Podcast appearances and mentions of Kevin Godley

Miss Heard celebrates Season 7, Episode 349 with 10cc's haunting “I'm Not in Love.” From the band's origins in Manchester and their inventive, multi-instrumentalist lineup to the groundbreaking studio techniques that built the song's lush, looping vocal “wall of sound,” we explore how this unlikely hit came together. Written by Eric Stewart and Graham Gouldman and transformed by bold ideas from Kevin Godley and Lol Creme, the track nearly got scrapped before becoming a global success. We also dive into the band's history, creative tensions, and lasting legacy, including how a spontaneous whispered line, delivered by a studio secretary, became one of the song's most iconic moments. #missheardsonglyrics #missheardlyrics #misheardsonglyrics #10cc #ImNotinLove https://www.youtube.com/watch?v=STugQ0X1NoI https://en.wikipedia.org/wiki/I%27m_Not_in_Love https://en.wikipedia.org/wiki/Jonathan_King https://en.wikipedia.org/wiki/Godley_%26_Creme https://miamivice.fandom.com/wiki/Cry

In a market town seven miles south-east of Manchester, a recording studio opened above a shop in 1968 that became one of the most significant facilities in British music history. Strawberry Recording Studios in Stockport was where 10cc built their sound, where Paul McCartney brought Wings to record his brother Mike’s album, where Neil Sedaka revived his career, and where Joy Division and The Smiths made their early recordings. For a long time, much of this went unremarked. Peter Tattersall, the studio’s co-founder, and Peter Wadsworth, a music historian at the University of Manchester, discuss the history of Strawberry Studios. The soundproofing, Tattersall mentions, was worked out from books borrowed from Stockport Library. That detail tells you all you need to know. Further information strawberrynorth.co.uk Strawberry Studios Forever: Strawberry Studios, 10cc and the Birth of Manchester Music by Peter Tattersall with Peter Wadsworth is available in all good book shops Strawberry Studios Forever podcast tracks Support The Strange Brew Podcasts also available: Eric Stewart – Part 1, Eric Stewart – Part 2, Graham Gouldman, Kevin Godley, Harvey Lisberg, Mike McGear McCartney, Keith Hopwood – Herman’s Hermits This podcast is also available on Apple Podcasts, Spotify, YouTube, Google apps and all usual platforms If you like what I do please support me on Ko-fi The post Strawberry Studios Forever appeared first on The Strange Brew .

Send us a message, so we know what you're thinking! Linda Ronstadt has been described as the most successful and certainly the most durable and most gifted woman rock singer of her era. We look at her impact on music (and us!). Our "Album You Must Listen to Before You Die" is 10cc's “Sheet Music”, their 2nd album which announced to the world that they were a force to be reckoned with.  Did we like the album?  You bet! Plus, more on Jeff's current fixation with Bad Bunny's impact on America today. Lots of fun.  You're going to love it!  PS. We said we'd give you a link to Annie Liebovitz, but there's so much on-line that you can easily find stuff yourself.  Do it, You'll be pleased you did.  References: Lola, Fleetwood Mac, “Rumours”, Super Bowl #60, 1001 Albums You Must Hear before You Die, Robert Dimery, Sheet Music, Hipgnosis, Strawberry Studios, Lol Creme, Kevin Godley, Graeme Gouldman, Eric Stewart, The Gizmotron, Wall Street Shuffle, Mike McGear, Ella Fitzgerald, Billie Holliday, The Stone Poneys, Different Drum, Mike Nesmith, The Eagles, Jackson Browne, Waddy Wachtel, Warren Zevon, Neil Young, Judy Henske, “Heart Like a Wheel”, Anna McGarrigle, When Will I Be Loved, Dr Hook & The Medicine Show, Hasten Down the Wind, “Simple Dreams”, Blue Bayou, It's so Easy, Poor Poor Pitiful Me, Carmelita, Pirates of Penzance, la Boheme, The Great American Songbook, Nelson Riddle, Canciones de mi Padre, James Ingram, Somewhere out There, An American Tail, Bette Midler, All I Need to Know  Playlist Charlie Puth National Anthem Bad Bunny half time show Super Bowl food   

This week’s Prog-Watch comes from the Archives, and in it Big Tony is shaking the family tree of the band 10cc! We’ll hear music from the pre-10cc days, from the classic period of the band in the 1970s, and from the individual members Graham Gouldman, Eric Stewart, Kevin Godley & Lol Creme, post-10cc!

Tim Arnold speaks with Marc Almond about Soho's role as a sanctuary for outsiders and subcultures. The conversation explores identity, sexuality, and performance, and how Soho historically provided space for expression that existed outside the mainstream — as well as what is at stake when those spaces are sanitised or erased in the name of progress. Super Connected Conversations: The Soho Series This special six-episode Soho series of Super Connected Conversations brings together artists, thinkers, and cultural figures in conversation with multi-disciplinary artist Tim Arnold, reflecting on Soho's historic role at the heart of British and international creative life. Recorded originally for the feature-length documentary Soho Is…, directed by Tim Arnold and Kevin Godley, these audio conversations explore Soho as a crucible for music, film, art, performance, and counterculture — and examine how gentrification, commercialisation, and modern redevelopment have reshaped its spirit. Each episode considers Soho not merely as a location, but as a living cultural ecosystem: a place where communities formed, ideas collided, and creative risk was historically possible. The discussions address what has been gained, what has been lost, and what remains worth protecting in an era where cultural spaces are increasingly fragile. The Soho Is… film emerged from Tim Arnold's 2015 Save Soho campaign — a coalition of artists, residents, and cultural workers advocating for the preservation of Soho's creative identity. While the film itself remains unreleased, these audio-only conversations offer a rare, intimate window into that ongoing dialogue. This series forms part of Tim Arnold's wider artistic practice as a songwriter, performer, filmmaker, and cultural commentator, and reflects his sustained engagement with the intersections of creativity, place, and community. For more about Tim Arnold, please visit: https://timarnold.co.uk/ For more about the Super Connected project, please visit: http://superconnected.technology/ Intro and outro music written and performed by Tim Arnold. Taken from the album 'The Soho Hobo' © TA Music 2015-2026. 

Tim Arnold is joined by singer songwriter Emily Capell to explore Soho from the vantage point of a newer generation of artists navigating a rapidly changing city. The conversation considers what Soho once represented as a gateway for emerging voices, and how rising costs and diminishing grassroots venues have reshaped access, opportunity, and the very idea of a creative commons. Super Connected Conversations: The Soho Series This special six-episode Soho series of Super Connected Conversations brings together artists, thinkers, and cultural figures in conversation with multi-disciplinary artist Tim Arnold, reflecting on Soho's historic role at the heart of British and international creative life. Recorded originally for the feature-length documentary Soho Is…, directed by Tim Arnold and Kevin Godley, these audio conversations explore Soho as a crucible for music, film, art, performance, and counterculture — and examine how gentrification, commercialisation, and modern redevelopment have reshaped its spirit. Each episode considers Soho not merely as a location, but as a living cultural ecosystem: a place where communities formed, ideas collided, and creative risk was historically possible. The discussions address what has been gained, what has been lost, and what remains worth protecting in an era where cultural spaces are increasingly fragile. The Soho Is… film emerged from Tim Arnold's 2015 Save Soho campaign — a coalition of artists, residents, and cultural workers advocating for the preservation of Soho's creative identity. While the film itself remains unreleased, these audio-only conversations offer a rare, intimate window into that ongoing dialogue. This series forms part of Tim Arnold's wider artistic practice as a songwriter, performer, filmmaker, and cultural commentator, and reflects his sustained engagement with the intersections of creativity, place, and community. For more about Tim Arnold, please visit: https://timarnold.co.uk/ For more about the Super Connected project, please visit: http://superconnected.technology/ Intro and outro music written and performed by Tim Arnold. Taken from the album 'The Soho Hobo' © TA Music 2015-2026. 

In this deeply reflective conversation, Tim Arnold speaks with the late June Brown about Soho as a place of character, community, and lived experience. Brown's perspective reaches beyond performance to consider Soho as a human environment — one shaped by ordinary lives, creative labour, and social bonds — and how those textures are eroded when neighbourhoods are stripped of their long-standing inhabitants. Super Connected Conversations: The Soho Series This special six-episode Soho series of Super Connected Conversations brings together artists, thinkers, and cultural figures in conversation with multi-disciplinary artist Tim Arnold, reflecting on Soho's historic role at the heart of British and international creative life. Recorded originally for the feature-length documentary Soho Is…, directed by Tim Arnold and Kevin Godley, these audio conversations explore Soho as a crucible for music, film, art, performance, and counterculture — and examine how gentrification, commercialisation, and modern redevelopment have reshaped its spirit. Each episode considers Soho not merely as a location, but as a living cultural ecosystem: a place where communities formed, ideas collided, and creative risk was historically possible. The discussions address what has been gained, what has been lost, and what remains worth protecting in an era where cultural spaces are increasingly fragile. The Soho Is… film emerged from Tim Arnold's 2015 Save Soho campaign — a coalition of artists, residents, and cultural workers advocating for the preservation of Soho's creative identity. While the film itself remains unreleased, these audio-only conversations offer a rare, intimate window into that ongoing dialogue. This series forms part of Tim Arnold's wider artistic practice as a songwriter, performer, filmmaker, and cultural commentator, and reflects his sustained engagement with the intersections of creativity, place, and community. For more about Tim Arnold, please visit: https://timarnold.co.uk/ For more about the Super Connected project, please visit: http://superconnected.technology/ Intro and outro music written and performed by Tim Arnold. Taken from the album 'The Soho Hobo' © TA Music 2015-2026. 

Tim Arnold sits down with Jools Holland to discuss Soho's central role in Britain's musical and nightlife heritage. From clubs and record shops to informal late-night exchanges between artists, this conversation traces how Soho functioned as a vital location to discover new music — and examines how commercial pressures have altered the conditions that once allowed scenes, sounds and collaborations to emerge organically. Super Connected Conversations: The Soho Series This special six-episode Soho series of Super Connected Conversations brings together artists, thinkers, and cultural figures in conversation with multi-disciplinary artist Tim Arnold, reflecting on Soho's historic role at the heart of British and international creative life. Recorded originally for the feature-length documentary Soho Is…, directed by Tim Arnold and Kevin Godley, these audio conversations explore Soho as a crucible for music, film, art, performance, and counterculture — and examine how gentrification, commercialisation, and modern redevelopment have reshaped its spirit. Each episode considers Soho not merely as a location, but as a living cultural ecosystem: a place where communities formed, ideas collided, and creative risk was historically possible. The discussions address what has been gained, what has been lost, and what remains worth protecting in an era where cultural spaces are increasingly fragile. The Soho Is… film emerged from Tim Arnold's 2015 Save Soho campaign — a coalition of artists, residents, and cultural workers advocating for the preservation of Soho's creative identity. While the film itself remains unreleased, these audio-only conversations offer a rare, intimate window into that ongoing dialogue. This series forms part of Tim Arnold's wider artistic practice as a songwriter, performer, filmmaker, and cultural commentator, and reflects his sustained engagement with the intersections of creativity, place, and community. For more about Tim Arnold, please visit: https://timarnold.co.uk/ For more about the Super Connected project, please visit: http://superconnected.technology/ Intro and outro music written and performed by Tim Arnold. Taken from the album 'The Soho Hobo' © TA Music 2015-2026. 

In this episode of Super Connected Conversations: The Soho Series, Tim Arnold is joined by Stephen Fry to reflect on Soho as a place of ideas, eccentricity, gender fluidity and individuality. Drawing on Fry's lifelong engagement with literature, performance, and British cultural life, the conversation explores Soho's historic tolerance for difference and wit — and what it means to lose spaces where intelligence, humour, and dissent could once coexist so freely. Super Connected Conversations: The Soho Series This special six-episode Soho series of Super Connected Conversations brings together artists, thinkers, and cultural figures in conversation with multi-disciplinary artist Tim Arnold, reflecting on Soho's historic role at the heart of British and international creative life. Recorded originally for the feature-length documentary Soho Is…, directed by Tim Arnold and Kevin Godley, these audio conversations explore Soho as a crucible for music, film, art, performance, and counterculture — and examine how gentrification, commercialisation, and modern redevelopment have reshaped its spirit. Each episode considers Soho not merely as a location, but as a living cultural ecosystem: a place where communities formed, ideas collided, and creative risk was historically possible. The discussions address what has been gained, what has been lost, and what remains worth protecting in an era where cultural spaces are increasingly fragile. The Soho Is… film emerged from Tim Arnold's 2015 Save Soho campaign — a coalition of artists, residents, and cultural workers advocating for the preservation of Soho's creative identity. While the film itself remains unreleased, these audio-only conversations offer a rare, intimate window into that ongoing dialogue. This series forms part of Tim Arnold's wider artistic practice as a songwriter, performer, filmmaker, and cultural commentator, and reflects his sustained engagement with the intersections of creativity, place, and community. For more about Tim Arnold, please visit: https://timarnold.co.uk/ For more about the Super Connected project, please visit: http://superconnected.technology/ Intro and outro music written and performed by Tim Arnold. Taken from the album 'The Soho Hobo' © TA Music 2015-2026. 

In this episode, Tim Arnold is in conversation with Kevin Godley, his long-time collaborator and co-director of the documentary Soho Is…. Together they reflect on Soho's influence across decades of British music and visual culture, discussing experimentation, independence, and the conditions that once made sustained artistic risk not only possible, but normal. Super Connected Conversations: The Soho Series This special six-episode Soho series of Super Connected Conversations brings together artists, thinkers, and cultural figures in conversation with multi-disciplinary artist Tim Arnold, reflecting on Soho's historic role at the heart of British and international creative life. Recorded originally for the feature-length documentary Soho Is…, directed by Tim Arnold and Kevin Godley, these audio conversations explore Soho as a crucible for music, film, art, performance, and counterculture — and examine how gentrification, commercialisation, and modern redevelopment have reshaped its spirit. Each episode considers Soho not merely as a location, but as a living cultural ecosystem: a place where communities formed, ideas collided, and creative risk was historically possible. The discussions address what has been gained, what has been lost, and what remains worth protecting in an era where cultural spaces are increasingly fragile. The Soho Is… film emerged from Tim Arnold's 2015 Save Soho campaign — a coalition of artists, residents, and cultural workers advocating for the preservation of Soho's creative identity. While the film itself remains unreleased, these audio-only conversations offer a rare, intimate window into that ongoing dialogue. This series forms part of Tim Arnold's wider artistic practice as a songwriter, performer, filmmaker, and cultural commentator, and reflects his sustained engagement with the intersections of creativity, place, and community. For more about Tim Arnold, please visit: https://timarnold.co.uk/ For more about the Super Connected project, please visit: http://superconnected.technology/ Intro and outro music written and performed by Tim Arnold. Taken from the album 'The Soho Hobo' © TA Music 2015-2026. 

This week on The Sound Kitchen you'll hear the answer to the question about the drop in pollution rates in Paris. There's “On This Day” and “The Listener's Corner” with Paul Myers, and plenty of good music. All that, and the new quiz and bonus questions too, so click the “Play” button above and enjoy!    Hello everyone! Welcome to The Sound Kitchen weekly podcast, published every Saturday – here on our website, or wherever you get your podcasts. You'll hear the winners' names announced and the week's quiz question, along with all the other ingredients you've grown accustomed to: your letters and essays, “On This Day”, quirky facts and news, interviews, and great music … so be sure and listen every week.Erwan and I are busy cooking up special shows with your music requests, so get them in! Send your music requests to thesoundkitchen@rfi.fr Tell us why you like the piece of music, too – it makes it more interesting for us all!Facebook: Be sure to send your photos to thesoundkitchen@rfi.fr for the RFI English Listeners Forum banner!More tech news: Did you know we have a YouTube channel? Just go to YouTube and write “RFI English” in the search bar, and there we are! Be sure to subscribe to see all our videos.Would you like to learn French? RFI is here to help you!Our website “Le Français facile avec RFI” has news broadcasts in slow, simple French, as well as bilingual radio dramas (with real actors!) and exercises to practice what you have heard.Go to our website and get started! At the top of the page, click on “Test level”. According to your score, you'll be counselled to the best-suited activities for your level.Do not give up! As Lidwien van Dixhoorn, the head of “Le Français facile” service told me: “Bathe your ears in the sound of the language, and eventually, you'll get it.” She should know – Lidwien is Dutch and came to France hardly able to say “bonjour” and now she heads this key RFI department – so stick with it!Be sure you check out our wonderful podcasts!In addition to the news articles on our site, with in-depth analysis of current affairs in France and across the globe, we have several podcasts that will leave you hungry for more.There's Spotlight on France, Spotlight on Africa, The International Report, and of course, The Sound Kitchen. We also have an award-winning bilingual series – an old-time radio show, with actors (!) to help you learn French, called Les voisins du 12 bis. Remember, podcasts are radio, too! As you see, sound is still quite present in the RFI English service. Please keep checking our website for updates on the latest from our journalists. You never know what we'll surprise you with!To listen to our podcasts from your PC, go to our website; you'll see “Podcasts” at the top of the page. You can either listen directly or subscribe and receive them directly on your mobile phone.To listen to our podcasts from your mobile phone, slide through the tabs just under the lead article (the first tab is “Headline News”) until you see “Podcasts”, and choose your show. Teachers take note! I save postcards and stamps from all over the world to send to you for your students. If you would like stamps and postcards for your students, just write and let me know. The address is english.service@rfi.fr  If you would like to donate stamps and postcards, feel free! Our address is listed below. Another idea for your students: Br. Gerald Muller, my beloved music teacher from St. Edward's University in Austin, Texas, has been writing books for young adults in his retirement – and they are free! There is a volume of biographies of painters and musicians called Gentle Giants, and an excellent biography of Dr. Martin Luther King, Jr., too. They are also a good way to help you improve your English - that's how I worked on my French, reading books that were meant for young readers – and I guarantee you, it's a good method for improving your language skills. To get Br. Gerald's free books, click here.Independent RFI English Clubs: Be sure to always include Audrey Iattoni (audrey.iattoni@rfi.fr) from our Listener Relations department in your RFI Club correspondence. Remember to copy me (thesoundkitchen@rfi.fr) when you write to her so that I know what is going on, too. N.B.: You do not need to send her your quiz answers! Email overload!This week's quiz: On 12 April I asked you a question about the drop in air pollution in Paris. That week, Airparif, an independent group that tracks air quality, reported that between 2005 and 2024, levels in Paris of the two most harmful air pollutants – fine particles and nitrogen dioxide – fell by 55 percent and 50 percent respectively.You were to re-read our article “Air pollution in Paris region 'cut in half' over the past 20 years” and send in the answer to this question: According to Airparif, what are the policies that led to the reduction in Paris' pollution? What are some of the concrete steps that were taken?The answer is, to quote our article: “Antoine Trouche, an engineer at Airparif, told France Inter radio that several concrete steps had made a difference.These included ‘the Euro emissions standards, taxation of industrial pollutant emissions, and increased public transport and cycling infrastructure'.He also pointed to ‘the replacement of diesel vehicles with petrol and electric vehicles.'”In addition to the quiz question, there was the bonus question, suggested by Jayanta Chakrabarty from New Delhi, India: “Suppose you find an old magical lamp which when rubbed a genie appears and tells you he will fulfill one wish. What would your wish be?”Do you have a bonus question idea? Send it to us! The winners are: RFI English listener Malik Allah Bachaya Khokhar, the president of the Sungat Radio Listeners Club in Muzaffargarh, Pakistan. Malik is also the winner of this week's bonus question. Congratulations on your double win, Malik.Also on the list of lucky winners this week are Ramu Reddy, a member of the RFI Pariwar Bandhu SWL Club in Chhattisgarh, India, and RFI Listeners Club members Sardar Munir Akhter from Punjab, Pakistan, as well as Deekay Dimple from Assam, India.Last but not least, RFI English listener Ataur Rahman Ranju, the president of the Alokito Manush Cai International Radio Listeners Club in Rangpur, Bangladesh.Congratulations, winners!Here's the music you heard on this week's programme:  “Free Wheelin'” by Thierry Durbet and Laurent Thierry-Meig; “Arc en Ciel 3” by Philippe Bestion; “The Flight of the Bumblebee” by Nicolai Rimsky-Korsakov; “The Cakewalk” from Children's Corner by Claude Debussy, performed by the composer, and “Un Nuit à Paris” by Kevin Godley and Lol Cream, performed by 10cc.Do you have a music request? Send it to thesoundkitchen@rfi.frThis week's question ... you must listen to the show to participate. After you've listened to the show, re-read our article “France hosts summit to lure scientists threatened by US budget cuts”, which will help you with the answer.You have until 9 June to enter this week's quiz; the winners will be announced on the 14 June podcast. When you enter, be sure to send your postal address with your answer, and if you have one, your RFI Listeners Club membership number.Send your answers to:english.service@rfi.frorSusan OwensbyRFI – The Sound Kitchen80, rue Camille Desmoulins92130 Issy-les-MoulineauxFranceClick here to learn how to win a special Sound Kitchen prize.Click here to find out how you can become a member of the RFI Listeners Club, or form your own official RFI Club.   

As this episode kicks off, Kevin Godley and his longtime songwriting and creative partner, Lol Creme, have just left 10cc, so instead of being part of hits such as “The Things We Do for Love,” the duo continues pushing their artistic boundaries as Godley & Creme. Godley describes how he and Creme collaborated on music and, eventually, videos—for themselves and, among others, Herbie Hancock (“Rockit”), the Police (“Every Breath You Take”) and George Harrison (“When We Was Fab”). He recounts work on the groundbreaking video for Godley & Creme's biggest hit, 1985's “Cry,” which uses a pre-CGI version of morphing to merge one face into another, as Michael Jackson would do with more technology years later. Godley also tells of the end of his partnership with Creme, the current state of relationships among the four original 10cc members and where his creative drive is taking him next.

“If we did something that was too drab, too normal, too obvious, we'd say, ‘Nah, let's give it a kick in the ass.'” That's how Kevin Godley describes the approach of his former band, 10cc, and his drive for creativity and art has not abated. Godley was 10cc's angelic-voiced drummer who would go on to make inventive music and groundbreaking videos with Godley & Creme. In Pt. 1 of this illuminating conversation, Godley explains how Lol Creme, Graham Gouldman, Eric Stewart and he—all strong songwriters and singers—formed 10cc near Manchester, England, and figured out who would do what. They stretched out on such Godley-Creme songs as “Somewhere in Hollywood” and "Une Nuit a Paris" (which perhaps inspired Queen's “Bohemian Rhapsody”), but the popularity of “I'm Not in Love” had unintended consequences. What was it about the new song that Stewart and Gouldman played for Godley and Creme that blew apart the songwriting teams for good?

This week on Rockonteurs we welcome the brilliant Kevin Godley to the podcast.Kevin joins Gary Kemp and Guy Pratt to talk about his wonderful work with Godley and Crème, 10cc and his career as one of the great music video directors.Godley and Crème release their definitive boxset in February called ‘Parts of the Process' – it's a stunning 11CD set featuring all of the studio albums, non-album tracks, 7” versions and extended mixes.Find out more here: https://godleyandcreme.lnk.to/completeInstagram @rockonteurs @guyprattofficial @garyjkemp @kevingodley @gimmesugarproductions Listen to the podcast and watch some of our latest episodes on our Rockonteurs YouTube channel.YouTube: https://www.youtube.com/@rockonteursFacebook: https://www.facebook.com/RockonteursProduced for WMG UK by Ben Jones and Ian Callaghan at Gimme Sugar Productions Hosted on Acast. See acast.com/privacy for more information.

This week on Rockonteurs we welcome the brilliant Kevin Godley to the podcast.Kevin joins Gary Kemp and Guy Pratt to talk about his wonderful work with Godley and Crème, 10cc and his career as one of the great music video directors.Godley and Crème release their definitive boxset in February called ‘Parts of the Process' – it's a stunning 11CD set featuring all of the studio albums, non-album tracks, 7” versions and extended mixes.Find out more here: https://godleyandcreme.lnk.to/completeInstagram @rockonteurs @guyprattofficial @garyjkemp @kevingodley @gimmesugarproductions Listen to the podcast and watch some of our latest episodes on our Rockonteurs YouTube channel.YouTube: https://www.youtube.com/@rockonteursFacebook: https://www.facebook.com/RockonteursProduced for WMG UK by Ben Jones and Ian Callaghan at Gimme Sugar Productions Hosted on Acast. See acast.com/privacy for more information.

Graham Gouldman already had written classic ‘60s hits—including the Yardbirds' “For Your Love” and “Heart Full of Soul,” the Hollies' “Bus Stop” and “Look Through Any Window” and Herman's Hermits' “No Milk Today”—by the time he and Manchester schoolmates Lol Creme and Kevin Godley plus ex-Mindbender Eric Stewart formed one of the '70s' most tuneful, innovative bands, 10cc. These four singer-songwriters made four distinct, head-spinning albums, with Stewart and Gouldman's hypnotic “I'm Not in Love” providing the commercial breakthrough. After Godley and Creme split off, Gouldman and Stewart continued on as 10cc, scoring hits with the ebullient earworm “The Things We Do for Love” and the island misadventure “Dreadlock Holiday,” on which Gouldman sings lead. Now Gouldman is the only original member touring under the 10cc banner, and he reflects here on songwriting, collaborating and relationships among ex-bandmates.

British musician, songwriter, and music video director, Kevin Godley was born on October 7, 1945, in Prestwich, England.Best known as a founding member of the progressive rock band 10cc, which achieved commercial success in the 1970s with hits like "I'm Not in Love" and "Dreadlock Holiday." Godley played a crucial role in shaping the band's sound with his distinctive vocals, his contribution to the songwriting. and the experimentation which he and Lol Creme brought to the band.In addition to his work with 10cc, he collaborated with bandmate Lol Creme on the innovative side project "Godley & Creme." Beyond his musical career, Kevin Godley gained recognition as a music video director, directing iconic videos for artists such as The Police ("Every Breath You Take") and U2 ("Sunday Bloody Sunday"). His multifaceted contributions to the music industry have established him as a versatile and influential figure in both music and visual storytelling.To watch the interview on YouTube go here:www.popthehistorymakers.com Hosted on Acast. See acast.com/privacy for more information.

Graham is an English singer, musician and songwriter, best known as the co-lead singer and bassist of the art rock band 10cc. He has been the band's only constant member since its formation. In 1972, along with Eric Stewart, Kevin Godley and Lol Creme, he formed 10cc and enjoyed a string of Top 10 hits, including three No 1s - Rubber Bullets, I'm Not In Love and Dreadlock Holiday – along with Donna (No 2), Art For Art's Sake and Good Morning Judge (both reaching No 5), The Things We Do For Love and I'm Mandy Fly Me, and The Wall Street Shuffle.

In a bonus podcast, Tim Arnold and Kevin Godley discuss the resonance today of the U2 song ‘Numb' The post Tim Arnold and Kevin Godley appeared first on The Strange Brew .

Kevin Godley

Diese Band sollte man keineswegs auf Hits wie "I'm Not In Love" oder "Dreadlock Holiday" reduzieren - 10cc haben deutlich mehr zu bieten! Nachdem die vier erfahrenen Musiker Graham Gouldman, Eric Stewart, Kevin Godley und Lol Creme schon in den 60er regelmäßig zusammengearbeitet hatten, gründeten sie in den 70ern 10cc und schufen ihren ganz eigenen Sound: ein Gemisch verschiedener Musikstile, gewürzt mit einer ordentlichen Prise Humor - und immer auf qualitativ hohem Niveau. Warum sollte ihr größter Hit ursprünglich nie aufgenommen werden? Was hat es mit den "Strawberry Studios" auf sich? Und warum ist laut der Band das Leben vergleichbar mit einer italienischen Suppe? Das alles und noch viel mehr erzählen wir hier! ++++++++++Song-Tipps zur Folge++++++++++ "Donna", "The Dean And I", "Rubber Bullets", "Wall Street Shuffle", "Worst Band In The World", "Hotel", "Silly Love", "Somewhere In Hollywood", "Une Nuit A Paris", "I'm Not In Love", "Blackmail", "The Second Sitting For The Last Supper", "Life Is A Minestrone", "I'm Mandy, Fly Me", "Art For Art's Sake", "Good Morning Judge", "The Things We Do For Love", "Dreadlock Holiday"

Here is our interview with legendary musician Kevin Godley! Some of you may know him for his work in 10cc and Godley & Creme. The duo worked on music videos for a LOT of well known musicians. In the Yes sphere, they worked on the music videos for "Leave It!" Godley's video directing resume also includes the likes of The Police, U2, Bryan Adams, Peter Gabriel, Kate Bush, Phil Collins, and more! And a few years ago, he put out a solo album titled Muscle Memory. Tune in as we talk about music and video production! And for our next show, join us as we interview Roine Stolt Wednesday, August 16th, 11am PDT / 2pm EDT / 7pm UK Time on www.facebook.com/Yesshift --- Support this podcast: https://podcasters.spotify.com/pod/show/yesshift/support

Part 2 of our chat with Andy Wood who shares more of his moments, fun and frolics spent with Noddy Holder, Kevin Godley and Jack Nicholson Learn more about your ad choices. Visit megaphone.fm/adchoices

Hi everyone! It's Dan and Steven, and we were originally having Kevin Godley on the show, but he got tied up and we're trying to reschedule. If we're able to set a new date, we'll add it to this description. In the meantime, here's a tease of what we wanna touch on when we do interview Kevin Godley. Some of you may know him for his work in 10cc and Godley & Creme. The duo worked on music videos for a LOT of well known musicians. In the Yes sphere, they worked on the music videos for "Leave It!" Also on Godley's video directing resume include the likes of The Police, U2, Bryan Adams, Peter Gabriel, Kate Bush, Phil Collins, and more! And a few years ago, he put out a solo album titled Muscle Memory. He has an impressive career worth checking out! NOTE: Dan was trying to remember a Phil Collins song and the movie it was in. Turns out it was "Against All Odds (Take a Look At Me Now)" from the film Against All Odds. Relevant Links: Yes - 1984 MTV Special: Making of the "Leave It" Music Videos - https://youtu.be/X9KJZ2DDL0s --- Support this podcast: https://podcasters.spotify.com/pod/show/yesshift/support

Part 2 with guest Andy Wood sharing his stories and hilarious experiences of times spent with 10 cc's Kevin Godley, Slade's Noddy Holder together with icon Jack Nicholson ! Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode of Big Blend Radio, UK solo artist Tim Arnold talks about his new concept album SUPER CONNECTED that lifts a magnifying glass up to the technology vs. humanity debate! Conceived with guidance from Arnold's mentors Kevin Godley and the late Lindsay Kemp, the album fuses tech addiction, consumerism, family trauma, and compassion for those affected by screen dependency into 12 new songs. Produced by Arnold with additional production from Jethro Tull bassist Jonathan Noyce, the album spans an elective mix of genres, and includes a vocal cameo from actor Stephen Fry on Track 6 “A Commercial Break”.WATCH THIS INTERVIEW ON YOUTUBE: https://youtu.be/PoKziLwEL48 SUPER CONNECTED is also a feature length film drama directed by Arnold in collaboration with the designers of Terry Gilliam's Brazil and Kate Bush's "The Line, The Cross and The Curve." More at: http://www.superconnected.technology/ Hosted on Acast. See acast.com/privacy for more information.

On this episode of Big Blend Radio, UK solo artist Tim Arnold talks about his new concept album SUPER CONNECTED that lifts a magnifying glass up to the technology vs. humanity debate! Conceived with guidance from Arnold's mentors Kevin Godley and the late Lindsay Kemp, the album fuses tech addiction, consumerism, family trauma, and compassion for those affected by screen dependency into 12 new songs. Produced by Arnold with additional production from Jethro Tull bassist Jonathan Noyce, the album spans an elective mix of genres, and includes a vocal cameo from actor Stephen Fry on Track 6 “A Commercial Break”. WATCH THIS INTERVIEW ON YOUTUBE: https://youtu.be/PoKziLwEL48  SUPER CONNECTED is also a feature length film drama directed by Arnold in collaboration with the designers of Terry Gilliam's Brazil and Kate Bush's "The Line, The Cross and The Curve."  More at: http://www.superconnected.technology/ 

On this episode of Big Blend Radio, UK solo artist Tim Arnold talks about his new concept album SUPER CONNECTED that lifts a magnifying glass up to the technology vs. humanity debate! Conceived with guidance from Arnold's mentors Kevin Godley and the late Lindsay Kemp, the album fuses tech addiction, consumerism, family trauma, and compassion for those affected by screen dependency into 12 new songs. Produced by Arnold with additional production from Jethro Tull bassist Jonathan Noyce, the album spans an elective mix of genres, and includes a vocal cameo from actor Stephen Fry on Track 6 “A Commercial Break”.WATCH THIS INTERVIEW ON YOUTUBE: https://youtu.be/PoKziLwEL48 SUPER CONNECTED is also a feature length film drama directed by Arnold in collaboration with the designers of Terry Gilliam's Brazil and Kate Bush's "The Line, The Cross and The Curve." More at: http://www.superconnected.technology/ Hosted on Acast. See acast.com/privacy for more information.

Pt II of chat with Kevin Godley on his music video career in the 80s.So many great videos of great songs so delay no more and dive in...1984The Police - Synchronicity Live VideoYes - Leave ItFrankie Goes To Hollywood - Two Tribes (destructo mix) (audio commentary)1985Duran Duran - A View To A KillHoward Jones - Life In One DayArtists Against Apartheid - Sun CityGodley & Creme - Cry1986Lou Reed - No Money DownPeter Gabriel/Kate Bush - Don't Give UpThe Police - Don't Stand So Close To Me '861987/1988NYNEX Yellow Pages Ad - Furniture StrippingGodley & Creme - 10,000 AngelsThe Day The Dream Died (JFK Assassination Documentary)George Harrison - When We Was Fab1989Godley & Creme - Mondo VideoHowling At The Moon (unmade film project)Fine Young Cannibals - Don't Look BackBand Aid II - Do They Know It's ChristmasTHE MY 80SOGRAPHY QUICKFIRE ROUNDCheck out Kevin and read his excellent e-book autiobiography, Spacecake atkevin-godley.comPaypal donations to keep the chin above the podcast waters at 80sography@gmail.com (many, many thanks Robert and yes, I'm working on it....)                                   We Have The Same Intrigue As A Court of Kings x

Pt 1 of chat with 25% of original 10cc line up and 50% of Godley & Creme, the 100% Kevin Godley. The discussion focuses exclusively on his music video directing career (bar the opening chat around a 10cc track).So much great music and great visuals discussed. Was an absolute pleasure to speak to Mr G.Pre-198010cc - IcebergGodley & Creme - An Englishman In New York1980Visage - Fade To GreyGodley & Creme - Wide BoyRob Jungklas - Boystown (1986)Wang Chung - Everybody Have Fun Tonight (1986)1981Godley & Creme - Wedding BellsDuran Duran - Girls On FilmStatus Quo - Something 'Bout You Baby I Like1982Asia - Only Time Will TellRingo Starr - The Cooler198310cc - Feel The LoveGodley & Creme - Save A Mountain For MeThe Police - Wrapped Around Your FingerThe Police - Every Breath You Take (audio commentary)GODLEY'S GREATSKevin's favourites of the 80'sKevin's website: www.kevin-godley.comKevin's fab e-book autobiography "Spacecake" available herehttps://books.apple.com/gb/book/spacecake/id976249225?uo=4&mt=1180sography@gmail.com. PayPal donations gratefully received.            Give Me Shudders In A Whisper Take Me Up Til I'm A Shooting Star

Born on 10 May 1946 in Manchester, Graham was given his first guitar at the age of 11 and started playing with local bands at 15. He received early encouragement to develop his musical talent from his mother Betty and father Hymie, who also contributed with suggested lyrics and song titles. Graham played with various Manchester bands before forming The Mockingbirds in 1965 (with Kevin Godley on drums), and when the record label Columbia rejected Graham's first single composition for the band, it turned out to be a blessing in disguise. The song, For Your Love, became a huge hit for The Yardbirds. Working by day in a men's outfitters shop and playing by night with his semi-professional band, Graham went on to write a string of hits, such as Pamela, Pamela for Wayne Fontana, For Your Love, Evil Hearted You and Heart Full of Soul (The Yardbirds), Bus Stop and Look Through Any Window (The Hollies), No Milk Today and Listen People (Herman's Hermits), and Tallyman for Jeff Beck. In 1972, along with Eric Stewart, Kevin Godley and Lol Creme, he formed 10cc and enjoyed a string of Top 10 hits, including three No 1s – Rubber Bullets, I'm Not In Love and Dreadlock Holiday – along with Donna (No 2), Art For Art's Sake and Good Morning Judge (both reaching No 5), The Things We Do For Love and I'm Mandy Fly Me (6), and The Wall Street Shuffle (10). It's the enduring popularity of these tracks, along with others such as Bridge To Your Heart from Graham's time in Wax with the late Andrew Gold and songs from film soundtracks including Animalympics, that led to the formation of Heart Full of Songs. Needless to say, the band also features tracks from Graham's acclaimed solo albums, And Another Thing, Love And Work, Play Nicely And Share and 2020's Modesty Forbids.

"So then, you know, you have the Twisted Sister crew doing yoga and eating kale salad. it's so good. Like, now I'm literally known as the plant-based bassist.” -Tanya O'Callaghan     Tanya O' Callaghan, aka, the Plant-based Bassist, has toured, recorded, written and worked with legends such as Maynard James Keenan (Tool/APC), Dee Snider (Twisted Sister) Steven Adler (Guns N' Roses) Nuno Bettencourt (Extreme), The Riverdance, The Voice, Orianthi, Michael Angelo Batio, Kevin Godley, Sharon Corr (The Corrs) and David Grey, to name a few…   She spent much of this year on tour with White Snake and is about to take off again, this time with Bruce Dickinson from Iron Maiden. During the break in between, she came to New York City. She and I dined on some of the city's best vegan dishes while attempting to solve many of the world's problems, especially those relating to our food system.   She is as passionate and outspoken about veganism and animal rights as anyone I've ever met, and the best part is that she has figured out a way to combine that message with the music.   Please listen and share.   ps. This is our last episode of Season 8. We will be back in early 2023 with Season 9.     Links   https://tanyaocallaghan.com/   https://www.instagram.com/tanyaocallaghan_official/     https://www.facebook.com/tanya.o.callaghan.3     http://www.highwaytohealthshow.com/

British musician and prolific songwriter GRAHAM GOULDMAN has been at the forefront of the music industry for more than 50 years. Best known as the founder, lead singer and bassist for art rock band 10cc, Graham has written countless hit records for bands including The Yardbirds, Herman's Hermits and The Hollies for whom he penned the song"Bus Stop” in 1966. That song became their first American hit. In 1972 Graham founded 10cc with Eric Stewart, Kevin Godley, and Lol Creme. The band went on to become one of the most fascinating and popular groups of the 70's, scoring several huge (and eclectic) hits. In this week's episode, we meet Graham Gouldman to discover some his early influences, his unique song writing process and what lies behind some of his greatest works. I hope you enjoy my chat with Graham Gouldman. A man who genuinely surprised me with his down to earth nature and incredible humility. For more information about Graham check my website https://abreathoffreshair.com.au/episodes/november-28-2022/ Or Graham's website https://grahamgouldman.info/ Connect with me: Instagram: sandysbreathoffreshair Facebook: https://www.facebook.com/SandyKayePresents YouTube: https://www.youtube.com/channel/UCa_p5zKTRrIfpAtwXVKBQVw Twitter: @sandykpresents LinkedIn: https://www.linkedin.com/company/2653174/admin/ Website: www.abreathoffreshair.com.au

Turning 77 years old today is recent interview guest on VRP - KEVIN GODLEY! As a member of 10cc, Hotlegs and Godley & Creme, Kevin Godley scored plenty of big hit singles... but it's as a music video producer that he's probably best known as today. On this episode you'll hear him talk about the favourite videos he made. 

Today's guest is the incredible KEVIN GODLEY!! Kevin's career spans such a wide course, as part of Hotlegs he had a number 2 hit in the UK and then along with Lol Creme, Graham Gouldman and Eric Stewart formed 10CC who went on to score 5 top 10 albums in the UK, 3 number 1 singles and 8 other top 10 hits too! He and Lol then left to form Godley and Creme and scored a couple more top 10 singles before switching their attention to making music videos. As video producers they worked with U2, Paul McCartney, George Harrison, INXS, Duran Duran, Elton John, The Police, ASIA and so many others!This is a fascinating chat with a very talented man!

We discuss with 10cc/Godley & Creme Legend, Kevin Godley, his very first solo album MUSCLE MEMORY. Available now! Plus, making some of music's most memorable videos! Kevin Godley social media: Official website: http://www.kevin-godley.com/Instagram: https://www.instagram.com/p/BvcGX_ZgN22/Twitter: @kevingodley9Help support the show. Please consider a donation: https://www.paypal.me/MitchLafonSee omnystudio.com/listener for privacy information.

Today's guest is the incredible KEVIN GODLEY!!Kevin's career spans such a wide course, as part of Hotlegs he had a number 2 hit in the UK and then along with Lol Creme, Graham Gouldman and Eric Stewart formed 10CC who went on to score 5 top 10 albums in the UK, 3 number 1 singles and 8 other top 10 hits too! He and Lol Creme then left to form Godley and Creme and scored a couple more top 10 singles before switching their attention permanently to making music videos. As video producers they worked with U2, Paul McCartney, INXS, Status Quo, Elton John, The Police, ASIA and so many others!This is a fascinating chat with a very talented man!

This is Music Video Week and I am dropping three interviews in one week. All world-famous video directors. Geniuses who changed the world of MTV.As someone who was a host on MTV Europe in its heyday, these are directors who changed my world.Jonas ÅkerlundJonas Åkerlund is one of the great music video directors of the modern era. He has worked with Madonna, Prodigy, Rammstein, Lady Gaga, and many more. This podcast looks at his route into the pop video business from his first short films which caught the attention of Hollywood, his professional development through working as a film editor for the advertising industry in Stockholm, Sweden, and how he achieved his breakthrough as a music video director through Moby's 'James Bond theme', and Prodigy's 'Smack my Bitch Up' which led to Madonna's 'Ray of Light'. And also he talks further about Madonna, Lady Gaga, and Beyoncé, what those at the top of their game have in common, and what he brings to the mix when he works with them.He also talks about his films and series - particularly 'Spun', 'Lords of Chaos', and his latest Netflix Series 'Clark'.If you are interested in this - look out for the other interviews that coincide with the 35th anniversary of MTV Europe's launch.Kevin Godley who with Lol Creme directed Rockit - Herbie Hancock, View to a Kill - Duran Duran, and Victims - Culture Club.And Steve Barron of aha's Take on Me, Michael Jackson's Billie Jean, and Dire Straits' Money for Nothing - the video that launched MTV Europe.Don't forget to connect with me on Instagram; steve.blameSupport this podcast at — https://redcircle.com/pop-the-history-makers-with-steve-blame/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy Hosted on Acast. See acast.com/privacy for more information.

This is Music Video Week and I am dropping three interviews in one week. All world-famous video directors. Geniuses who changed the world of MTV.As someone who was a host on MTV Europe in its heyday, these are directors who changed my world.Second Interview! Kevin GodleyKevin Godley is one of the most creative and experimental people in the music industry. He was part of the 70s band 10cc which enjoyed world hits with I'm not in Love and Dreadlock Holiday. He went on, with partner Lol Creme to become Godley & Creme, not only a musical partnership but a video director pairing, who produced some of the greatest videos ever made e.g Herbie Hancock's Rockit.This interview covers his life, 10CC, and his work with Lol Creme as an artist and as a video director, Their videos included Don't Give Up - Peter Gabriel, Don't stand so close to Me - Police, A View to A Kill - Duran Duran, and Victims - Culture Club. Kevin has remained at the center of creativity, always leading and never following. He's a fascinating man, with an engaging story.If you are interested in this - look out for the other interviews that coincide with the 35th anniversary of MTV Europe's launch.Jonas Åkerlund - video director of Madonna and Lady Gaga.And Steve Barron of aha's Take on Me, Michael Jackson's Billie Jean, and Dire Straits' Money for Nothing - the video that launched MTV Europe.Don't forget to connect with me on Instagram; steve.blameSupport this podcast at — https://redcircle.com/pop-the-history-makers-with-steve-blame/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy Hosted on Acast. See acast.com/privacy for more information.

Paul and Sean had such a great time talking to established 10cc lead singer Iain Hornal. We fought and lost an uncontrollable urge to geek out about our shared love of The Beach Boys, but eventually got down to business!   Iain has immense musical talent.  The multi-instrumentalist came close with several bands before starring as Macca in the West End (alongside another friend of the show, Paul Canning). He later joined Jeff Lynne's epic live ELO touring band, stepped in to fill Chris Squire's shoes in the Anderson/Wakeman Yes line-up, and of course has spent nearly ten years as lead singer with 10cc.   We explore his 10cc journey,  hear lots of stories of his times with Graham and the band. We get somewhat giddy at his account of his octopus-like musical role!  He's done some cracking writing with GG as well of course, most notably their collaboration Say the Word (with Kevin Godley as guest vocalist) from his excellent 2017 solo album The Games Begins With the Lights Out. The song's an absolute corker, and has rightfully nestled in the 10cc live set.   There was just so much to talk about. We've cut our chat into two sections: this one mostly centred around 10cc and Graham, the next one all points North, South, East and especially West!  ;- )    

Belfast's Steven Cockcroft (co-host of leading Beatles podcast Nothing Is Real) offers unexpected takes on The Boys and Bob: “Roll On John isn't about an individual, it's about the sanctification of Lennon” and “The Travelling Wilburys was a calculated move by George”. Also on the menu: Dylan's questionable harmonies on an obscure Ringo album track and his controversial cover of Paul's Things We Said Today. Plus: did you know that John asked Bob to play piano on Cold Turkey? Have you discovered the reference to Ringo on Don't Fall Apart On Me Tonight? Ever hear Dylan's in-concert cover of The Long and Winding Road? Or hear about the accusatory T-shirt he was gifted by George? How good is our Beatles episode? This Englishman said fab. Steven Cockroft is a partner in a law firm in Belfast. He co-hosts Nothing Is Real, the best Beatles podcast out there. Born in 1963, he grew up firmly believing the 1960s were the Golden Age. In the late 1970s, he sat out the 'punk wars', listening to Bob Dylan, The Beatles and Van Morrison. Hosting the podcast came about after Steven and co-host Jason Carty won the Beatle Brain of Ireland competition. They have interviewed Kevin Godley, Mark Lewisohn and several ex-members of Wings but are best known for their humorous and forensic following of the Fabs and their post-Beatles projects. Twitter Trailer Episode playlist on Apple Episode playlist on Spotify Listeners: please subscribe and/or leave a review and a rating. Twitter @isitrollingpod Recorded 25th February 2022 This show is part of Pantheon Podcasts Learn more about your ad choices. Visit megaphone.fm/adchoices

Belfast's Steven Cockcroft (co-host of leading Beatles podcast Nothing Is Real) offers unexpected takes on The Boys and Bob: “Roll On John isn't about an individual, it's about the sanctification of Lennon” and “The Travelling Wilburys was a calculated move by George”. Also on the menu: Dylan's questionable harmonies on an obscure Ringo album track and his controversial cover of Paul's Things We Said Today. Plus: did you know that John asked Bob to play piano on Cold Turkey? Have you discovered the reference to Ringo on Don't Fall Apart On Me Tonight? Ever hear Dylan's in-concert cover of The Long and Winding Road? Or hear about the accusatory T-shirt he was gifted by George?How good is our Beatles episode? This Englishman said fab.Steven Cockroft is a partner in a law firm in Belfast. He co-hosts Nothing Is Real, the best Beatles podcast out there. Born in 1963, he grew up firmly believing the 1960s were the Golden Age. In the late 1970s, he sat out the 'punk wars', listening to Bob Dylan, The Beatles and Van Morrison. Hosting the podcast came about after Steven and co-host Jason Carty won the Beatle Brain of Ireland competition. They have interviewed Kevin Godley, Mark Lewisohn and several ex-members of Wings but are best known for their humorous and forensic following of the Fabs and their post-Beatles projects.TwitterTrailerEpisode playlist on AppleEpisode playlist on SpotifyListeners: please subscribe and/or leave a review and a rating.Twitter @isitrollingpodRecorded 25th February 2022This show is part of Pantheon Podcasts

Belfast's Steven Cockcroft (co-host of leading Beatles podcast Nothing Is Real) offers unexpected takes on The Boys and Bob: “Roll On John isn't about an individual, it's about the sanctification of Lennon” and “The Travelling Wilburys was a calculated move by George”. Also on the menu: Dylan's questionable harmonies on an obscure Ringo album track and his controversial cover of Paul's Things We Said Today. Plus: did you know that John asked Bob to play piano on Cold Turkey? Have you discovered the reference to Ringo on Don't Fall Apart On Me Tonight? Ever hear Dylan's in-concert cover of The Long and Winding Road? Or hear about the accusatory T-shirt he was gifted by George?How good is our Beatles episode? This Englishman said fab.Steven Cockroft is a partner in a law firm in Belfast. He co-hosts Nothing Is Real, the best Beatles podcast out there. Born in 1963, he grew up firmly believing the 1960s were the Golden Age. In the late 1970s, he sat out the 'punk wars', listening to Bob Dylan, The Beatles and Van Morrison. Hosting the podcast came about after Steven and co-host Jason Carty won the Beatle Brain of Ireland competition. They have interviewed Kevin Godley, Mark Lewisohn and several ex-members of Wings but are best known for their humorous and forensic following of the Fabs and their post-Beatles projects.TwitterTrailerEpisode playlist on AppleEpisode playlist on SpotifyListeners: please subscribe and/or leave a review and a rating.Twitter @isitrollingpodRecorded 25th February 2022This show is part of Pantheon Podcasts

Linda McCartney passed away in Arizona on April 17, 1998.    A year later, her friends Chrissie Hynde, Carla Lane and Kevin Godley would organize a concert in her honor at the Royal Albert Hall.    We discuss that show, and a bit about Linda herself in this "very special episode" of When They Was Fab.

John Paul Joans - Got To Get Together Now (1970)  John Davidge was a politically motivated and confrontational stand-up comedian In 1970, he made a record for the UK Christmas market. His manager arranged for Eric Stewart, Lol Creme, and Kevin Godley (later of 10CC) to write the song with him. It was "Man From Nazareth" with the flip side "Got To Get Together Now".  Both were recorded at Strawberry Studios and released on Mickie Most's RAK label. The song was tipped as a 1970 Xmas #1 but lost its momentum because the other John Paul Jones objected, necessitating that all the records be recalled, destroyed, and reprinted! The song peaked at No. 25 in January 1971 after a belated post-Xmas Top of The Pops performance. A selection from Andrea True's Europe-only third album War Machine (1980)  Open Up Baby/Hootchie Kootchie Floozies/War Machine Babatunde Olatunji - Soul Makossa (1973) Originally recorded by Manu Dibango, and borrowed for Michael Jackson's "Don't Stop 'Til You Get Enough." Earth and Fire - Memories (1972) Earth and Fire - 21st Century Show (1970) Earth and Fire - Circus (1975) Serge Gainsbourg -  Joanna (1965)  OST from the film "ComeTogether" - ComeTogether/Get Together (1971)  Something Weird: Come Together is one of those great, unique, hard-to-categorize European films that would best be described as a slice of life from the "free love" hippie generation. TONY ANTHONY plays Tony, a free-wheeling American stuntman working in Italian films, who tries to pick up two swinging American tourists, Lisa (LUCIANA PALUZZI) and Ann (ROSEMARY DEXTER). His persistence pays off and he gives them a tour of Rome in his new sports car. As the trio develop a friendship, we find that Ann is still suffering stress from an abortion, and Lisa was recently involved in a messy affair with an older married man. Tony has his own mental baggage: he was the only survivor when his unit was massacred in Vietnam. All three are searching for an intimate relationship. Tony is hired to play a Mexican bandit in a spaghetti western in Spain -- fans of the genre won't want to miss these scenes -- and finds himself missing the two girls. When he returns, the three take a trip to Pompeii, get turned on by the ancient erotic paintings (not an easy thing to do) and plunge into a ménage à trois. However, Tony is pretty freaked out by this and drives off to sort things out. It doesn't take him long to return and accept the relationship for what it is. It all comes to a head with a jaw-dropping out-of-left-field ending that would never fly with today's test audiences... Mr. Anthony, "best known" [quotes mine] for his spaghetti western Stranger character (Stranger in Town), is hilarious (sometimes unintentionally) and his '60s voice-over philosophy is a hoot. He's also a real fashion casualty of the times in his floppy hippie hat and Mickey Mouse denim jacket. A standout scene shows him as a gigolo in bed with a whacked-out client, lots of poodles, and a vibrator. Gorgeous Luciana Paluzzi is best known as James Bond's love interest in Thunderball. Hardcore Beatles fanatics should be alerted that the soundtrack for Come Together was released on Apple Records. Co-director SAUL SWIMMER was also involved with Let It Be, and Ringo Starr and Tony Anthony starred together in Blindman.  Justin Hayward and John Lodge - Blue Guitar (1975) With 10CC.  John Lodge - Street Cafe (1980)  Robert Lamm - Song for Richard and His Friends (2006?)  Robert Lamm - Temporary Jones (1974) The Four Seasons - Silver Star (live) (1980)  Laura Brannigan - Deep In The Dark (1983)  Dave Clark 5 - Children (197?)  The Osmond Brothers - Flower Music (1967)  Firyuza - Native land (1979) The Searchers - Love Potion #9 (1975) A pointless reinvention.  The Residents - Bach Is Dead (first version) (197?) Robert Lamm - A Lifetime We (1974) 

https://www.instagram.com/tanyaocallaghan_official/?hl=en https:// www.instagram.com/highwaytohealthofficial/?hl=en http://www.highwaytohealthshow.com/ https://www.youtube.com/user/tsubbass https://tanyaocallaghan.com/about/ About (taken directly from Tanya's website) Tanya O'Callaghan is an established freelance musician / bassist, speaker and activist with an eclectic impressive career to date. Tanya began crafting her skills at home making a mark for herself on the Irish music scene early in her career, playing with just about every band around and regularly guesting in house bands for many high-profile Irish TV shows and artists. Never afraid to make a leap of faith, Tanya's determination, passion and talent began to pay off the further she spread her wings internationally. She has toured, recorded, written and worked with legends such as Maynard James Keenan (Tool/APC), Dee Snider (Twisted Sister) Steven Adler (Guns N' Roses) Nuno Bettencourt (Extreme), The Riverdance, The Voice, Orianthi, Michael Angelo Batio, Kevin Godley, Sharon Corr (The Corrs) and David Grey, to name a few… While the Irish rhythm technician is known for powering through propulsive rock and metal tempos, her dynamic talents extend far beyond any single genre – also touring and guesting on pop, funk, RnB and blues projects with various bands. A whirlwind of energy, positivity and determination, it'll come as no surprise that Tanya is a keynote speaker and a lifelong advocate and activist for animal, human and environmental issues. A force to be reckoned – it's fair to say that this Irish lass has made her mark on the music scene both at home and internationally. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/shawn-ratches/support

Episode 126 of A History of Rock Music in Five Hundred Songs looks at “For Your Love", the Yardbirds, and the beginnings of heavy rock and the guitar hero.  Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "A Lover's Concerto" by the Toys. 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 As usual, I've created a Mixcloud playlist, with full versions of all the songs excerpted in this episode. The Yardbirds have one of the most mishandled catalogues of all the sixties groups, possibly the most mishandled. Their recordings with Giorgio Gomelsky, Simon Napier-Bell and Mickie Most are all owned by different people, and all get compiled separately, usually with poor-quality live recordings, demos, and other odds and sods to fill up a CD's running time. The only actual authoritative compilation is the long out-of-print Ultimate! . Information came from a variety of sources. Most of the general Yardbirds information came from The Yardbirds by Alan Clayson and Heart Full of Soul: Keith Relf of the Yardbirds by David French. Simon Napier-Bell's You Don't Have to Say You Love Me is one of the most entertaining books about the sixties music scene, and contains several anecdotes about his time working with the Yardbirds, some of which may even be true. Some information about Immediate Records came from Immediate Records by Simon Spence, which I'll be using more in future episodes. Information about Clapton came from Motherless Child by Paul Scott, while information on Jeff Beck came from Hot Wired Guitar: The Life of Jeff Beck by Martin Power. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today, we're going to take a look at the early career of the band that, more than any other band, was responsible for the position of lead guitarist becoming as prestigious as that of lead singer. We're going to look at how a blues band launched the careers of several of the most successful guitarists of all time, and also one of the most successful pop songwriters of the sixties and seventies. We're going to look at "For Your Love" by the Yardbirds: [Excerpt: The Yardbirds, "For Your Love"] The roots of the Yardbirds lie in a group of schoolfriends in Richmond, a leafy suburb of London. Keith Relf, Laurie Gane, Paul Samwell-Smith and Jim McCarty were art-school kids who were obsessed with Sonny Terry and Jimmy Reed, and who would hang around the burgeoning London R&B scene, going to see the Rolling Stones and Alexis Korner in Twickenham and at Eel Pie Island, and starting up their own blues band, the Metropolis Blues Quartet. However, Gane soon left the group to go off to university, and he was replaced by two younger guitarists, Top Topham and Chris Dreja, with Samwell-Smith moving from guitar to bass. As they were no longer a quartet, they renamed themselves the Yardbirds, after a term Relf had found on the back of an album cover, meaning a tramp or hobo. The newly-named Yardbirds quickly developed their own unique style -- their repertoire was the same mix of Howlin' Wolf, Bo Diddley, Jimmy Reed and Chuck Berry as every other band on the London scene, but they included long extended improvisatory  instrumental sequences with Relf's harmonica playing off Topham's lead guitar. The group developed a way of extending songs, which they described as a “rave-up” and would become the signature of their live act – in the middle of a song they would go into a long instrumental solo in double-time, taking the song twice as fast and improvising heavily, before dropping back to the original tempo to finish the song off. These “rave-up” sections would often be much longer than the main song, and were a chance for everyone to show off their instrumental skills, with Topham and Relf trading phrases on guitar and harmonica. They were mentored by Cyril Davies, who gave them the interval spots at some of his shows -- and then one day asked them to fill in for him in a gig he couldn't make -- a residency at a club in Harrow, where the Yardbirds went down so well that they were asked to permanently take over the residency from Davies, much to his disgust. But the group's big break came when the Rolling Stones signed with Andrew Oldham, leaving Giorgio Gomelsky with no band to play the Crawdaddy Club every Sunday. Gomelsky was out of the country at his father's funeral when the Stones quit on him, and so it was up to Gomelsky's assistant Hamish Grimes to find a replacement. Grimes looked at the R&B scene and the choice came down to two bands -- the Yardbirds and Them. Grimes said it was a toss-up, but he eventually went for the Yardbirds, who eagerly agreed. When Gomelsky got back, the group were packing audiences in at the Crawdaddy and doing even better than the Stones had been. Soon Gomelsky wanted to become the Yardbirds' manager and turn the group into full-time musicians, but there was a problem -- the new school term was starting, Top Topham was only fifteen, and his parents didn't want him to quit school. Topham had to leave the group. Luckily, there was someone waiting in the wings. Eric Clapton was well known on the local scene as someone who was quite good on guitar, and he and Topham had played together for a long time as an informal duo, so he knew the parts -- and he was also acquainted with Dreja. Everyone on the London blues scene knew everyone else, although the thing that stuck in most of the Yardbirds' minds about Clapton was the time he'd seen the Metropolis Blues Quartet play and gone up to Samwell-Smith and said "Could you do me a favour?" When Samwell-Smith had nodded his assent, Clapton had said "Don't play any more guitar solos". Clapton was someone who worshipped the romantic image of the Delta bluesman, solitary and rootless, without friends or companions, surviving only on his wits and weighed down by troubles, and he would imagine himself that way as he took guitar lessons from Dave Brock, later of Hawkwind, or as he hung out with Top Topham and Chris Dreja in Richmond on weekends, complaining about the burdens he had to bear, such as the expensive electric guitar his grandmother had bought him not being as good as he'd hoped. Clapton had hung around with Topham and Dreja, but they'd never been really close, and he hadn't been considered for a spot in the Yardbirds when the group had formed. Instead he had joined the Roosters with Tom McGuinness, who had introduced Clapton to the music of Freddie King, especially a B-side called "I Love the Woman", which showed Clapton for the first time how the guitar could be more than just an accompaniment to vocals, but a featured instrument in its own right: [Excerpt: Freddie King, "I Love the Woman"] The Roosters had been blues purists, dedicated to a scholarly attitude to American Black music and contemptuous of pop music -- when Clapton met the Beatles for the first time, when they came along to an early Rolling Stones gig Clapton was also at, he had thought of them as "a bunch of wankers" and despised them as sellouts. After the Roosters had broken up, Clapton and McGuinness had joined the gimmicky Merseybeat group Casey Jones and his Engineers, who had a band uniform of black suits and cardboard Confederate army caps, before leaving that as well. McGuinness had gone on to join Manfred Mann, and Clapton was left without a group, until the Yardbirds called on him. The new lineup quickly gelled as musicians -- though the band did become frustrated with one quirk of Clapton's. He liked to bend strings, and so he used very light gauge strings on his guitar, which often broke, meaning that a big chunk of time would be taken up each show with Clapton restringing his guitar, while the audience gave a slow hand clap -- leading to his nickname, "Slowhand" Clap-ton. Two months after Clapton joined the group, Gomelsky got them to back Sonny Boy Williamson II on a UK tour, recording a show at the Crawdaddy Club which was released as a live album three years later: [Excerpt: The Yardbirds and Sonny Boy Williamson II, "Twenty-three Hours Too Long"] Williamson and the Yardbirds didn't get along though, either as people or as musicians. Williamson's birth name was Rice Miller, and he'd originally taken the name "Sonny Boy Williamson" to cash in on the fame of another musician who used that name, though he'd gone on to much greater success than the original, who'd died not long after the former Miller started using the name. Clapton, wanting to show off, had gone up to Williamson when they were introduced and said "Isn't your real name Rice Miller?" Williamson had pulled a knife on Clapton, and his relationship with the group didn't get much better from that point on. The group were annoyed that Williamson was drunk on stage and would call out songs they hadn't rehearsed, while Williamson later summed up his view of the Yardbirds to Robbie Robertson, saying "Those English boys want to play the blues so bad -- and they play the blues *so bad*!" Shortly after this, the group cut some demos on their own, which were used to get them a deal with Columbia, a subsidiary of EMI. Their first single was a version of Billy Boy Arnold's "I Wish You Would": [Excerpt: The Yardbirds, "I Wish You Would"] This was as pure R&B as a British group would get at this point, but Clapton was unhappy with the record -- partly because hearing the group in the studio made him realise how comparatively thin they sounded as players, and partly just because he was worried that even going into a recording studio at all was selling out and not something that any of the Delta bluesmen whose records he loved would do. He was happier with the group's first album, a live recording called Five Live Yardbirds that captured the sound of the group at the Marquee Club. The repertoire on that album was precisely the same as any of the other British R&B bands of the time -- songs by Howlin' Wolf, Bo Diddley, Chuck Berry, John Lee Hooker, Slim Harpo, Sonny Boy Williamson and the Isley Brothers -- but they were often heavily extended versions, with a lot of interplay between Samwell-Smith's bass, Clapton's guitar, and Relf's harmonica, like their five-and-a-half-minute version of Howlin' Wolf's "Smokestack Lightning": [Excerpt: The Yardbirds, "Smokestack Lightning"] "I Wish You Would" made number twenty-six on the NME chart, but it didn't make the Record Retailer chart which is the basis of modern chart compilations. The group were just about to go into the studio to cut their second single, a version of "Good Morning Little Schoolgirl", when Keith Relf collapsed. Relf had severe asthma and was also a heavy smoker, and his lung collapsed and he had to be hospitalised for several weeks, and it looked for a while as if he might never be able to sing or play harmonica again. In his absence, various friends and hangers-on from the R&B scene deputised for him -- Ronnie Wood has recalled being at a gig and the audience being asked "Can anyone play harmonica?", leading to Wood getting on stage with them, and other people who played a gig or two, or sometimes just a song or two, with them include Mick Jagger, Brian Jones, and Rod Stewart. Stewart was apparently a big fan, and would keep trying to get on stage with them -- according to Keith Relf's wife, "Rod Stewart would be sitting in the backroom begging to go on—‘Oh give us a turn, give us a turn.'” Luckily, Relf's lung was successfully reinflated, and he returned to singing, harmonica playing... and smoking. In the early months back with the group, he would sometimes have to pull out his inhaler in the middle of a word to be able to continue singing, and he would start seeing stars on stage. Relf's health would never be good, but he was able to carry on performing, and the future of the group was secured. What wasn't secure was the group's relationship with their guitarist. While Relf and Dreja had for a time shared a flat with Eric Clapton, he was becoming increasingly distant from the other members. Partly this was because Relf felt somewhat jealous of the fact that the audiences seemed more impressed with the group's guitarist than with him, the lead singer; partly it was because Giorgio Gomelsky had made Paul Samwell-Smith the group's musical director, and Clapton had never got on with Samwell-Smith and distrusted his musical instincts; but mostly it was just that the rest of the group found Clapton rather petty, cold, and humourless, and never felt any real connection to him. Their records still weren't selling, but they were popular enough on the local scene that they were invited to be one of the support acts for the Beatles' run of Christmas shows at the end of 1964, and hung out with the group backstage. Paul McCartney played them a new song he was working on, which didn't have lyrics yet, but which would soon become "Yesterday", but it was another song they heard that would change the group's career. A music publisher named Ronnie Beck turned up backstage with a demo he wanted the Beatles to hear. Obviously, the Beatles weren't interested in hearing any demos -- they were writing so many hits they were giving half of them away to other artists, why would they need someone else's song? But the Yardbirds were looking for a hit, and after listening to the demo, Samwell-Smith was convinced that a hit was what this demo was. The demo was by a Manchester-based songwriter named Graham Gouldman. Gouldman had started his career in a group called the Whirlwinds, who had released one single -- a version of Buddy Holly's "Look at Me" backed with a song called "Baby Not Like You", written by Gouldman's friend Lol Creme: [Excerpt: The Whirlwinds, "Baby Not Like You"] The Whirlwinds had split up by this point, and Gouldman was in the process of forming a new band, the Mockingbirds, which included drummer Kevin Godley. The song on the demo had been intended as the Mockingbirds' first single, but their label had decided instead to go with "That's How (It's Gonna Stay)": [Excerpt: The Mockingbirds, "That's How (It's Gonna Stay)"] So the song, "For Your Love", was free, and Samwell-Smith was insistent -- this was going to be the group's first big hit. The record was a total departure from their blues sound. Gouldman's version had been backed by bongos and acoustic guitar, and Samwell-Smith decided that he would keep the bongo part, and add, not the normal rock band instruments, but harpsichord and bowed double bass: [Excerpt: The Yardbirds, "For Your Love"] The only part of the song where the group's normal electric instrumentation is used is the brief middle-eight, which feels nothing like the rest of the record: [Excerpt: The Yardbirds, "For Your Love"] But on the rest of the record, none of the Yardbirds other than Jim McCarty play -- the verses have Relf on vocals, McCarty on drums, Brian Auger on harpsichord, Ron Prentice on double bass and Denny Piercy on bongos, with Samwell-Smith in the control room producing. Clapton and Dreja only played on the middle eight. The record went to number three, and became the group's first real hit, and it led to an odd experience for Gouldman, as the Mockingbirds were by this time employed as the warm-up act on the BBC's Top of the Pops, which was recorded in Manchester, so Gouldman got to see mobs of excited fans applauding the Yardbirds for performing a song he'd written, while he was completely ignored. Most of the group were excited about their newfound success, but Clapton was not happy. He hadn't signed up to be a member of a pop group -- he wanted to be in a blues band. He made his displeasure about playing on material like "For Your Love"  very clear, and right after the recording session he resigned from the group. He was convinced that they would be nothing without him -- after all, wasn't he the undisputed star of the group? -- and he immediately found work with a group that was more suited to his talents, John Mayall's Bluesbreakers. The Bluesbreakers at this point consisted of Mayall on keyboards and vocals, Clapton on guitar, John McVie on bass, and Hughie Flint on drums. For their first single with this lineup, they signed a one-record deal with Immediate Records, a new independent label started by the Rolling Stones' manager Andrew Oldham. That single was produced by Immediate's young staff producer, the session guitarist Jimmy Page: [Excerpt: John Mayall and the Bluesbreakers, "I'm Your Witch Doctor"] The Bluesbreakers had something of a fluid lineup -- shortly after that recording, Clapton left the group to join another group, and was replaced by a guitarist named Peter Green. Then Clapton came back, for the recording of what became known as the "Beano album", because Clapton was in a mood when they took the cover photo, and so read the children's comic the Beano rather than looking at the camera: [Excerpt: John Mayall's Bluesbreakers, "Bernard Jenkins"] Shortly after that, Mayall fired John McVie, who was replaced by Jack Bruce, formerly of the Graham Bond Organisation, but then Bruce left to join Manfred Mann and McVie was rehired. While Clapton was in the Bluesbreakers, he gained a reputation for being the best guitarist in London -- a popular graffito at the time was "Clapton is God" -- and he was at first convinced that without him the Yardbirds would soon collapse. But Clapton had enough self-awareness to know that even though he was very good, there were a handful of guitarists in London who were better than him. One he always acknowledged was Albert Lee, who at the time was playing in Chris Farlowe's backing band but would later become known as arguably the greatest country guitarist of his generation. But another was the man that the Yardbirds got in to replace him. The Yardbirds had originally asked Jimmy Page if he wanted to join the group, and he'd briefly been tempted, but he'd decided that his talents were better used in the studio, especially since he'd just been given the staff job at Immediate. Instead he recommended his friend Jeff Beck. The two had known each other since their teens, and had grown up playing guitar together, and sharing influences as they delved deeper into music. While both men admired the same blues musicians that Clapton did, people like Hubert Sumlin and Buddy Guy, they both had much more eclectic tastes than Clapton -- both loved rockabilly, and admired Scotty Moore and James Burton, and Beck was a huge devotee of Cliff Gallup, the original guitarist from Gene Vincent's Blue Caps. Beck also loved Les Paul and the jazz guitarist Barney Kessel, while Page was trying to incorporate some of the musical ideas of the sitar player Ravi Shankar into his playing. While Page was primarily a session player, Beck was a gigging musician, playing with a group called the Tridents, but as Page rapidly became one of the two first-call session guitarists along with Big Jim Sullivan, he would often recommend his friend for sessions he couldn't make, leading to Beck playing on records like "Dracula's Daughter", which Joe Meek produced for Screaming Lord Sutch and the Savages: [Excerpt: Screaming Lord Sutch and the Savages, "Dracula's Daughter"] While Clapton had a very straightforward tone, Beck was already experimenting with the few effects that were available at the time, like echoes and fuzztone. While there would always be arguments about who was the first to use feedback as a controlled musical sound, Beck is one of those who often gets the credit, and Keith Relf would describe Beck's guitar playing as being almost musique concrete. You can hear the difference on the group's next single. "Heart Full of Soul" was again written by Gouldman, and was originally recorded with a sitar, which would have made it one of the first pop singles to use the instrument. However, they decided to replace the sitar part with Beck playing the same Indian-sounding riff on a heavily-distorted guitar: [Excerpt: The Yardbirds, "Heart Full of Soul"] That made number two in the UK and the top ten in the US, and suddenly the world had a new guitar god, one who was doing things on records that nobody else had been doing. The group's next single was a double A-side, a third song written by Gouldman, "Evil Hearted You", coupled with an original by the group, "Still I'm Sad". Neither track was quite up to the standard of their previous couple of singles, but it still went to number three on the charts. From this point on, the group stopped using Gouldman's songs as singles, preferring to write their own material, but Gouldman had already started providing hits for other groups like the Hollies, for whom he wrote songs like “Bus Stop”: [Excerpt: The Hollies, “Bus Stop”] His group The Mockingbirds had also signed to Immediate Records, who put out their classic pop-psych single “You Stole My Love”: [Excerpt: The Mockingbirds, “You Stole My Love”] We will hear more of Gouldman later. In the Yardbirds, meanwhile, the pressure was starting to tell on Keith. He was a deeply introverted person who didn't have the temperament for stardom, and he was uncomfortable with being recognised on the street. It also didn't help that his dad was also the band's driver and tour manager, which meant he always ended up feeling somewhat inhibited, and he started drinking heavily to try to lose some of those inhibitions. Shortly after the recording of "Evil Hearted You", the group went on their first American tour, though on some dates they were unable to play as Gomelsky had messed up their work permits -- one of several things about Gomelsky's management of the group that irritated them. But they were surprised to find that they were much bigger in the US than in the UK. While the group had only released singles, EPs, and the one live album in the UK, and would only ever put out one UK studio album, they'd recorded enough that they'd already had an album out in the US, a compilation of singles, B-sides, and even a couple of demos, and that had been picked up on by almost every garage band in the country. On one of the US gigs, their opening act, a teenage group called the Spiders, were in trouble. They'd learned every song on that Yardbirds album, and their entire set was made up of covers of that material. They'd gone down well supporting every other major band that came to town, but they had a problem when it came to the Yardbirds. Their singer described what happened next: "We thought about it and we said, 'Look, we're paying tribute to them—let's just do our set.' And so, we opened for the Yardbirds and did all of their songs. We could see them in the back and they were smiling and giving us the thumbs up. And then they got up and just blew us off the stage—because they were the Yardbirds! And we just stood there going, 'Oh…. That's how it's done.' The Yardbirds were one of the best live bands I ever heard and we learned a lot that night." That band, and later that lead singer, both later changed their name to Alice Cooper. The trip to the US also saw a couple of recording sessions. Gomelsky had been annoyed at the bad drum sound the group had got in UK studios, and had loved Sam Phillips' drum sound on the old Sun records, so had decided to get in touch with Phillips and ask him to produce the group. He hadn't had a reply, but the group turned up at Phillips' new studio anyway, knowing that he lived in a flat above the studio. Phillips wasn't in, but eventually turned up at midnight, after a fishing trip, drunk. He wasn't interested in producing some group of British kids, but Gomelsky waved six hundred dollars at him, and he agreed. He produced two tracks for the group. One of those, "Mr. You're a Better Man Than I", was written by Mike Hugg of Manfred Mann and his brother: [Excerpt: The Yardbirds, "Mister, You're a Better Man Than I"] The backing track there was produced by Phillips, but the lead vocal was redone in New York, as Relf was also drunk and wasn't singing well -- something Phillips pointed out, and which devastated Relf, who had grown up on records Phillips produced. Phillips' dismissal of Relf also grated on Beck -- even though Beck wasn't close to Relf, as the two competed for prominence on stage while the rest of the band kept to the backline, Beck had enormous respect for Relf's talents as a frontman, and thought Phillips horribly unprofessional for his dismissive attitude, though the other Yardbirds had happier memories of the session, not least because Phillips caught their live sound better than anyone had. You can hear Relf's drunken incompetence on the other track they recorded at the session, their version of "Train Kept A-Rollin'", the song we covered way back in episode forty-four. Rearranged by Samwell-Smith and Beck, the Yardbirds' version built on the Johnny Burnette recording and turned it into one of the hardest rock tracks ever recorded to that point -- but Relf's drunk, sloppy, vocal was caught on the backing track. He later recut the vocal more competently, with Roy Halee engineering in New York, but the combination of the two vocals gives the track an unusual feel which inspired many future garage bands: [Excerpt: The Yardbirds, "Train Kept A-Rollin'"] On that first US tour, they also recorded a version of Bo Diddley's "I'm a Man" at Chess Studios, where Diddley had recorded his original. Only a few weeks after the end of that tour they were back for a second tour, in support of their second US album, and they returned to Chess to record what many consider their finest original. "Shapes of Things" had been inspired by the bass part on Dave Brubeck's "Pick Up Sticks": [Excerpt: Dave Brubeck Quartet, "Pick Up Sticks"] Samwell-Smith and McCarty had written the music for the song, Relf and Samwell-Smith added lyrics, and Beck experimented with feedback, leading to one of the first psychedelic records to become a big hit, making number three in the UK and number eleven in the US: [Excerpt: The Yardbirds, "Shapes of Things"] That would be the group's last record with Giorgio Gomelsky as credited producer -- although Samwell-Smith had been doing all the actual production work -- as the group were becoming increasingly annoyed at Gomelsky's ideas for promoting them, which included things like making them record songs in Italian so they could take part in an Italian song contest. Gomelsky was also working them so hard that Beck ended up being hospitalised with what has been variously described as meningitis and exhaustion. By the time he was out of the hospital, Gomelsky was fired. His replacement as manager and co-producer was Simon Napier-Bell, a young dilettante and scenester who was best known for co-writing the English language lyrics for Dusty Springfield's "You Don't Have to Say You Love Me": [Excerpt: Dusty Springfield, "You Don't Have to Say You Love Me"] The way Napier-Bell tells the story -- and Napier-Bell is an amusing raconteur, and his volumes of autobiography are enjoyable reads, but one gets the feeling that he will not tell the truth if a lie seems more entertaining -- is that the group chose him because of his promotion of a record he'd produced for a duo called Diane Ferraz and Nicky Scott: [Excerpt: Diane Ferraz and Nicky Scott, "Me and You"] According to Napier-Bell, both Ferraz and Scott were lovers of his, who were causing him problems, and he decided to get rid of the problem by making them both pop stars. As Ferraz was Black and Scott white, Napier-Bell sent photos of them to every DJ and producer in the country, and then when they weren't booked on TV shows or playlisted on the radio, he would accuse the DJs and producers of racism and threaten to go to the newspapers about it. As a result, they ended up on almost every TV show and getting regular radio exposure, though it wasn't enough to make the record a hit. The Yardbirds had been impressed by how much publicity Ferraz and Scott had got, and asked Napier-Bell to manage them. He immediately set about renegotiating their record contract and getting them a twenty-thousand-pound advance -- a fortune in the sixties. He also moved forward with a plan Gomelsky had had of the group putting out solo records, though only Relf ended up doing so. Relf's first solo single was a baroque pop song, "Mr. Zero", written by Bob Lind, who had been a one-hit wonder with "Elusive Butterfly", and produced by Samwell-Smith: [Excerpt: Keith Relf, "Mr. Zero"] Beck, meanwhile, recorded a solo instrumental, intended for his first solo single but not released until nearly a year later.  "Beck's Bolero" has Jimmy Page as its credited writer, though Beck claims to be a co-writer, and features Beck and Page on guitars, session pianist Nicky Hopkins, and Keith Moon of the Who on drums. John Entwistle of the Who was meant to play bass, but when he didn't show to the session, Page's friend, session bass player John Paul Jones, was called up: [Excerpt: Jeff Beck, "Beck's Bolero"] The five players were so happy with that recording that they briefly discussed forming a group together, with Moon saying of the idea "That will go down like a lead zeppelin". They all agreed that it wouldn't work and carried on with their respective careers. The group's next single was their first to come from a studio album -- their only UK studio album, variously known as Yardbirds or Roger the Engineer. "Over Under Sideways Down" was largely written in the studio and is credited to all five group members, though Napier-Bell has suggested he came up with the chorus lyrics: [Excerpt: The Yardbirds, "Over Under Sideways Down"] That became the group's fifth top ten single in a row, but it would be their last, because they were about to lose the man who, more than anyone else, had been responsible for their musical direction. The group had been booked to play an upper-class black-tie event, and Relf had turned up drunk. They played three sets, and for the first, Relf started to get freaked out by the fact that the audience were just standing there, not dancing, and started blowing raspberries at them. He got more drunk in the interval, and in the second set he spent an entire song just screaming at the audience that they could copulate with themselves, using a word I'm not allowed to use without this podcast losing its clean rating. They got him offstage and played the rest of the set just doing instrumentals. For the third set, Relf was even more drunk. He came onstage and immediately fell backwards into the drum kit. Only one person in the audience was at all impressed -- Beck's friend Jimmy Page had come along to see the show, and had thought it great anarchic fun. He went backstage to tell them so, and found Samwell-Smith in the middle of quitting the group, having finally had enough. Page, who had turned down the offer to join the group two years earlier, was getting bored of just being a session player and decided that being a pop star seemed more fun. He immediately volunteered himself as the group's new bass player, and we'll see how that played out in a future episode...

A member of 10CC, he wrote some of the best pop hits of the 60’s and 70’sSee omnystudio.com/listener for privacy information.

Kevin Godley is our guest this week on the podcast! He's been a part of one of the 1970's best/worst bands (10cc), helped to create the art form that is music video (before there was an MTV - yes, they used to play music videos on that channel!), and has a new album, Muscle Memory (out on 12/17/20)!Listen to this cool episode, and then get caught up here!!!Thanks to our sponsors, Crooked Eye Brewery AND One CBD for their support of the podcast!This show is part of Pantheon Podcasts.

Kevin Godley is our guest this week on the podcast! He's been a part of one of the 1970's best/worst bands (10cc), helped to create the art form that is music video (before there was an MTV - yes, they used to play music videos on that channel!), and has a new album, Muscle Memory (out on 12/17/20)!Listen to this cool episode, and then get caught up here!!!Thanks to our sponsors, Crooked Eye Brewery AND One CBD for their support of the podcast!This show is part of Pantheon Podcasts.