappa, Etc.,  is a fun read, if inevitably biased towards his own viewpoint. Jim Pons' Hard Core Love: Sex, Football, and Rock and Roll in the Kingdom of God is much less fun, being as it is largely organised around how his life led up to his latter-day religious beliefs, but is the only other book I'm aware of with a substantial amount of coverage of the Turtles. There are many compilations of the Turtles' material available, of which All The Singles is by far and away the best. The box set of all their albums with bonus tracks is now out of print on CD, but can still be bought as MP3s. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We've spent a lot of time recently in the LA of summer 1967, at the point where the sunshine pop sound that was created when the surf harmonies of the Beach Boys collided with folk rock was at its apex, right before fashions changed and tight sunny pop songs with harmonies from LA became yesterday's news, and extended blues-rock improvisations from San Francisco became the latest in thing. This episode is the last part of this four-episode sequence, and is going to be shorter than those others. In many ways this one is a bridge between this sequence and next episode, where we travel back to London, because we're saying goodbye for a while to the LA scene, and when we do return to LA it will be, for the most part, to look at music that's a lot less sunshine and a lot more shadow. So this is a brief fade-out while we sing ba-ba-ba, a three-minute pop-song of an episode, a last bit of sunshine pop before we return to longer, more complicated, stories  in two weeks' time, at which point the sun will firmly set. Like many musicians associated with LA, Howard Kaylan was born elsewhere and migrated there as a child, and he seems to have regarded his move from upstate New York to LA as essentially a move to Disneyland itself. That impression can only have been made stronger by the fact that soon after his family moved there he got his first childhood girlfriend -- who happened to be a Mouseketeer on the TV. And TV was how young Howard filtered most of his perceptions -- particularly TV comedy. By the age of fourteen he was the president of the Soupy Sales Fan Club, and he was also obsessed with the works of Ernie Kovacs, Sid Caesar, and the great satirist and parodist Stan Freberg: [Excerpt: Stan Freberg, "St. George and the Dragonet"] Second only to his love of comedy, though, was his love of music, and it was on the trip from New York to LA that he saw a show that would eventually change his life. Along the way, his family had gone to Las Vegas, and while there they had seen Louis Prima and Keeley Smith do their nightclub act. Prima is someone I would have liked to do a full podcast episode on when I was covering the fifties, and who I did do a Patreon bonus episode on. He's now probably best known for doing the voice of King Louis in the Jungle Book: [Excerpt: Louis Prima, "I Wanna Be Like You (the Monkey Song)"] But he was also a jump blues musician who made some very good records in a similar style to Louis Jordan, like "Jump, Jive, an' Wail" [Excerpt: Louis Prima, "Jump, Jive, an' Wail"] But like Jordan, Prima dealt at least as much in comedy as in music -- usually comedy involving stereotypes about his Italian-American ethnic origins. At the time young Howard Kaylan saw him, he was working a double act with his then-wife Keeley Smith. The act would consist of Smith trying to sing a song straight, while Prima would clown around, interject, and act like a fool, as Smith grew more and more exasperated, and would eventually start contemptuously mocking Prima. [Excerpt: Louis Prima and Keeley Smith, "Embraceable You/I've Got It Bad and That Ain't Good"] This is of course a fairly standard double-act format, as anyone who has suffered through an episode of The Little and Large Show will be all too painfully aware, but Prima and Smith did it better than most, and to young Howard Kaylan, this was the greatest entertainment imaginable. But while comedy was the closest thing to Kaylan's heart, music was a close second. He was a regular listener to Art Laboe's radio show, and in a brief period as a teenage shoplifter he obtained records like Ray Charles' album Genius + Soul = Jazz: [Excerpt: Ray Charles, "One Mint Julep"] and the single "Tossin' and Turnin'" by Bobby Lewis: [Excerpt: Bobby Lewis, "Tossin' and Turnin'"] "Tossin' and Turnin'" made a deep impression on Kaylan, because of the saxophone solo, which was actually a saxophone duet. On the record, baritone sax player Frank Henry played a solo, and it was doubled by the great tenor sax player King Curtis, who was just playing a mouthpiece rather than a full instrument, making a high-pitched squeaking sound: [Excerpt: Bobby Lewis, "Tossin' and Turnin'"] Curtis was of course also responsible for another great saxophone part a couple of years earlier, on a record that Kaylan loved because it combined comedy and rock and roll, "Yakety Yak": [Excerpt: The Coasters, "Yakety Yak"] Those two saxophone parts inspired Kaylan to become a rock and roller. He was already learning the clarinet and playing part time in an amateur Dixieland band, and it was easy enough to switch to saxophone, which has the same fingering. Within a matter of weeks of starting to play sax, he was invited to join a band called the Nightriders, who consisted of Chuck Portz on bass, Al Nichol on guitar, and Glen Wilson on drums. The Nightriders became locally popular, and would perform sets largely made up of Johnny and the Hurricanes and Ventures material. While he was becoming a budding King Curtis, Kaylan was still a schoolkid, and one of the classes he found most enjoyable was choir class. There was another kid in choir who Kaylan got on with, and one day that kid, Mark Volman came up to him, and had a conversation that Kaylan would recollect decades later in his autobiography: “So I hear you're in a rock 'n' roll band.” “Yep.” “Um, do you think I could join it?” “Well, what do you do?” “Nothing.” “Nothing?” “Nope.” “Sounds good to me. I'll ask Al.” Volman initially became the group's roadie and occasional tambourine player, and would also get on stage to sing a bit during their very occasional vocal numbers, but was mostly "in the band" in name only at first -- he didn't get a share of the group's money, but he was allowed to say he was in the group because that meant that his friends would come to the Nightriders' shows, and he was popular among the surfing crowd. Eventually, Volman's father started to complain that his son wasn't getting any money from being in the band, while the rest of the group were, and they explained to him that Volman was just carrying the instruments while they were all playing them. Volman's father said "if Mark plays an instrument, will you give him equal shares?" and they said that that was fair, so Volman got an alto sax to play along with Kaylan's tenor. Volman had also been taking clarinet lessons, and the two soon became a tight horn section for the group, which went through a few lineup changes and soon settled on a lineup of Volman and Kaylan on saxes, Nichol on lead guitar, Jim Tucker on rhythm guitar, Portz on bass, and Don Murray on drums. That new lineup became known as the Crossfires, presumably after the Johnny and the Hurricanes song of the same name: [Excerpt: Johnny and the Hurricanes, "Crossfire"] Volman and Kaylan worked out choreographed dance steps to do while playing their saxes, and the group even developed a group of obsessive fans who called themselves the Chunky Club, named after one of the group's originals: [Excerpt: The Crossfires, "Chunky"] At this point the group were pretty much only playing instrumentals, though they would do occasional vocals on R&B songs like "Money" or their version of Don and Dewey's "Justine", songs which required more enthusiasm than vocal ability. But their first single, released on a tiny label, was another surf instrumental, a song called "Dr. Jekyll and Mr. Hyde": [Excerpt: The Crossfires, "Dr. Jekyll and Mr Hyde"] The group became popular enough locally that they became the house band at the Revelaire Club in Redondo Beach. There as well as playing their own sets, they would also be the backing band for any touring acts that came through without their own band, quickly gaining the kind of performing ability that comes from having to learn a new artist's entire repertoire in a few days and be able to perform it with them live with little or no rehearsal. They backed artists like the Coasters, the Drifters, Bobby Vee, the Rivingtons, and dozens of other major acts, and as part of that Volman and Kaylan would, on songs that required backing vocals, sing harmonies rather than playing saxophone. And that harmony-singing ability became important when the British Invasion happened, and suddenly people didn't want to hear surf instrumentals, but vocals along the lines of the new British groups. The Crossfires' next attempt at a single was another original, this one an attempt at sounding like one of their favourite new British groups, the Kinks: [Excerpt: The Crossfires, "One Potato, Two Potato"] This change to vocals necessitated a change in the group dynamic. Volman and Kaylan ditched the saxophones, and discovered that between them they made one great frontman. The two have never been excessively close on a personal level, but both have always known that the other has qualities they needed. Frank Zappa would later rather dismissively say "I regard Howard as a fine singer, and Mark as a great tambourine player and fat person", and it's definitely true that Kaylan is one of the truly great vocalists to come out of the LA scene in this period, while Volman is merely a good harmony singer, not anything particularly special -- though he *is* a good harmony singer -- but it undersells Volman's contribution. There's a reason the two men performed together for nearly sixty years. Kaylan is a great singer, but also by nature rather reserved, and he always looked uncomfortable on stage, as well as, frankly, not exactly looking like a rock star (Kaylan describes himself not inaccurately as looking like a potato several times in his autobiography). Volman, on the other hand, is a merely good singer, but he has a naturally outgoing personality, and while he's also not the most conventionally good-looking of people he has a *memorable* appearance in a way that Kaylan doesn't. Volman could do all the normal frontman stuff, the stuff that makes a show an actual show -- the jokes, the dancing, the between-song patter, the getting the crowd going, while Kaylan could concentrate on the singing. They started doing a variation on the routine that had so enthralled Howard Kaylan when he'd seen Louis Prima and Keeley Smith do it as a child. Kaylan would stand more or less stock still, looking rather awkward, but singing like an angel, while Volman would dance around, clown, act the fool, and generally do everything he could to disrupt the performance -- short of actually disrupting it in reality. It worked, and Volman became one of that small but illustrious group of people -- the band member who makes the least contribution to the sound of the music but the biggest contribution to the feel of the band itself, and without whom they wouldn't be the same. After "One Potato, Two Potato" was a flop, the Crossfires were signed to their third label. This label, White Whale, was just starting out, and the Crossfires were to become their only real hit act. Or rather, the Turtles were. The owners of White Whale knew that they didn't have much promotional budget and that their label was not a known quantity -- it was a tiny label with no track record. But they thought of a way they could turn that to their advantage. Everyone knew that the Beatles, before Capitol had picked up their contracts, had had their records released on a bunch of obscure labels like Swan and Tollie. People *might* look for records on tiny independent labels if they thought it might be another British act who were unknown in the US but could be as good as the Beatles. So they chose a name for the group that they thought sounded as English as possible -- an animal name that started with "the", and ended in "les", just like the Beatles. The group, all teenagers at the time, were desperate enough that they agreed to change their name, and from that point on they became the Turtles. In order to try and jump on as many bandwagons as possible, the label wanted to position them as a folk-rock band, so their first single under the Turtles name was a cover of a Bob Dylan song, from Another Side of Bob Dylan: [Excerpt: Bob Dylan, "It Ain't Me Babe"] That song's hit potential had already been seen by Johnny Cash, who'd had a country hit with it a few months before. But the Turtles took the song in a different direction, inspired by Kaylan's *other* great influence, along with Prima and Smith. Kaylan was a big fan of the Zombies, one of the more interesting of the British Invasion groups, and particularly of their singer Colin Blunstone. Kaylan imitated Blunstone on the group's hit single, "She's Not There", on which Blunstone sang in a breathy, hushed, voice on the verses: [Excerpt: The Zombies, "She's Not There"] before the song went into a more stomping chorus on which Blunstone sang in a fuller voice: [Excerpt: The Zombies, "She's Not There"] Kaylan did this on the Turtles' version of "It Ain't Me Babe", starting off with a quiet verse: [Excerpt: The Turtles, "It Ain't Me Babe"] Before, like the Zombies, going into a foursquare, more uptempo, louder chorus: [Excerpt: The Turtles, "It Ain't Me Babe"] The single became a national top ten hit, and even sort of got the approval of Bob Dylan. On the group's first national tour, Dylan was at one club show, which they ended with "It Ain't Me Babe", and after the show the group were introduced to the great songwriter, who was somewhat the worse for wear. Dylan said “Hey, that was a great song you just played, man. That should be your single", and then passed out into his food. With the group's first single becoming a top ten hit, Volman and Kaylan got themselves a house in Laurel Canyon, which was not yet the rock star Mecca it was soon to become, but which was starting to get a few interesting residents. They would soon count Henry Diltz of the Modern Folk Quartet, Danny Hutton, and Frank Zappa among their neighbours. Soon Richie Furay would move in with them, and the house would be used by the future members of the Buffalo Springfield as their rehearsal space. The Turtles were rapidly becoming part of the in crowd. But they needed a follow-up single, and so Bones Howe, who was producing their records, brought in P.F. Sloan to play them a few of his new songs. They liked "Eve of Destruction" enough to earmark it as a possible album track, but they didn't think they would do it justice, and so it was passed on to Barry McGuire. But Sloan did have something for them -- a pseudo-protest song called "Let Me Be" that was very clearly patterned after their version of "It Ain't Me Babe", and which was just rebellious enough to make them seem a little bit daring, but which was far more teenage angst than political manifesto: [Excerpt: The Turtles, "Let Me Be"] That did relatively well, making the top thirty -- well enough for the group to rush out an album which was padded out with some sloppy cover versions of other Dylan songs, a version of "Eve of Destruction", and a few originals written by Kaylan. But the group weren't happy with the idea of being protest singers. They were a bunch of young men who were more motivated by having a good time than by politics, and they didn't think that it made sense for them to be posing as angry politicised rebels. Not only that, but there was a significant drop-off between "It Ain't Me Babe" and "Let Me Be". They needed to do better. They got the clue for their new direction while they were in New York. There they saw their friends in the Mothers of Invention playing their legendary residency at the Garrick Theatre, but they also saw a new band, the Lovin' Spoonful, who were playing music that was clearly related to the music the Turtles were doing -- full of harmonies and melody, and inspired by folk music -- but with no sense of rebelliousness at all. They called it "Good Time Music": [Excerpt: The Lovin' Spoonful, "Good Time Music"] As soon as they got back to LA, they told Bones Howe and the executives at White Whale that they weren't going to be a folk-rock group any more, they were going to be "good time music", just like the Lovin' Spoonful. They were expecting some resistance, but they were told that that was fine, and that PF Sloan had some good time music songs too. "You Baby" made the top twenty: [Excerpt: The Turtles, "You Baby"] The Turtles were important enough in the hierarchy of LA stars that Kaylan and Tucker were even invited by David Crosby to meet the Beatles at Derek Taylor's house when they were in LA on their last tour -- this may be the same day that the Beatles met Brian and Carl Wilson, as I talked about in the episode on "All You Need is Love", though Howard Kaylan describes this as being a party and that sounded like more of an intimate gathering. If it was that day, there was nearly a third Beach Boy there. The Turtles knew David Marks, the Beach Boys' former rhythm guitarist, because they'd played a lot in Inglewood where he'd grown up, and Marks asked if he could tag along with Kaylan and Tucker to meet the Beatles. They agreed, and drove up to the house, and actually saw George Harrison through the window, but that was as close as they got to the Beatles that day. There was a heavy police presence around the house because it was known that the Beatles were there, and one of the police officers asked them to drive back and park somewhere else and walk up, because there had been complaints from neighbours about the number of cars around. They were about to do just that, when Marks started yelling obscenities and making pig noises at the police, so they were all arrested, and the police claimed to find a single cannabis seed in the car. Charges were dropped, but now Kaylan was on the police's radar, and so he moved out of the Laurel Canyon home to avoid bringing police attention to Buffalo Springfield, so that Neil Young and Bruce Palmer wouldn't get deported. But generally the group were doing well. But there was a problem. And that problem was their record label. They rushed out another album to cash in on the success of "You Baby", one that was done so quickly that it had "Let Me Be" on it again, just as the previous album had, and which included a version of the old standard "All My Trials", with the songwriting credited to the two owners of White Whale records. And they pumped out a lot of singles. A LOT of singles, ranging from a song written for them by new songwriter Warren Zevon, to cover versions of Frank Sinatra's "It Was a Very Good Year" and the old standard "We'll Meet Again". Of the five singles after "You Baby", the one that charted highest was a song actually written by a couple of the band members. But for some reason a song with verses in 5/4 time and choruses in 6/4 with lyrics like "killing the living and living to kill, the grim reaper of love thrives on pain" didn't appeal to the group's good-time music pop audience and only reached number eighty-one: [Excerpt: The Turtles, "Grim Reaper of Love"] The group started falling apart. Don Murray became convinced that  the rest of the band were conspiring against him and wanted him out, so he walked out of the group in the middle of a rehearsal for a TV show. They got Joel Larson of the Grass Roots -- the group who had a number of hits with Sloan and Barri songs -- to sub for a few gigs before getting in a permanent replacement, Johnny Barbata, who came to them on the recommendation of Gene Clark, and who was one of the best drummers on the scene -- someone who was not only a great drummer but a great showman, who would twirl his drumsticks between his fingers with every beat, and who would regularly engage in drum battles with Buddy Rich. By the time they hit their fifth flop single in a row, they lost their bass player as well -- Chuck Portz decided he was going to quit music and become a fisherman instead. They replaced him with Chip Douglas of the Modern Folk Quartet. Then they very nearly lost their singers. Volman and Kaylan both got their draft notices at the same time, and it seemed likely they would end up having to go and fight in the Vietnam war. Kaylan was distraught, but his mother told him "Speak to your cousin Herb". Cousin Herb was Herb Cohen, the manager of the Mothers of Invention and numerous other LA acts, including the Modern Folk Quartet, and Kaylan only vaguely knew him at this time, but he agreed to meet up with them, and told them “Stop worrying! I got Zappa out, I got Tim Buckley out, and I'll get you out.” Cohen told Volman and Kaylan to not wash for a week before their induction, to take every drug of every different kind they could find right before going in, to deliberately disobey every order, to fail the logic tests, and to sexually proposition the male officers dealing with the induction. They followed his orders to the letter, and got marked as 4-F, unfit for service. They still needed a hit though, and eventually they found something by going back to their good-time music idea. It was a song from the Koppelman-Rubin publishing company -- the same company that did the Lovin Spoonful's management and production. The song in question was by Alan Gordon and Gary Bonner, two former members of a group called the Magicians, who had had a minor success with a single called "An Invitation to Cry": [Excerpt: The Magicians, "An Invitation to Cry"] The Magicians had split up, and Bonner and Gordon were trying to make a go of things as professional songwriters, but had had little success to this point. The song on the demo had been passed over by everyone, and the demo was not at all impressive, just a scratchy acetate with Bonner singing off-key and playing acoustic rhythm guitar and Gordon slapping his knees to provide rhythm, but the group heard something in it. They played the song live for months, refining the arrangement, before taking it into the studio. There are arguments to this day as to who deserves the credit for the sound on "Happy Together" -- Chip Douglas apparently did the bulk of the arrangement work while they were on tour, but the group's new producer, Joe Wissert, a former staff engineer for Cameo-Parkway, also claimed credit for much of it. Either way, "Happy Together" is a small masterpiece of dynamics. The song is structured much like the songs that had made the Turtles' name, with the old Zombies idea of the soft verse and much louder chorus: [Excerpt: The Turtles, "Happy Together"] But the track is really made by the tiny details of the arrangement, the way instruments and vocal parts come in and out as the track builds up, dies down, and builds again. If you listen to the isolated tracks, there are fantastic touches like the juxtaposition of the bassoon and oboe (which I think is played on a mellotron): [Excerpt: The Turtles, "Happy Together", isolated tracks] And a similar level of care and attention was put into the vocal arrangement by Douglas, with some parts just Kaylan singing solo, other parts having Volman double him, and of course the famous "bah bah bah" massed vocals: [Excerpt: The Turtles, "Happy Together", isolated vocals] At the end of the track, thinking he was probably going to do another take, Kaylan decided to fool around and sing "How is the weather?", which Bonner and Gordon had jokingly done on the demo. But the group loved it, and insisted that was the take they were going to use: [Excerpt: The Turtles, "Happy Together"] "Happy Together" knocked "Penny Lane" by the Beatles off the number one spot in the US, but by that point the group had already had another lineup change. The Monkees had decided they wanted to make records without the hit factory that had been overseeing them, and had asked Chip Douglas if he wanted to produce their first recordings as a self-contained band. Given that the Monkees were the biggest thing in the American music industry at the time, Douglas had agreed, and so the group needed their third bass player in a year. The one they went for was Jim Pons. Pons had seen the Beatles play at the Hollywood Bowl in 1964, and decided he wanted to become a pop star. The next day he'd been in a car crash, which had paid out enough insurance money that he was able to buy two guitars, a bass, drums, and amps, and use them to start his own band. That band was originally called The Rockwells, but quickly changed their name to the Leaves, and became a regular fixture at Ciro's on Sunset Strip, first as customers, then after beating Love in the auditions, as the new resident band when the Byrds left. For a while the Leaves had occasionally had guest vocals from a singer called Richard Marin, but Pons eventually decided to get rid of him, because, as he put it "I wanted us to look like The Beatles. There were no Mexicans in The Beatles". He is at pains in his autobiography to assure us that he's not a bigot, and that Marin understood. I'm sure he did. Marin went on to be better known as Cheech Marin of Cheech and Chong. The Leaves were signed by Pat Boone to his production company, and through that company they got signed to Mira Records. Their first single, produced by Nik Venet, had been a version of "Love Minus Zero (No Limit)", a song by Bob Dylan: [Excerpt: The Leaves, "Love Minus Zero (No Limit)"] That had become a local hit, though not a national one, and the Leaves had become one of the biggest bands on the Sunset Strip scene, hanging out with all the other bands. They had become friendly with the Doors before the Doors got a record deal, and Pat Boone had even asked for an introduction, as he was thinking of signing them, but unfortunately when he met Jim Morrison, Morrison had drunk a lot of vodka, and given that Morrison was an obnoxious drunk Boone had second thoughts, and so the world missed out on the chance of a collaboration between the Doors and Pat Boone. Their second single was "Hey Joe" -- as was their third and fourth, as we discussed in that episode: [Excerpt: The Leaves, "Hey Joe"] Their third version of "Hey Joe" had become a top forty hit, but they didn't have a follow-up, and their second album, All The Good That's Happening, while it's a good album, sold poorly. Various band members quit or fell out, and when Johnny Barbata knocked on Jim Pons' door it was an easy decision to quit and join a band that had a current number one hit. When Pons joined, the group had already recorded the Happy Together album. That album included the follow-up to "Happy Together", another Bonner and Gordon song, "She'd Rather Be With Me": [Excerpt: The Turtles, "She'd Rather Be With Me"] None of the group were tremendously impressed with that song, but it did very well, becoming the group's second-biggest hit in the US, reaching number three, and actually becoming a bigger hit than "Happy Together" in parts of Europe. Before "Happy Together" the group hadn't really made much impact outside the US. In the UK, their early singles had been released by Pye, the smallish label that had the Kinks and Donovan, but which didn't have much promotional budget, and they'd sunk without trace. For "You Baby" they'd switched to Immediate, the indie label that Andrew Oldham had set up, and it had done a little better but still not charted. But from "Happy Together" they were on Decca, a much bigger label, and "Happy Together" had made number twelve in the charts in the UK, and "She'd Rather Be With Me" reached number four. So the new lineup of the group went on a UK tour. As soon as they got to the hotel, they found they had a message from Graham Nash of the Hollies, saying he would like to meet up with them. They all went round to Nash's house, and found Donovan was also there, and Nash played them a tape he'd just been given of Sgt Pepper, which wouldn't come out for a few more days. At this point they were living every dream a bunch of Anglophile American musicians could possibly have. Jim Tucker mentioned that he would love to meet the Beatles, and Nash suggested they do just that. On their way out the door, Donovan said to them, "beware of Lennon". It was when they got to the Speakeasy club that the first faux-pas of the evening happened. Nash introduced them to Justin Hayward and John Lodge of the Moody Blues, and Volman said how much he loved their record "Go Now": [Excerpt: The Moody Blues, "Go Now"] The problem was that Hayward and Lodge had joined the group after that record had come out, to replace its lead singer Denny Laine. Oh well, they were still going to meet the Beatles, right? They got to the table where John, Paul, and Ringo were sat, at a tense moment -- Paul was having a row with Jane Asher, who stormed out just as the Turtles were getting there. But at first, everything seemed to go well. The Beatles all expressed their admiration for "Happy Together" and sang the "ba ba ba" parts at them, and Paul and Kaylan bonded over their shared love for "Justine" by Don and Dewey, a song which the Crossfires had performed in their club sets, and started singing it together: [Excerpt: Don and Dewey, "Justine"] But John Lennon was often a mean drunk, and he noticed that Jim Tucker seemed to be the weak link in the group, and soon started bullying him, mocking his clothes, his name, and everything he said. This devastated Tucker, who had idolised Lennon up to that point, and blurted out "I'm sorry I ever met you", to which Lennon just responded "You never did, son, you never did". The group walked out, hurt and confused -- and according to Kaylan in his autobiography, Tucker was so demoralised by Lennon's abuse that he quit music forever shortly afterwards, though Tucker says that this wasn't the reason he quit. From their return to LA on, the Turtles would be down to just a five-piece band. After leaving the club, the group went off in different directions, but then Kaylan (and this is according to Kaylan's autobiography, there are no other sources for this) was approached by Brian Jones, asking for his autograph because he loved the Turtles so much. Jones introduced Kaylan to the friend he was with, Jimi Hendrix, and they went out for dinner, but Jones soon disappeared with a girl he'd met. and left Kaylan and Hendrix alone. They were drinking a lot -- more than Kaylan was used to -- and he was tired, and the omelette that Hendrix had ordered for Kaylan was creamier than he was expecting... and Kaylan capped what had been a night full of unimaginable highs and lows by vomiting all over Jimi Hendrix's expensive red velvet suit. Rather amazingly after all this, the Moody Blues, the Beatles, and Hendrix, all showed up to the Turtles' London gig and apparently enjoyed it. After "She'd Rather Be With Me", the next single to be released wasn't really a proper single, it was a theme song they'd been asked to record for a dire sex comedy titled "Guide for the Married Man", and is mostly notable for being composed by John Williams, the man who would later go on to compose the music for Star Wars. That didn't chart, but the group followed it with two more top twenty hits written by Bonner and Gordon, "You Know What I Mean" and "She's My Girl". But then the group decided that Bonner and Gordon weren't giving them their best material, and started turning down their submissions, like a song called "Celebrity Ball" which they thought had no commercial potential, at least until the song was picked up by their friends Three Dog Night, retitled "Celebrate", and made the top twenty: [Excerpt: Three Dog Night, "Celebrate"] Instead, the group decided to start recording more of their own material. They were worried that in the fast-changing rock world bands that did other songwriters' material were losing credibility. But "Sound Asleep", their first effort in this new plan, only made number forty-seven on the charts. Clearly they needed a different plan. They called in their old bass player Chip Douglas, who was now an experienced hitmaker as a producer. He called in *his* friend Harry Nilsson, who wrote "The Story of Rock & Roll" for the group, but that didn't do much better, only making number forty-eight. But the group persevered, starting work on a new album produced by Douglas, The Turtles Present The Battle of the Bands, the conceit of which was that every track would be presented as being by a different band. So there were tracks by  Chief Kamanawanalea and his Royal Macadamia Nuts,  Fats Mallard and the Bluegrass Fireball, The Atomic Enchilada, and so on, all done in the styles suggested by those band names. There was even a track by "The Cross Fires": [Excerpt: The Cross Fires, "Surfer Dan"] It was the first time the group had conceived of an album as a piece, and nine of the twelve tracks were originals by the band -- there was a track written by their friend Bill Martin, and the opening track, by "The US Teens Featuring Raoul", was co-written by Chip Douglas and Harry Nilsson. But for the most part the songs were written by the band members themselves, and jointly credited to all of them. This was the democratic decision, but one that Howard Kaylan would later regret, because of the song for which the band name was just "Howie, Mark, Johnny, Jim & Al". Where all the other songs were parodies of other types of music, that one was, as the name suggests, a parody of the Turtles themselves. It was written by Kaylan in disgust at the record label, who kept pestering the group to "give us another 'Happy Together'". Kaylan got more and more angry at this badgering, and eventually thought "OK, you want another 'Happy Together'? I'll give you another 'Happy Together'" and in a few minutes wrote a song that was intended as an utterly vicious parody of that kind of song, with lyrics that nobody could possibly take seriously, and with music that was just mocking the whole structure of "Happy Together" specifically. He played it to the rest of the group, expecting them to fall about laughing, but instead they all insisted it was the group's next single. "Elenore" went to number six on the charts, becoming their biggest hit since "She'd Rather Be With Me": [Excerpt: The Turtles, "Elenore"] And because everything was credited to the group, Kaylan's songwriting royalties were split five ways. For the follow-up, they chose the one actual cover version on the album. "You Showed Me" is a song that Roger McGuinn and Gene Clark had written together in the very early days of the Byrds, and they'd recorded it as a jangly folk-rock tune in 1964: [Excerpt: The Byrds, "You Showed Me"] They'd never released that track, but Gene Clark had performed it solo after leaving the Byrds, and Douglas had been in Clark's band at the time, and liked the song. He played it for the Turtles, but when he played it for them the only instrument he had to hand was a pump organ with one of its bellows broken. Because of this, he had to play it slowly, and while he kept insisting that the song needed to be faster, the group were equally insistent that what he was playing them was the big ballad hit they wanted, and they recorded it at that tempo. "You Showed Me" became the Turtles' final top ten hit: [Excerpt: The Turtles, "You Showed Me"] But once again there were problems in the group. Johnny Barbata was the greatest drummer any of them had ever played with, but he didn't fit as a personality -- he didn't like hanging round with the rest of them when not on stage, and while there were no hard feelings, it was clear he could get a gig with pretty much anyone and didn't need to play with a group he wasn't entirely happy in. By mutual agreement, he left to go and play with Crosby, Stills, Nash, and Young, and was replaced by John Seiter from Spanky and Our Gang -- a good drummer, but not the best of the best like Barbata had been. On top of this, there were a whole host of legal problems to deal with. The Turtles were the only big act on White Whale records, though White Whale did put out some other records. For example, they'd released the single "Desdemona" by John's Children in the US: [Excerpt: John's Children, "Desdemona"] The group, being the Anglophiles they were, had loved that record, and were also among the very small number of Americans to like the music made by John's Children's guitarist's new folk duo, Tyrannosaurus Rex: [Excerpt: Tyrannosaurus Rex, "Debora"] When Tyrannosaurus Rex supported the Turtles, indeed, Volman and Kaylan became very close to Marc Bolan, and told him that the next time they were in England they'd have to get together, maybe even record together. That would happen not that many years later, with results we'll be getting to in... episode 201, by my current calculations. But John's Children hadn't had a hit, and indeed nobody on White Whale other than the Turtles had. So White Whale desperately wanted to stop the Turtles having any independence, and to make sure they continued to be their hit factory. They worked with the group's roadie, Dave Krambeck, to undermine the group's faith in their manager, Bill Utley, who supported the group in their desire for independence. Soon, Krambeck and White Whale had ousted Utley, and Krambeck had paid Utley fifty thousand dollars for their management contract, with the promise of another two hundred thousand later. That fifty thousand dollars had been taken by Krambeck as an advance against the Turtles' royalties, so they were really buying themselves out. Except that Krambeck then sold the management contract on to a New York management firm, without telling the group. He then embezzled as much of the group's ready cash as he could and ran off to Mexico, without paying Utley his two hundred thousand dollars. The Turtles were out of money, and they were being sued by Utley because he hadn't had the money he should have had, and by the big New York firm, because  since the Turtles hadn't known they were now legally their managers they were in breach of contract. They needed money quickly, and so they signed with another big management company, this one co-owned by Bill Cosby, in the belief that Cosby's star power might be able to get them some better bookings. It did -- one of the group's first gigs after signing with the new company was at the White House. It turned out they were Tricia Nixon's favourite group, and so they and the Temptations were booked at her request for a White House party. The group at first refused to play for a President they rightly thought of as a monster, but their managers insisted. That destroyed their reputation among the cool antiestablishment youth, of course, but it did start getting them well-paid corporate gigs. Right up until the point where Kaylan became sick at his own hypocrisy at playing these events, drank too much of the complimentary champagne at an event for the president of US Steel, went into a drunken rant about how sick the audience made him, and then about how his bandmates were a bunch of sellouts, threw his mic into a swimming pool, and quit while still on stage. He was out of the band for two months, during which time they worked on new material without him, before they made up and decided to work on a new album. This new album, though, was going to be more democratic. As well as being all original material, they weren't having any of this nonsense about the lead singer singing lead. This time, whoever wrote the song was going to sing lead, so Kaylan only ended up singing lead on six of the twelve songs on what turned out to be their final album, Turtle Soup. They wanted a truly great producer for the new album, and they all made lists of who they might call. The lists included a few big names like George Martin and Phil Spector, but one name kept turning up -- Ray Davies. As we'll hear in the next episode, the Kinks had been making some astonishing music since "You Really Got Me", but most of it had not been heard in the US. But the Turtles all loved the Kinks' 1968 album The Kinks Are The Village Green Preservation Society, which they considered the best album ever made: [Excerpt: The Kinks, "Animal Farm"] They got in touch with Davies, and he agreed to produce the album -- the first time he did any serious outside production work -- and eventually they were able to persuade White Whale, who had no idea who he was, to allow him to produce it. The resulting album is by far the group's strongest album-length work, though there were problems -- Davies' original mix of the album was dominated by the orchestral parts written by Wrecking Crew musician Ray Pohlman, while the group thought that their own instruments should be more audible, since they were trying to prove that they were a proper band. They remixed it themselves, annoying Davies, though reissues since the eighties have reverted to a mix closer to Davies' intentions. Some of the music, like Pons' "Dance This Dance With Me", perhaps has the group trying a little *too* hard to sound like the Kinks: [Excerpt: The Turtles, "Dance This Dance With Me"] But on the other hand, Kaylan's "You Don't Have to Walk in the Rain" is the group's last great pop single, and has one of the best lines of any single from the sixties -- "I look at your face, I love you anyway": [Excerpt: The Turtles, "You Don't Have to Walk in the Rain"] But the album produced no hits, and the group were getting more and more problems from their label. White Whale tried to get Volman and Kaylan to go to Memphis without the other band members to record with Chips Moman, but they refused -- the Turtles were a band, and they were proud of not having session players play their parts on the records. Instead, they started work with Jerry Yester producing on a new album, to be called Shell Shock. They did, though bow to pressure and record a terrible country track called "Who Would Ever Think That I Would Marry Margaret" backed by session players, at White Whale's insistence, but managed to persuade the label not to release it. They audited White Whale and discovered that in the first six months of 1969 alone -- a period where they hadn't sold that many records -- they'd been underpaid by a staggering six hundred and fifty thousand dollars. They sued the label for several million, and in retaliation, the label locked them out of the recording studio, locking their equipment in there. They basically begged White Whale to let them record one last great single, one last throw of the dice. Jim Pons had, for years, known a keyboard player named Bob Harris, and had recently got to know Harris' wife, Judee Sill. Sill had a troubled life -- she was a heroin addict, and had at times turned to streetwalking to earn money, and had spent time in prison for armed robbery -- but she was also an astonishing songwriter, whose music was as inspired by Bach as by any pop or folk composer. Sill had been signed to Blimp, the Turtles' new production and publishing company, and Pons was co-producing some tracks on her first album, with Graham Nash producing others. Pons thought one song from that album, "Lady-O", would be perfect for the Turtles: [Excerpt: Judee Sill, "Lady-O"] (music continues under) The Turtles stuck closely to Sill's vision of the song. So closely that you haven't noticed that before I started talking, we'd already switched from Sill's record to the Turtles' version. [Excerpt: The Turtles, "Lady-O"] That track, with Sill on guitar backing Kaylan, Volman, and Nichol's vocals, was the last Turtles single to be released while the band were together. Despite “Lady O” being as gorgeous a melody as has ever been produced in the rock world, it sank without trace, as did a single from the Shell Shock sessions released under a pseudonym, The Dedications. White Whale followed that up, to the group's disgust, with "Who Would Ever Think That I Would Marry Margaret?", and then started putting out whatever they had in the vaults, trying to get the last few pennies, even releasing their 1965 album track version of "Eve of Destruction" as if it were a new single. The band were even more disgusted when they discovered that, thanks to the flurry of suits and countersuits, they not only could no longer perform as the Turtles, but White Whale were laying legal claim to their own names. They couldn't perform under those names -- Howard Kaylan, Mark Volman, and the rest were the intellectual property of White Whale, according to the lawyers. The group split up, and Kaylan and Volman did some session work, including singing on a demo for a couple of new songwriters: [Excerpt: Steely Dan, "Everyone's Gone to the Movies"] When that demo got the songwriters a contract, one of them actually phoned up to see if Kaylan wanted a permanent job in their new band, but they didn't want Volman as well, so Kaylan refused, and Steely Dan had to do without him. Volman and Kaylan were despondent, washed-up, has-been ex-rock stars. But when they went to see a gig by their old friend Frank Zappa, it turned out that he was looking for exactly that. Of course, they couldn't use their own names, but the story of the Phlorescent Leech and Eddie is a story for another time...

Rock legend Justin Hayward joins WGN Radio's Dave Plier to talk about his five-decade-long journey in music and shares his new single, ‘Living for Love'. Moodybluestoday.com, justinhayward.com.

It's not overstating it to say that Spiderbait are one of Australia's most loved bands. For more than 30 years, this power trio have ripped it up on stages and albums alike, and held a tight bond of friendship the whole way through. Their latest venture is a compilation album celebrating their bassist and singer Janet English. It's called Sounds in the Key Of J, and off the back of it's release I asked the main character and her bandmate Kram to Take 5. This is one of the wildest collections of songs I've ever seen in a Take 5, and I'm here for it. It's also a beautiful reflection of friendship, curiosity, the genre bending they've done, and the foundations of where Spiderbait have come from. From The Go-Go's to the War of the Worlds album, jump in and take a trip through the foundations of Spiderbait with Janet and Kram. The Go Go's - We Got The Beat  Marie Greene & Betty Wand - Dites-Moi (South Pacific Soundtrack) Jeff Wayne, Justin Hayward & Richard Burton - The Eve Of The War Talking Heads - Crosseyed And Painless The Primitives - Spacehead

It's not overstating it to say that Spiderbait are one of Australia's most loved bands. For more than 30 years, this power trio have ripped it up on stages and albums alike, and held a tight bond of friendship the whole way through. Their latest venture is a compilation album celebrating their bassist and singer Janet English. It's called Sounds in the Key Of J, and off the back of it's release I asked the main character and her bandmate Kram to Take 5. This is one of the wildest collections of songs I've ever seen in a Take 5, and I'm here for it. It's also a beautiful reflection of friendship, curiosity, the genre bending they've done, and the foundations of where Spiderbait have come from. From The Go-Go's to the War of the Worlds album, jump in and take a trip through the foundations of Spiderbait with Janet and Kram. The Go Go's - We Got The Beat  Marie Greene & Betty Wand - Dites-Moi (South Pacific Soundtrack) Jeff Wayne, Justin Hayward & Richard Burton - The Eve Of The War Talking Heads - Crosseyed And Painless The Primitives - Spacehead

One of the earliest examples of a prog rock record was Days of Future Passed, the second studio album by The Moody Blues. Originally a rhythm and blues band, The Moody Blues were in difficult financial straits when they convinced the record company to combine their music with orchestral elements and interludes in a single album.  The group recorded much of their sessions first, then provided these to conductor Peter Knight, who directed the London Festival Orchestra (the house orchestra for Decca Records) in arrangements and orchestral interludes.The Moody Blues for this album are Justin Hayward on guitar, piano, and vocals, John Lodge on bass and vocals, Mike Pinder on keyboards and vocals, Ray Thomas on flute, piano, and vocals, and Graeme Edge on drums and vocals.Days of Future Passed is created as a concept around a day in the life of "an everyday man."  It begins with a track appropriately entitled "The Day Begins," and concludes with a piece labeled "The Night," which we know as "Nights in White Satin," and "Late Lament."  The album was somewhat successful when first released, but would climb in popularity over a long period of time, particularly on the growing strength of "Nights in White Satin" on FM radio in the U.S.  It would eventually peak on the album charts at number 2 in the U.S. - in 1972!Brian takes us on this day trip. Dawn:  Dawn Is a FeelingKeyboardist Mike Pinder wrote this song, the first track sung after the Instrumental overture and spoken recitation.  As the name implies, it represents the start of the day.Lunch BreakBassist John Lodge sings lead on this song which he also wrote.  The fast pace is suggestive of the hectic period of lunch hour on a business day.  The song has an orchestral introduction which was recorded separately from the rest of the track.Tuesday Afternoon Also known as "Forever Afternoon" or "Forever Afternoon (Tuesday?)", the song was originally intended to be named "Tuesday Afternoon" but was changed for the album.  It was released as "Tuesday Afternoon" when released as a single.  Justin Hayward wrote the song in Lypiatt Park on a (you guessed it) Tuesday afternoon.Nights In White Satin/Late LamentHayward composed this hit at the age of 19 in Belgium, inspired by a gift of satin bedsheets given by his girlfriend.  The song is about a yearning love from afar.  The strength of this song would provide the success for both the album and The Moody Blues as a whole.  Late Lament was written by drummer Graeme Edge, and is recited by keyboardist Mike Pinder.  This is the only album track on which the band recorded with the London Festival Orchestra rather than separately. ENTERTAINMENT TRACK:Won't You Be My Neighbor? (the main theme to the children's series Mr. Rogers' Neighborhood)The television series starring Fred Rogers debuted nationally this month. STAFF PICKS:Tomorrow by Strawberry Alarm ClockBruce starts us off with a psychedelic and sunshine pop group out of Los Angeles.  This song is the first single off the group's second album, "Wake Up...It's Tomorrow."  It would hit number 23 on the Billboard Hot 100, and would be their second and final top 40 hit.  "But right now I am with you, and together we can make it through."Hey Baby (They're Playing Our Song)  by The BuckinghamsRob's staff pick continues in the sunshine pop genre with a band out of Chicago.  This is off their album "Portraits," and made it to number 12 on the charts.  "Sunshine Pop" is rooted in easy listening and "advertising jingles."  The Buckinghams got their name in an attempt to channel some of the success of the British Invasion.  They had 5 top 40 hits in 1967. Nobody But Me by the Human BeinzWayne brings us a well-known cover originally performed by The Isley Brothers.  There are over 100 "no's" in this song and 47 "nobody's," making it quite literally a quite negative song.  While this would be the only entry into the top 10, it would become a staple of Fraternity parties from then on.    Sunday Mornin' by Spanky & Our GangBrian  features Elaine "Spanky" McFarlane as lead woman for the band.  Spanky & Our Gang had a number of hits in the 60's.  This sunshine pop song peaked at number 30 as a single, and preceded the album by several months.     COMEDY TRACK:Here Come the Judge by Shorty LongThis funky novelty song was inspired by a skit on Rowan & Martin's "Laugh In," and was Long's biggest hit, rising to number 4 on the charts.

"And slowly, but surely, they drew their plans against us..." For this episode, Tom teaches Morgan all about a true one-off: the sci-fi prog rock concept musical album adaptation of HG Wells' War of the Worlds, by Jeff Wayne. Morgan gets flabbergasted at the album's enduring popularity, as he hears songs like 'Eve of the War' and 'Forever Autumn' for the first time, much to Tom's dismay. We discuss: The gravitas of Richard Burton and the surprisingly decent David Essex The gall and the gumption of Jeff Wayne sticking his name on the album and spending A LOT of money - but it worked! How Tom grew up with an actual typewriter Morgan's most hated words: 'rock opera' Justin Hayward's sci-fi pedigree How Tom had a mandatory dance class at school. Just him? Morgan's impressions are back: Al Pacino, Sean Connery, Marlon Brando and more! The album's amazing artwork and video game spinoffs Tom's love of Daniel Bedingfield Clips used: Jeff Wayne's Musical Version of War of the Worlds (CBS) Songs: 'Eve of the War', 'Forever Autumn', 'Thunder Child', 'The Spirit of Man', 'Brave New World', 'Epilogue' Vigrass & Osborne - 'Forever Autumn' / Lego commercial Jeff Wayne's War of the Worlds (ZX Spectrum) Jeff Wayne's Musical Version of War of the Worlds - The New Generation (Sony) Jeff Wayne's War of the Worlds - The Musical Drama (Audible) Please https://twogeekstwobeers.com/reviews/ (leave us a review here)! Please get in touch at podcast@twogeekstwobeers.com, or via https://www.facebook.com/twogeekscast/ (Facebook), https://twitter.com/twogeekscast (Twitter) or https://www.instagram.com/twogeekscast/ (Instagram). https://www.patreon.com/twogeekscast (Please support us Patreon, and get some awesome exclusive Two Geeks goodies!)

What life lessons can be learned through Brazilian Jiu Jitsu? Remso speaks to his friend Justin Hayward, the guy who first motivated him to join a BJJ gym. They discuss the journey, lessons, and moments that have made this experience so impactful for both their lives. Follow Justin on Instagram https://www.instagram.com/justin_the_surgeon_hayward/ Newsletter Sign up for Remso's On The Run Newsletter https://remso.substack.com/ Hustler's University 2.0 Obtain the skills and knowledge you need to start a side hustle and new streams of active and passive income https://gumroad.com/a/539317363/qcbcb Robinhood Get your free stock just for signing up with Robinhood and start investing today https://join.robinhood.com/remsom Coinbase Get $10 of Bitcoin when you buy or sell your first $100 https://www.coinbase.com/join/martin_85hr FundRise Start investing in real estate today with FundRise and get $50 to start when you join https://www.fundrise.com/r/dzed84 Learn more about your ad choices. Visit megaphone.fm/adchoices

U-Man interviewed Justin Hayward of the Moody Blues in this 1980 interview where he talks about everything...literally everything!!

This week on Rockonteurs, Gary Kemp and Guy Pratt chat to the charming Justin Hayward. Justin is the singer and songwriter with the Moody Blues and has written some truly stunning records over the years. He is a multiple Ivor Novello award winner and with the Moody Blues has sold over 70 million albums. In this episode, he talks about auditioning for Marty Wilde, joining the Moody Blues and writing some of their incredible hit songs like ‘Nights in White Satin' and ‘Question'. He also reveals how he ended up recording ‘Forever Autumn' on the Jeff Wayne's War of The Worlds.Rockonteurs is produced by Ben Jones for Gimme Sugar Productions See acast.com/privacy for privacy and opt-out information.

This week on Rockonteurs, Gary Kemp and Guy Pratt chat to the charming Justin Hayward. Justin is the singer and songwriter with the Moody Blues and has written some truly stunning records over the years. He is a multiple Ivor Novello award winner and with the Moody Blues has sold over 70 million albums. In this episode, he talks about auditioning for Marty Wilde, joining the Moody Blues and writing some of their incredible hit songs like ‘Nights in White Satin' and ‘Question'. He also reveals how he ended up recording ‘Forever Autumn' on the Jeff Wayne's War of The Worlds.Rockonteurs is produced by Ben Jones for Gimme Sugar Productions Hosted on Acast. See acast.com/privacy for more information.

Audio engineer and owner of Bluejay Productions, Mark Thomas Johnson, has worked with hundreds of bands, solo artists, and ensembles, including national headliners Jim Belushi and the Sacred Hearts, Craig Chaquico, McKenna Faith, Bill Frisell, Justin Hayward, Vince Herman and Loose Cannon, Eric Johnson, Lake Street Dive, Los Lonely Boys, Jeff Pevar, Rob Schneider, Martin Sexton, Mike Stern, David Wax Museum, and Zepparella. Mark's business clients include Asante, Camelot Theater, CSI Miami, Live At The Armory, Oregon Shakespeare Festival, and the Rogue Theater. Mark is also a studio session and live keyboardist and vocalist. Visit Bluejay Productions: http://bluejayproductions.com Watch the Full Episode with Video:  https://heckleproofpodcast.com/ If you enjoy the podcast, please check out and give thanks to our sponsors: Chadwicks Sports Pub (@chadwickspub) On the web: http://chadwickspub.com The Hawaiian Hut (@hawaiianhut) On the web: https://thehawaiianhut.com The Point Pub & Grill (@thepointmedford) On the web: https://lovemypoint.com Courthouse Family Fitness (@thecourthousegym) On the web: https://abkfun.com/court-house-2/ Rogue Comedy Underground (@roguecomedy) On the web: http://roguecomedyunderground.com/ ----- ----- ----- Never miss a Heckleproof Release - Join our Newsletter: https://mailchi.mp/56f2a63f3160/welcome-to-heckleproof And make sure to follow our channel for updates each time we publish a new episode, and go check out our website where you can sign up for updates about live shows, upcoming guests, and all things Heckleproof.  You can also support with donations to the fellas: Cash App - $Heckleproof ----- ----- -----  

In unserem Weihnachtsspecial der Meilensteine besprechen wir auch in dieser Woche die Lieblingsalben der SWR1-Musikredaktion. Dieses Mal mit dabei: Lewis Taylor, Jeff Wayne, Melody Gardot und die Band The Brandos. Den Anfang unseres kleinen Podcastspecials macht Stephan Fahrig. Sein persönlicher Meilenstein kommt vom Multiinstrumentalisten Lewis Taylor aus England. Von den Kritikern wird er als musikalische Genie bezeichnet, aber anstatt dass so ein Talent mit Sorgfalt behandelt wird, fühlt sich Lewis Taylor irgendwann so von der Musikindustrie gebeutelt, dass er die Musik an den sprichwörtlichen Nagel hängt. Als das Hörspiel “War Of The Worlds” von Orson Wells 1938 im Radio ausgestrahlt wird, soll es in den USA zu Massenpaniken gekommen sein, da die Menschen dies nicht für ein Hörspiel, sondern für Radionachrichten gehalten haben sollen. Jeff Waynes Musical Version des Buches hingegen hat keine Panik, sondern nur Begeisterungsstürme zu verantworten. Unter anderem auch bei SWR1 Musikredakteur Dave Jörg, der bis heute von diesem Konzeptalbum fasziniert ist. Und das liegt nicht nur an den wunderbaren musikalischen Gästen wie Chris Thompson von Manfred Mann's Earth Band oder Justin Hayward von Moody Blues. Dieses Album hat sogar mal dafür gesorgt, dass Dave Jörg nach England geflogen ist. SWR1 Musikredakteurin Katharina Heinius hat eine ganz besondere und auch langjährige Beziehung zu Melody Gardot. Begonnen hat die bei einem Studentenjob, hält aber bis heute an. Katharina kennt die bizarre Geschichte dazu, wie Melody Gardot überhaupt erst dazu gekommen ist, Musik zu machen. Denn eigentlich ist die heute Jazzikone gelernte Modedesignerin. Livekonzerte üben nicht nur auf Musiker eine besondere Faszination aus, sondern auch auf Nicht-Musiker. Frank König ist selbst Musiker und wurde damals von der Band The Brandos bei einer Liveshow in Marburg komplett in deren Bann gezogen. Weil sie Live so unglaublich gut performt haben und ihn mit ihrer druckvollen Musik komplett in seinen Bann gezogen haben. Und auch diese Faszination hält bis heute an. Darum ist ihr Debütalbum “Honor Among Thieves” für Frank auch bis heute ein Meilenstein. __________ Über diese Songs wird im Podcast gesprochen: 02:08 Mins – “Lucky” von Lewis Taylor 06:01 Mins – “Bittersweet” von Lewis Taylor 09:30 Mins – “Spirit” von Lewis Taylor  10:55 Mins – “The Eve Of The War” von Jeff Wayne   15:04 Mins – “Thunderchild“ von Jeff Wayne und Chris Thompson 16:24 Mins – “The Spirit Of Man” von Jeff Wayne, Phil Lynott und Julie Covington 20:50 Mins – “Baby I'm A Fool” von Melody Gardot 23:14 Mins – “Who Will Comfort Me” von Melody Gardot 25:06 Mins – “Your Heart Is As Black As Night” von Melody Gardot 28:28 Mins – “Gettysburg” von The Brandos 30:40 Mins – “The Triangle Fire” von The Brandos 31:28 Mins – “Senor Cojote” von The Brandos 32:25 Mins – “Honor Among Thieves” von The Brandos 33:04 Mins – “Walking On The Water” von The Brandos __________ Links zum Podcast: Lewis Taylor – “Bittersweet” https://www.youtube.com/watch?v=0lVbpfBgMS8 Jeff Wayne's Musical Version of The War of the Worlds: Der Opener – “Eve Of The War” mit Richard Burton und Justin Hayward https://www.youtube.com/watch?v=Poii8JAbtng “Thunder Child” mit Richard Burton und Chris Thompson https://www.youtube.com/watch?v=4RRe40O6QKU “The Spirit of Man” mit Richard Burton, Julie Covington und Phil Lynott https://www.youtube.com/watch?v=vtMKdVOcXZI __________ Ihr wollt mehr Podcasts wie diesen? Abonniert die SWR1 Meilensteine! Fragen, Kritik, Anregungen? Schreibt uns an: meilensteine@swr.de

Chip and Ted Gibson host Justin Hayward to discuss high-end watches!

Swedish heavy metal band Lake of Tears put its footprint in the doom/death metal genre during the '90s.  Their sound expanded and changed as the band grew older and more musically mature, incorporating more instruments as they "further explored  the musical cosmos," according to founding member Daniel Brennare. But it was their ballad, "Forever Autumn," with a title "borrowed" from a Justin Hayward tune, where the group found international success. Discuss at our Facebook pagePress release: https://podnews.net/press-release/song-surgery