Podcast appearances and mentions of Lemon Tree

Lots of guest for today's show. The Advocates dropped in to talk about the dangers of drunk driving. Lounge at the End of the Universe stopped in, and Jason from Lemon Tree and The Grove By Lemon Tree to talk about Be Our Guest.

Marcus hears about lost TV remote controls and incredible stories of other things lost and then found. LISTEN ABOVE See omnystudio.com/listener for privacy information.

We give a grade and Two Thumbs Up (Two Positive) and Two Thumbs Down (Two Negative) aspects of the Season 2 "Seinfeld" episode "The Phone Message"This Podcast Is Making Me Thirsty is a podcast dedicated to Seinfeld, the last, great sitcom of our time. We are The #1 Destination for Seinfeld Fans. We talk with those responsible for making Seinfeld the greatest sitcom in TV history. Our guests are Seinfeld writers, Seinfeld actors and actresses and Seinfeld crew. We also welcome well-known Seinfeld fans from all walks of life including authors, entertainers, and TV & Radio personalities. We analyze Seinfeld and breakdown the show with an honest insight. We rank every Seinfeld episode and compare Seinfeld seasons. If you are a fan of Seinfeld, television history, sitcoms, acting, comedy or entertainment, this is the place for you.Do us a solid, support the Podcast

For any aspiring member of the industry that feels like they don't have the capital or equipment to start growing or breeding, this episode is 1000% for you.Blackleaf is blessed in the studio once more by Compton's own Masonic Smoker aka Masonic Seeds to discuss his heady operations out of his backyard where he's been breeding and selecting some of the most fire cuts on the West Coast for washing into hash, popping seeds straight into soil, as well as rolling the dice with landrace genetics and growing 25-30' tall Moroccan plants. We can't emphasize this enough, he's done all of this in his BACKYARD IN COMPTON—WHAT HAVE YOU DONE LATELY?Any real deal fans of the plant and/or grow nerds will have a hay day with the episode. You'll hear Masonic shed light on how he developed his lauded Wilson strain, as well as some of the breeding projects he's done with it since, like his absolutely insane Banana God cut. Masonic also drops serious gems like how he (haphazardly) pops seeds, where he got his hands on Indian landrace genetics, how his “natural selections” work for new varieties, a few of his favorite breeders in the Los Angeles scene over the years, the Lemon Tree breeder controversy, and what happened to the real Sour D.This episode is all about breeding for hash, cultivation, and fire genetics so don't skip a second if you want to hear how Masonic Seeds handled his first backyard run of Z, why Oreoz looks fire, but isn't actually fire, and how, for the most part, breeding fire with fire typically equals more fire.Masonic Seeds lets loose an incalculable amount of opinions on this podcast about what he thinks is fire for smoking versus washing, how to grow light deps vs outdoor behemoths, and even what the best competitions are to showcase your work. You'll hear him bring up Ego Clash among other competitions, as well as what it means when judges “shake n' bake” to tip the scales in favor of their homies. Hands-down, this is an episode you can't miss if you've ever felt like you don't have the tools to start participating in the industry. Masonic Smoker is the poster child of making it work with what you got and putting in the hard work to produce a consistently quality product. You don't need a big fancy facility to build a business in this industry, just a backyard in Compton and some serious gumption. Masonic Seeds is living proof that all it takes is passion and consistency in this game to make a name for yourself. Find his work on www.masonicseeds.co and on IG @masonicseedsco. Follow Masonic Smoker on Youtube to see behind-the-scenes footage of his daily operations in the grow and what fire he's currently working with.Subscribe to our channel and the FSOTD.com site to keep up with other key players and enjoy conversations with trailblazers from the culture you can't find anywhere else. Hosted on Acast. See acast.com/privacy for more information.

This week we look at an infamous citrus pest in New Zealand, and learn about its history, life cycle, and why they must remain in New Zealand for the sake of ecosystems elsewhere.    Patreon -> https://www.patreon.com/user?u=46499107 IG: https://www.instagram.com/insects4fun/ FB: https://www.facebook.com/profile.php?id=100085443614825 Email: Insectsfordummies@gmail.com  Discord -> https://discord.gg/pDJH3CYcG6  

In this episode, I share the story of my lemon tree. A simple project that became a powerful symbol of resilience, purpose, and growth. Through its journey, I discovered what it truly means to thrive. If you've ever felt like you're just holding on, this episode is for you. It's time to find your light and SHINE. Feel free to share and subscribe! Thanks for your support. Interested in coaching? Find out more at A Place to Shine Coaching CONFIDENCE TO SHINE WOMEN'S SPEAKING WORKSHOP #teachers #speakingcoach #aplacetoshinecoaching #Growth #Resilience #FindingPurpose #PersonalGrowth #Inspiration #SelfDiscovery #MindsetShift #ThrivingNotSurviving #LifeLessons #Healing #Transformation #Motivation #InnerStrength #OvercomingChallenges #PodcastEpisode    

Sintonía: "Diggin' In The Sand" - Josh Rouse and The Long Vacations"Bienvenido", "Lemon Tree", "Sweet Elaine" y "Mesie Julian", extraídas de "El Turista" (Bedroom Classics, 2010)"This Movie´s Way Too Long", "Start Up A Family" y "The Happiness Waltz", extraídas de "Happiness Waltz" (Bedroom Classics, 2013)"Hollywood Bass Player", "Pilgrim", "Nice to Fit In" y "London Bridges", extraídas del álbum "Country Mouse City House" (Bedroom Classics, 2007)"Lazy Days" y "Disguise" extraídas de "Josh Rouse And The Long Vacations (Grabaciones en el Mar, 2011)Todas las músicas compuestas e interpretadas por Josh Rouse mientras no se diga lo contrario.Escuchar audio

Earl and Sandy start the hour talking about the ruling the in the case of a New York man who killed a homeless man on the subway that was allegedly threatening others. Then, they discuss Donald Trump's concerning stance on NATO and the frightening plan to attack birth right citizenship. The Earl Ingram Show is a part of the Civic Media radio network and airs Monday through Friday from 8-10 am across the state. Subscribe to the podcast to be sure not to miss out on a single episode! To learn more about the show and all of the programming across the Civic Media network, head over to https://civicmedia.us/shows to see the entire broadcast line up. Follow the show on Facebook and X to keep up with Earl and the show!

De BBQ Meesterschap Gespodcast is terug van weggeweest! In deze aflevering nemen we je mee naar ons magische bezoek aan restaurant The Lemon Tree, een van de beste culinaire hotspots in Deventer. Samen met Jelle Postma, mede-eigenaar van The Lemon Tree, brachten we twee werelden samen: BBQ en fine dining. We creëerden een fantastisch gerecht met eend, macadamia en biet – uiteraard op de BBQ! Daarnaast duiken we in de wereld van Holy Smoke uit Zweden, bespreken we de unieke voordelen van een Kamado BBQ en blikken we terug op de succesvolle eerste wintereditie van ons barbecuefestival.  

In this insightful interview, Rattan Keswani, former Deputy MD of Lemon Tree Hotels and author of "Check In, Never Check Out," shares his 42-year journey in the hospitality industry. He discusses post-pandemic challenges, the rise of domestic tourism, branding strategies, and the importance of mentorship. Keswani offers a unique perspective on adapting to changing customer expectations, leveraging technology, and building a lasting legacy in the ever-evolving world of hospitality. 00:38- About Rattan Keswani Ratan is the former deputy managing director of Lemon Tree Hotels.  He's also the former president of Trident Hotels.  He's the author of a book titled Check In, Never Check Out. --- Support this podcast: https://podcasters.spotify.com/pod/show/tbcy/support

Collin reviews the Australian horror film Lemon Tree Passage directed by David James Campbell. The film's main plot which is beyond confusing is about five friends who travel to Lemon Tree Passage Lane. Lemon Tree Passage is a haunted street in rural Australia. Throughout this very confusing and weird film, a dead man becomes a young woman in the afterlife and then haunts our five friends for some unknown reason in the real world. The use of nightmares, dreams, sleepwalking and body-swapping did not help this movie whatsoever.

Cuando la vida te da limones, ¿qué haces? ¿Limonada? Veronica Llorca-Smith decidió plantar un limonero

Cuando la vida te da limones, ¿qué haces? ¿Limonada? Veronica Llorca-Smith decidió plantar un limonero 🍋Su newsletter es The Lemon Tree Mindset, una publicación de Substack que nos ayuda a liberar nuestro verdadero potencial utilizando el poder de la escritura y la marca personal.En esta charla Veronica nos comparte cómo ha sido su bestial crecimiento en Substack y algunos trucos para exprimir esta herramienta (como si fuera un limón 😬)- Su newsletter: https://veronicallorcasmith.substack.com/- Todas las notas en https://chusnaharro.com/veronica-llorca/- Mi newsletter de newsletters: https://chusnaharro.com/newsletter/- La comunidad de creadores: https://creandonewsletters.com/ Hosted on Mumbler.io

Matthew is one of the original farmers of the Lemon Tree Organics. Matthew and his brothers farmed Lemon Tree before the name and brand were created, initially called Lemon Diesel. As Prop 215 evolved into Prop 64, Matthew navigated the switch, jumped through the hoops, and successfully ran a fully licensed farm in the Santa Cruz Mountains called Rasta Cruz Farm. He recently crossed the Lemon Tree with Wedding Cake and created Tree Flip. Matthew crossed the Lemon Tree with a GMO, a Garlic Mushroom. Then, those two cultivars crossed on each other, and Lemon Mash was born. Matthew grows organically in living soil and hand waters and hand trims the cannabis. Love is the first ingredient at the Rasta Cruz Farm.

Pam Duncan-Glancy Pam is the Shadow Education and Skills Secretary in Scotland. She's only been an MSP for four years but has already made a huge impact. Her life story is fascinating, as is her route into politics. As the first permanent wheelchair user in Holyrood, she has to overcome daily challenges in order to do her job. Pam is an optimist and this is an amazing story about the power of politics and how to get the most out of life. SEE Matt at on tour until March 2025, including his extra dates at The Bloomsbury Theatre: https://www.mattforde.com/live-shows 2024 9 October: Middlesbrough, The Crypt 10 October: London, Leicester Square Theatre 24 October: Hull, Truck Theatre 6 November: Exeter, Phoenix 8 November: Tunbridge Wells, Trinity Theatre 14 November: Basingstoke, The Haymarket 15 November: Colchester Arts Centre 20 November: York, The Crescent 21 November: Chorley, Little Theatre 22 November: Salford, The Lowry 27 November: Chipping Norton Theatre 28 November: Leicester, Y Theatre 29 November: Eastleigh, The Berry 31 November: Faversham, The Alexander Centre 6 December: London, Bloomsbury Theatre - EXTRA DATE 14 December: London, Bloomsbury Theatre - EXTRA DATE 2025 29 January: Norwich, Playhouse - EXTRA DATE 4 February: Leeds, City Varieties 5 February: Sheffield, The Leadmill 6 February: Chelmsford Theatre 7 February: Bedford, The Quarry Theatre 12 February: Bath, Komedia 13 February: Southend, Palace Theatre 16 February: Cambridge, The Junction 20 February: Nottingham, Lakeside Arts 23 February: Brighton, Komedoa 25 February: Cardiff, Glee Club 26 February: Bury St Edmunds, Theatre Royal 28 February: Chelmsford Theatre - EXTRA DATE 2 March: Bristol, Tobacco Factory 4 March: Colchester Arts Centre - EXTRA DATE 6 March: Birmingham, Glee Club - EXTRA DATE 7 March: Maidenhead, Norden Farm - EXTRA DATE 11 March: Aberdeen, Lemon Tree 12 March: Glasgow, Glee Club 27 March: Oxford, Glee Club - EXTRA DATE 28 March: Nottingham, Lakeside Arts Centre - EXTRA DATE Hosted on Acast. See acast.com/privacy for more information.

Iain McNicol This. Is. Class. Iain was General Secretary of the Labour Party from 2011 to 2018. He tells us what it was like having to run the party during the most tumultuous time in its history. You'll be hanging on his every word. SEE Matt at on tour until March 2025, including his 2 extra dates at The Bloomsbury Theatre: https://www.mattforde.com/live-shows 2024 31 July - 25 August: Edinburgh, The Pleasance 2 October: Norwich Playhouse 3 October: Maidenhead, Norden Farm 9 October: Middlesbrough, The Crypt 10 October: London, Leicester Square Theatre 24 October: Hull, Truck Theatre 6 November: Exeter, Phoenix 8 November: Tunbridge Wells, Trinity Theatre 14 November: Basingstoke, The Haymarket 15 November: Colchester Arts Centre 20 November: York, The Crescent 21 November: Chorley, Little Theatre 22 November: Salford, The Lowry 27 November: Chipping Norton Theatre 28 November: Leicester, Y Theatre 29 November: Eastleigh, The Berry 31 November: Faversham, The Alexander Centre 6 December: London, Bloomsbury Theatre 14 December: London, Bloomsbury Theatre 2025 4 February: Leeds, City Varieties 5 February: Sheffield, The Leadmill 6 February: Chelmsford Theatre 7 February: Bedford, The Quarry Theatre 12 February: Bath, Komedia 13 February: Southend, Palace Theatre 16 February: Cambridge, The Junction 20 February: Nottingham, Lakeside Arts 23 February: Brighton, Komedoa 25 February: Cardiff, Glee Club 26 February: Bury St Edmunds, Theatre Royal 2 March: Bristol, Tobacco Factory 11 March: Aberdeen, Lemon Tree 12 March: Glasgow, Glee Club Hosted on Acast. See acast.com/privacy for more information.

Welcome back to CNBC-TV18's Marketbuzz Podcast. Here are all the latest developments from around the world ahead of the trading session of August 26 -The key crucial remark from the weekend is from US Fed Chair Jerome Powell's Jackson Hole speech. He said that the time has come for policy to adjust. The direction of travel is clear, and the timing and pace of rate cuts will depend on incoming data, evolving outlook and the balance of risks. This is exactly what the street wished to hear. -While the reaction in the Indian markets will be seen on Monday, Powell's speech was definitely cheered by Wall Street. The Dow Jones rallied over 450 points, as did the S&P 500. The Nasdaq composite surged over 1.5%. All three benchmark indices ended the week with gains. -Back home, this week will see the expiry of the August F&O series for the Nifty and Nifty Bank. The Nifty has been volatile this series but as of closing on Friday, the index is absolutely flat, just 10 points adrift of the July expiry close of 24,834. For the week gone by, both Nifty and the Nifty Bank ended with gains of a percent each. -The latest round of the Nifty 50 rejig was also announced on Friday. Trent, the Tata Group multibagger, which is up 20 times from its Covid-19 lows, will be the latest entrant to the index, along with state-run Bharat Electronics. Both these names will replace Divi's Laboratories and LTIMindtree, which will be moved back to the Nifty Next 50 or the Nifty Junior index. -In addition to the Nifty Rejig, announcements were also made for the latest addition to the FTSE All World Index. They include names like Bank of Maharashtra, Bharat Dynamics, Central Bank of India, Cochin Shipyard, Endurance Tech, Escorts Kubota, GE T&D India, Hitachi Energy India, HUDCO, IRB Infra, KEI Industries, Lloyds Metals, Motilal Oswal. Changes to be effective from September 23, 2024. -Stocks to watch: Ambuja Cements, Transport Corporation of India, Alembic pharma, Prime Fresh, Karur Vysya Bank, Lemon Tree, FDC, Religare Enterprises, JSW Energy, and Zydus Life. -On the global front, Asian stocks advanced this morning and the yen strengthened to a three-week high as investors took positions in anticipation of the Federal Reserve cutting US interest rates from next month. Shares in Australia and Hong Kong climbed on Monday, benefitting from Chair Jerome Powell's Jackson Hole speech, when he said the “time has come” to pivot to monetary easing. -GIFTYNifty was higher this morning trading at a premium of nearly 60 pts from Nifty Futures Friday close, indicating a start in the green for the Indian market Tune in to the Marketbuzz Podcast for more news and cues

James Frith JUST ANNOUNCED: Come and see The Political Party LIVE at the Edinburgh Festival with the following guests: 13 August: Anas Sarwar 18 August: Jacob Rees-Mogg 19 August: Sarah Brown Tickets: https://www.mattforde.com/live-shows James won the Bury North seat for Labour in 2017. He lost it in 2019 by just 105 votes. A few weeks ago James won the seat for a second time with a majority of nearly 7000. So what is going on in Bury and how much of a role, if any, did Reform play in the result? Why hasn't Bury seen rioting by the hard right when other places have? And more importantly, will James ever go to Glastonbury again? SEE Matt on tour at the Edinburgh Festival and nationwide 2024 31 July - 25 August: Edinburgh, The Pleasance 2 October: Norwich Playhouse 3 October: Maidenhead, Norden Farm 9 October: Middlesbrough, The Crypt 10 October: London, Leicester Square Theatre 24 October: Hull, Truck Theatre 6 November: Exeter, Phoenix 8 November: Tunbridge Wells, Trinity Theatre 14 November: Basingstoke, The Haymarket 15 November: Colchester Arts Centre 20 November: York, The Crescent 21 November: Chorley, Little Theatre 22 November: Salford, The Lowry 27 November: Chipping Norton Theatre 28 November: Leicester, Y Theatre 29 November: Eastleigh, The Berry 31 November: Faversham, The Alexander Centre 2025 4 February: Leeds, City Varieties 5 February: Sheffield, The Leadmill 6 February: Chelmsford Theatre 7 February: Bedford, The Quarry Theatre 12 February: Bath, Komedia 13 February: Southend, Palace Theatre 16 February: Cambridge, The Junction 20 February: Nottingham, Lakeside Arts 23 February: Brighton, Komedoa 25 February: Cardiff, Glee Club 26 February: Bury St Edmunds, Theatre Royal 2 March: Bristol, Tobacco Factory 11 March: Aberdeen, Lemon Tree 12 March: Glasgow, Glee Club Hosted on Acast. See acast.com/privacy for more information.

Toby Perkins Toby won his Chesterfield seat for the fifth time at the recent general election. But how did he retain his seat throughout Labour's darkest years when colleagues around him were losing theirs? One of the most likeable MPs in the Commons was a Shadow Minister but didn't get appointed to the frontbench after the election. He talks openly and honestly about the mixed feelings he has about Labour finally forming a government, but not being a minister in it. A massive football fan, Toby also reveals which football manager he thinks he'd most be like if he chairs the Environmental Audit Committee. SEE Matt at the Edinburgh Festival in August and on tour until March 2025: https://www.mattforde.com/live-shows2024 31 July - 25 August: Edinburgh, The Pleasance 2 October: Norwich Playhouse 3 October: Maidenhead, Norden Farm 9 October: Middlesbrough, The Crypt 10 October: London, Leicester Square Theatre 24 October: Hull, Truck Theatre 6 November: Exeter, Phoenix 8 November: Tunbridge Wells, Trinity Theatre 14 November: Basingstoke, The Haymarket 15 November: Colchester Arts Centre 20 November: York, The Crescent 21 November: Chorley, Little Theatre 22 November: Salford, The Lowry 27 November: Chipping Norton Theatre 28 November: Leicester, Y Theatre 29 November: Eastleigh, The Berry 31 November: Faversham, The Alexander Centre 2025 4 February: Leeds, City Varieties 5 February: Sheffield, The Leadmill 6 February: Chelmsford Theatre 7 February: Bedford, The Quarry Theatre 12 February: Bath, Komedia 13 February: Southend, Palace Theatre 16 February: Cambridge, The Junction 20 February: Nottingham, Lakeside Arts 23 February: Brighton, Komedoa 25 February: Cardiff, Glee Club 26 February: Bury St Edmunds, Theatre Royal 2 March: Bristol, Tobacco Factory 11 March: Aberdeen, Lemon Tree 12 March: Glasgow, Glee Club Hosted on Acast. See acast.com/privacy for more information.

Jovan Owusu-Nepaul Jovan is already a political star and he's only in his 20s. A former Labour staffer, he tells the inside story of what it was like standing against Nigel Farage in Clacton. This is about so much more than what happened in one seat. This is about what sort of country we want to be and how we get there. You are listening to someone who has a huge part to play in shaping our country in the coming decades. FOLLOW Jovan on X: @jovanforclacton SEE Matt at the Edinburgh Festival in August and on tour until March 2025: Matt Forde The End of an Era Tour 2024 31 July - 25 August: Edinburgh, The Pleasance 2 October: Norwich Playhouse 3 October: Maidenhead, Norden Farm 9 October: Middlesbrough, The Crypt 10 October: London, Leicester Square Theatre 24 October: Hull, Truck Theatre 6 November: Exeter, Phoenix 8 November: Tunbridge Wells, Trinity Theatre 14 November: Basingstoke, The Haymarket 15 November: Colchester Arts Centre 20 November: York, The Crescent 21 November: Chorley, Little Theatre 22 November: Salford, The Lowry 27 November: Chipping Norton Theatre 28 November: Leicester, Y Theatre 29 November: Eastleigh, The Berry 31 November: Faversham, The Alexander Centre 2025 4 February: Leeds, City Varieties 5 February: Sheffield, The Leadmill 6 February: Chelmsford Theatre 7 February: Bedford, The Quarry Theatre 12 February: Bath, Komedia 13 February: Southend, Palace Theatre 16 February: Cambridge, The Junction 20 February: Nottingham, Lakeside Arts 23 February: Brighton, Komedoa 25 February: Cardiff, Glee Club 26 February: Bury St Edmunds, Theatre Royal 2 March: Bristol, Tobacco Factory 11 March: Aberdeen, Lemon Tree 12 March: Glasgow, Glee Club Hosted on Acast. See acast.com/privacy for more information.

Louise Parker is a modern country pop singer from Chelmsford, Essex. Her early career saw the release of two EPs: Robin Hood in 2013 and The Lemon Tree in 2016. The years since have seen a sea change in musical direction, ignited by a move to Nashville for several months. This added a country music influence into Louise's sound. Self-descriptive as ‘Taylor Swift-ing' through life, Louise uses her writing to process emotion and real-life hardships.Listen to the sounds of Louise Parker HEREWatch the video version HERECould you say hello on Instagram?Sign up for our occasional newsletter, Come Back To EarthFollow the show and review us on Apple Podcasts: nottodaymedia.com/earthSign up for Storyteller Plus to get behind-the-scenes bonus episodes of all Not Today Media Shows, a supportive community of listeners, members-only merch, and more. Learn more and sign up here.Join our DiscordWe also make Dads Cry Too and What's Your Story?Check out our online shop.Episode transcripts are posted on our website.______________ Show Sponsor:* BetterHelp: https://betterhelp.com/fragilemoments for 10% off your first month.* WHOOP: join.whoop.com/storyteller for a FREE WHOOP 4.0 and one month FREE. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit comebacktoearth.substack.com/subscribe

在歌手的舞台上，几乎只有黄宣是最拒绝无聊，最松弛，最敢玩音乐的人。而标题是在小红书上看到的一句话，我觉得用来形容黄宣再贴切不过。虽然很可惜没能最后进入决赛，但我想，就像黄宣自己说的那样，在歌手上唱了 10 首歌，被更多的人认识，也认识了更多人，这对于黄宣来说，已经是十全十美了。我自己是非常非常喜欢黄宣的，所以今天我就想趁这个机会，专门出一期关于他的节目，来聊聊他出道的经历，然后一起回顾他之前的作品。希望大家通过这期节目，可以更加了解和喜欢 YELLOW 黄宣，以及他的音乐。下面，就让我们开始 YELLOW 黄宣的音乐之旅。

Anthony Mangnall Anthony was one of the stars of the Election 24 Series. A former adviser to William Hague, he'd been the Conservative MP for Totnes since 2019. On 4 July he lost his seat to the Lib Dems. In this candid and hilarious interview, he reflects on defeat and reveals what advice he gave his successor. SEE Matt at the Edinburgh Festival in August and on tour until March 2025: Matt Forde The End of an Era Tour 2024 31 July - 25 August: Edinburgh, The Pleasance 2 October: Norwich Playhouse 3 October: Maidenhead, Norden Farm 9 October: Middlesbrough, The Crypt 10 October: London, Leicester Square Theatre 24 October: Hull, Truck Theatre 6 November: Exeter, Phoenix 8 November: Tunbridge Wells, Trinity Theatre 14 November: Basingstoke, The Haymarket 15 November: Colchester Arts Centre 20 November: York, The Crescent 21 November: Chorley, Little Theatre 22 November: Salford, The Lowry 27 November: Chipping Norton Theatre 28 November: Leicester, Y Theatre 29 November: Eastleigh, The Berry 31 November: Faversham, The Alexander Centre 2025 4 February: Leeds, City Varieties 5 February: Sheffield, The Leadmill 6 February: Chelmsford Theatre 7 February: Bedford, The Quarry Theatre 12 February: Bath, Komedia 13 February: Southend, Palace Theatre 16 February: Cambridge, The Junction 20 February: Nottingham, Lakeside Arts 23 February: Brighton, Komedoa 25 February: Cardiff, Glee Club 26 February: Bury St Edmunds, Theatre Royal 2 March: Bristol, Tobacco Factory 11 March: Aberdeen, Lemon Tree 12 March: Glasgow, Glee Club Hosted on Acast. See acast.com/privacy for more information.

Skip takes your calls all morning!

Peter Yarrow was a member of the iconic folk group Peter Paul and Mary, the trio which had so many hits in the 1960s including “Blowin In The Wind”, “Puff The Magic Dragon” (which Peter co-wrote), “Leaving On A Jet Plane”, “Lemon Tree”, “I Dig Rock And Roll Music” and many more. This wonderful episode is part interview and part concert, as Peter sings and talks about the group, Albert Grossman their manager, the 1963 March On Washington, the Peace Movement, Bob Dylan and much more.My featured song is “To The Zoo!”. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------“LOU'S BLUES” is Robert's new single. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------“THE RICH ONES”. Robert's recent single. With guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. Click HERE for all links.—---------------------------------------“MILES BEHIND”, Robert's debut album, recorded in 1994, was “lost” for the last 30 years. It's now been released for streaming. Featuring Randy Brecker (Blood Sweat & Tears), Anton Fig (The David Letterman Show), Al Foster (Miles Davis), Tim Ries (The Rolling Stones), Jon Lucien and many more. Called “Hip, Tight and Edgy!” Click here for all links.—--------------------------------------“IT'S ALIVE!” is Robert's latest Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at festivals in Pennsylvania and Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.Click here for song videos—-----------------------------------------Intro/Outro Voiceovers courtesy of:Jodi Krangle - Professional Voiceover Artisthttps://voiceoversandvocals.com Audio production:Jimmy RavenscroftKymera Films Connect with Peter atwww.peteryarrow.net Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

Rudy Giuliani's got his own coffee! 80s kids react to The Young Ones! How to make the best limoncello! Tom and Julie bask in the warm glow of listener clips PLUS they dictate an email for Brett to send to The Today Show regarding a great idea for an Al Roker hosted karaoke show called Rokaroke. Also dinner theater etiquette, karaoke etiquette, Anthony Newley's ketamine, the campaign of Che Diaz, Sammy Hagar the Horrible, Brettamine, best and worst beret wearers, Ellie the Elephant, and more! CLIPS FROM TODAY'S EPISODE *Wombat Wizz on the Lemon Tree https://www.instagram.com/reel/C77JGo7S8nX/?igsh=MTc4MmM1YmI2Ng%3D%3D  *Man tastes homemade limoncello https://www.instagram.com/reel/C7ufHfmIIc_/?igsh=MTc4MmM1YmI2Ng%3D%3D *Danny Devito Limoncello Theme Song https://www.youtube.com/watch?v=hFocGJjCBic *Danny Devito drunk on The View https://www.youtube.com/watch?v=46wakJ8oggM *British Kids react to The Young Ones https://fb.watch/sH04LkneX6/?mibextid=xCPwDs&fs=e&s=TIeQ9V *Rudy's Coffee https://twitter.com/RudyGiuliani/status/1792267327959900303 SUPPORT DOUBLE THREAT ON PATREON  Weekly Bonus Episodes, Monthly Livestreams, Video Episodes, and More! https://www.patreon.com/DoubleThreatPod   WATCH VIDEO CLIPS OF DOUBLE THREAT  https://www.youtube.com/@doublethreatpod   JOIN THE DOUBLE THREAT FAN GROUPS  *Discord https://discord.com/invite/PrcwsbuaJx  *Reddit https://www.reddit.com/r/doublethreatfriends  *Facebook https://www.facebook.com/groups/doublethreatfriends   DOUBLE THREAT MERCH https://www.teepublic.com/stores/double-threat   TOTALLY EFFED UP T-SHIRTS  https://www.teepublic.com/user/dttfu   SEND SUBMISSIONS TO  DoubleThreatPod@gmail.com   FOLLOW DOUBLE THREAT  https://twitter.com/doublethreatpod  https://www.instagram.com/doublethreatpod   DOUBLE THREAT IS A FOREVER DOG PODCAST https://foreverdogpodcasts.com/podcasts/double-threat   Theme song by Mike Krol  Artwork by Michael Kupperman Learn more about your ad choices. Visit megaphone.fm/adchoices

Motherhood is a game-changer for any artist, but it can also open up a new sonic horizon. Monogem is a new mom to a son, and has spent the last year in her backyard under their lemon tree. Her new ballad “Lemon Tree” carries a lilting melody, coupled with organic production and soothing saxophone peeling back the layers of a heavy world. It reminds us of what Monogem already knows: to appreciate the little things (and little ones) in our daily lives. 

Trigger warning: War, Violence, Assualt, and Starvation   Well, originally we planned to read The Poisons We Drink by Bethany Baptise, but due to printing delays, we had to change our book. So Ronnie chose Zoulfa Katouh's: As Long As the Lemon Tree Grows. The story is set during the Syrian Civil War and follows Salama whose family has been killed. She is reckoning with her survivor's guilt, as well as her desire to stay and fight for her country. During all of this, she meets Kenan who is trying to protect his two siblings as well as make sense of the state of his country. Together, the two of them help each other survive.    Next month's book is Home Work: A Memoir of My Hollywood Years by Julie Andrews. Be sure to read along and let us know what you think over at Twitter.Com/SharedPagesPod

Sandy Tolan is the author of The Lemon Tree, which is a widely known microhistory of the Israel-Palestine conflict, and Children of the Stone, which focuses on one Palestinian's dream to build a music school in the midst of the Occupation. He's also a journalism professor and an award-winning radio and print journalist. We spoke with Sandy about his books, the protests currently springing up at college campuses across the country, and generally, what it's like to be a journalist with a strong background on Israel/Palestine issues in the current climate. Make a contribution to APN: https://peacenow.org/donate

Today marks Jess's birthday, expect a few surprises today throughout the show. The premier of NSW Chris Minns calls in following the devesting news out of Bondi and Ducko explains what set Pam off that had him red faced!Subscribe on LiSTNR: https://play.listnr.com/podcast/nick-jess-and-duckoSee omnystudio.com/listener for privacy information.

In this episode of Highway to Higher Ed, Alex talks to Molly Levine, the co-founder and CEO of Lemon Tree Learning and brings a wealthof experience, with a career spanning over 15 years, dedicated to supporting families and students in the domains of test preparation, general academic assistance, and executive functioning support. In this episode Molly and Alex talks about Molly's background, her partnership with her husband, the services Lemon Tree offer, standardized testing for secondary schools, the similarities and differences between ISEE, SSAT and SHSAT tests, the importance of the tests on the application process, the impact of the post-pandemic era on secondary school testing and advice for parents of younger students looking at secondary testing.

Figs. Lemons. Container Veg. New live events in March and April, 2024. Find out more about these new live virtual events.---- Tried growing a potted lemon tree but it didn't thrive? Citrus expert Byron Martin has the solution. And it's not difficult.AND he also has recommendations for other unusual potted citrus trees. We talk about finger limes, blood limes, pomelo, sweet lemon, sunquat, kumquat, citron, and more.For all of these citrus trees in pots, proper watering is the key to success. We hear how to water—and what to expect from potted citrus trees in the fall. (Spoiler alert: If your lemon tree drops leaves when you bring it indoors, you're not alone!)We also find out about Byron's favourite rootstock for citrus grafting.If you're looking for more on indoor lemon trees, here's a guide to growing a lemon tree in a pot (that actually fruits!)  ***-->Join the 5,000+ gardeners in The Food Garden Gang who stay on top of home food-growing ideas with our weekly e-mail. We're making the world a better place one garden at a time!-->Grab the free e-books: Small-Space Food-Gardening Hacks and Growing Figs in Cold Climates.-->And say hi—we love to hear what you think!-->Upcoming online food-gardening fun!

Le tube Lemon Tree des Fools Garden vient tout juste de devenir single d'or alors qu'il est sorti y'a 29 ans, en 96 ! Plus de 15 millions d'écoute en quelques mois sur internet

"Lemon Tree very pretty..."

D.L interviews Kelley Nikondeha, author of First Advent in Palestine about Christian zionism, and how Palestinians view the year 1948 (often called "The Nakba" or "Catasrophe"). Kelley is the author of The First Advent in Palestine: Reversals, Resistance, and the Ongoing Complexities of Hope. You can follow her on Instagram here. Here is a great 4-page sheet outlining what happened in 1948. While John Wayne encouraged Bodie Theone to call it “The Jewish Alamo” Palestinians had another word for that year--Nakba, or “the catastrophe.”  The key has become a symbol of Palestians forced from their homes in 1948 who continue to hope to go home and yet have no rights or protections under which they can do so.  Here are interviews with four Palestinians in the Occupied West Bank. A Keffiyeh is a Palestinian scarf that is full of cultural significance.  Here is both the video and the transcript of Isaac Munther's sermon “Christ in the rubble” For further reading D.L. recommends Palestine Speaks and Kelley's book The First Advent in Palestine (make sure you read all her footnotes!) Kelley recommends The Lemon Tree and This is Not a Border. She also recommends following and watching content from PAL fest, the Palestinian Art and literature festival. For Christians, she recommends reading Naim Ateek's book Justice and Only Justice, and Faith in the Face of Empire by Mitri Raheb.   Sliman Mansour created the image Kelley used for the cover art for her book. You can follow him on Instagram, where he updates almost daiy on the situation. You can Join our patreon comamunity to support this podcast and gain access to two extra episodes each month, our facebook community, as well as the backlog of patreon-only episodes covering evangelical media, spiritual abuse, and more. You can follow The Bad Place Podcast on Twitter and Instagram. You can follow Krispin on Instagram here and Danielle on Instagram here.

We are back for 2024 and to kick things off we chat to the fantastic Moving Pictures UK who are the UK's premier Rush tribute band. We caught up with them before there second night at the Lemon Tree. They are on tour throughout 2024 so catch them if you can, there show is brilliant with over 2 1/2 hours of Rush Classics, we also review the show. Also reviewed is the recent gig by British Lion, who are Steve Harris of Iron Maiden fame side project. Lots more chat so enjoy the episode.

Lemon Tree Passage Road - The urban legend of Lemon Tree Passage Road in Australia is associated with paranormal phenomena, particularly the story of a ghostly motorcyclist. This legend has become a part of local folklore and has gained attention from those interested in ghost stories and supernatural occurrences.  Discover more TERRIFYING podcasts at http://eeriecast.com/   Follow Carman Carrion!    https://www.facebook.com/carman.carrion.9/   https://www.instagram.com/carmancarrion/?hl=en   https://twitter.com/CarmanCarrion   Subscribe to Spotify! https://open.spotify.com/show/0uiX155WEJnN7QVRfo3aQY   Please Review Us on iTunes! https://podcasts.apple.com/us/podcast/freaky-folklore/id1550361184   Music and sound effects used in the Freaky Folklore Podcast have or may have been provided/created by:  CO.AG: https://www.youtube.com/channel/UCcavSftXHgxLBWwLDm_bNvA Myuu: https://www.youtube.com/channel/UCiSKnkKCKAQVxMUWpZQobuQ Jinglepunks: https://jinglepunks.com/ Epidemic Sound: https://www.epidemicsound.com/ Kevin MacLeod: http://incompetech.com/ Dark Music: https://soundcloud.com/darknessprevailspodcast Soundstripe: https:/ Learn more about your ad choices. Visit podcastchoices.com/adchoices

SPOILER ALERT: Book club. This book talks about Syria and the war influence there and the journey to be a refugee. Super excited that this book is now an international bestseller. Here's the ⁠⁠Be Seen Podcast⁠⁠ episode I was in. Get a Libro.FM credit bundle for yourself and/or that special person in your life. Credit bundles are perfect for any occasion or just because. Check out ⁠WriteSeen⁠. It's a platform that connects writers to industry professionals and helps creatives be seen. Join the writing community. It does take a lot of effort to produce these episodes.  Your support means the world to me. How about Buy Me A Coffee, I would greatly appreciate it. THANK YOU. If you have any questions about this or any other episode, please contact me by email at livingalifethroughbooks@gmail.com. If you enjoyed this episode or any of my previous episodes, please write me a positive review on Spotify or Apple Podcasts.  I thank you for it. My website is a work in progress.  But 2024 will be the year I get it all sorted out. I have someone working on it. On Instagram I'm @livingalifethroughbooks and @drshahnazahmed On TikTok and Twitter I'm @drshahnazahmed. On Threads, I'm on both @livingalifethroughbooks and @drshahnazahmed --- Send in a voice message: https://podcasters.spotify.com/pod/show/livingalifethroughbooks/message

PART ONE HERE: https://youtu.be/i05KDn2MMr8Check out our STRAIN DATABASE aka CODEX: https://codex.thebreederssyndicate.com/Join this channel to get access to perks:https://www.youtube.com/channel/UCp9mauDnr-JxOiG_ek4BWag/joinOr check out our Patreon here:https://www.patreon.com/breederssyndicateOUR MERCH STORE IS LIVE!!!! BREEDERS SYNDICATE LINKS: https://linktr.ee/riotseedsBREEDERS SYNDICATE MERCH! - https://www.syndicategear.comBreeders Syndicate website: http://www.breederpodcast.comIntro / Outro countresy of Sight of Wonders / Approaching the Middle East / courtesy of www.epidemicsound.com

#121 - Join me and Veronica Llorca-Smith, a four-time published author THIS YEAR, triathlete, public speaker, and leadership consultant; she is, quite literally, a superwoman.She writes about growth mindset, personal development and positivity, has lived in nine countries, and speaks six languages. She is a mom to two humans and a fur baby and has completed an Ironman. I am in awe of her, so forgive my gushing as we discuss:why she started writing, which platforms she chose and why,the difference between a niche and a vision (spoiler: multi-passionates need a vision),the value of an action bias,building community with Substack, and how to incentivize paid subscriptions (this part is GOLD),the time management system that makes her bionic, andhow grit helps turn struggles into strengths.Read her excellent article You Don't Need a Niche, You Need a Vision. And be sure to follow Veronica's work on Medium.Sign up for Veronica's newsletter, The Lemon Tree Mindset or connect with her on LinkedIn.Her memoir, The Flight Home, is out now. Go get it! (

故事FM ❜ 第 736 期在前不久发布的第725期「情侣吐槽大会」节目中，一位名叫Oliver的男生吐槽了自己的男朋友吃饭「吧唧嘴」的毛病，他们两人的讲述非常生动，评论区也有很多人表示这两位男生太可爱了。但是这两位特别阳光的男生在向我们讲述他们故事之余，还说了一些不那么阳光的成长经历。这是一个有关「信仰」和「性取向」冲突的故事，成长过程中，讲述者Oliver曾在少年时期不明不白地与人发生性行为，又不断为这样「可耻」的行为痛哭祷告。他曾在教务处门外等待老师们发现自己的性取向，也在父母春节催婚后想过了结自己的生命……我们认为这个故事很值得被记录下来。/Staff/ 讲述者 | Oliver制作人 | 金松主播 | @寇爱哲文案整理 | 金松声音设计 | 桑泉运营 | Yoyo 化晶 /BGM List/01.Story FM Theme Piano version 02 – 桑泉（片头曲）02.一粒 – 桑泉03.Lemon Tree – Fool’s Garden04.绿色的扣子 – 桑泉05.城市的味道 – Ghostnote+乐队用你的声音，讲述你的故事。故事FM 是一档亲历者自述的声音节目。在以下渠道均可收听我们的节目：苹果播客 | 网易云音乐 | 喜马拉雅蜻蜓FM | 荔枝FM | 懒人听书小宇宙 | QQ音乐 | 酷狗音乐 | 酷我音乐Spotify | Google Podcast微信公众号：故事FM (ID: story_fm)新浪微博：@故事FM_StoryFM个人微信号：gushi_fm

These two sisters each own and operate their own restaurants, so why did they decide to open one together this year in Ralston? Because they wanted to cook "mom food", the comforting breakfast/lunch dishes they made with their mother growing up. Hear how the concept came together and how this cafe has already become an integral part of Ralston's community.Also follow up on Facebook, Twitter, Instagram, AND at RestaurantHoppen.com!Sponsored by Certified Piedmontese. Visit their website, use Promo Code: HOPPEN, and receive 25% off your order!A Hurrdat Media Production. Hurrdat Media is a digital media and commercial video production company based in Omaha, NE. Find more podcasts on the Hurrdat Media Network and learn more about our other services today on HurrdatMedia.com.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This week, we have a few tiny victories that happen to share a theme: Mother Nature giveth, and taketh away. This is one thing Annabelle knows all too well as someone who tends to her own, private orchard (read: two fruit trees). And we have a hotline call about a choir fire.Things You Should Stop Worrying About This WeekYou should stop worrying about buying a CA ghost town  Who I am without SuccessionWhy killer whales are attacking random boats instead of attacking Jeff Bezos yachtThis episode is sponsored by…Microdose GummiesMicrodose Gummies deliver perfect, entry-level doses of THC that help you feel just the right amount of good. To get free shipping & 30% off your first order, go to Microdose.com, and use code TINY  Do YOU have a tiny victory to share? Call the Tiny Victories Hotline: (323) 285-1675We want folks to share their tiny victories on our hotline because, frankly, we'll assume we're just talking into the void every week and nothing matters. Prove us wrong. Did you finally do that thing you were putting off? Tiny victory! Reconnect with someone you haven't been in touch with for ages? Victory! We only ask that you try to keep messages to under a minute so we're able to play it on the show.If you prefer, you can record a tiny victory on your phone and then email us the audio. Email: TinyVictories@maximumfun.orgHOW TO @ USTwitter@GetTinyPod@LAGurwitch@ImLauraHouse@Swish (producer Laura Swisher)Instagram@GetTinyPod

The Idle Race take a crack at doing a Move song. (Even though The Idle Race recorded it first.) (Song Facts music, "Secret Passages" from Hooksounds.) (Cover art by Elijah Olson) https://www.patreon.com/ELOPod Or check or money order with your email address to P.O. Box 1932 Superior, AZ 85173.

In case you thought stalking and kidnapping were bad dating tips, there's this... (Song Facts music, "Secret Passages" from Hooksounds.) https://www.patreon.com/ELOPod Or check or money order with your email address to P.O. Box 1932 Superior, AZ 85173.

Leah bathes a spider. Kail's lawyer goes to Lemon Tree. Jenelle and Tori create a home together. TM2 S2 Ep9 TikTok @trashtalkpodcasts YOUTUBE: www.youtube.com/c/TrashTalkPodcasts Bonus Patreon.com/TrashTalkPodcast Traceycarnazzo.com Tracey Carnazzo @trixietuzzini Noelle Winters @noeygirl_ IG @TeenMomTrashTalk Twitter @TeenMomPodcast

Don't have a cow, man! This episode, the Buddies (Chelsea, Kelly, and Nate) dive into the first episode of the Simpsons, "Simpsons Roasting on an Open Fire," a Holiday special that's also a pilot that wasn't supposed to be the pilot but ended up kicking off the longest running prime time cartoon of all time and also formed almost all of Nate's and Chelsea's personalities! Kelly, though, hasn't watched the Simpsons... until now. What will be said? Only WHO can listen to find out? The correct answers was YOU.Have a First for us to discuss? Email us at debutbuddies@gmail.comListen to Kelly and Chelsea's awesome horror movie podcast, Never Show the Monster.Check out Kelly and Cabe on Thirteenth Depository.Get some sci-fi from Spaceboy Books.Get down with Michael J. O'Connor's music!Next time: The First Fairytale... and eventually... the First Good Simpsons Episode(s)!

Ben Price is once again our special guest on Daily Thunder. Known as Australia's Best Impersonator, Ben is a comedian with a penchant for Jesus Christ. In this episode, Ben continues to discuss the importance of laughing amidst difficulty, trials, and adversity … and why you can dance around the lemon tree.For more information about Daily Thunder and the ministry of Ellerslie Mission Society, please visit: https://ellerslie.com/. If you have been blessed by Ellerslie, consider partnering with the ministry by donating at: https://ellerslie.com/donate/

Episode 160 of A History of Rock Music in Five Hundred Songs looks at “Flowers in the Rain" by the Move, their transition into ELO, and the career of Roy Wood. 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 "The Chipmunk Song" by Canned Heat. 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/ Note I say "And on its first broadcast, as George Martin's theme tune for the new station faded, Tony Blackburn reached for a record." -- I should point out that after Martin's theme fades, Blackburn talks over a brief snatch of a piece by Johnny Dankworth. Resources As so many of the episodes recently have had no Mixcloud due to the number of songs by one artist, I've decided to start splitting the mixes of the recordings excerpted in the podcasts into two parts. Here's part one . I had problems uploading part two, but will attempt to get that up shortly. There are not many books about Roy Wood, and I referred to both of the two that seem to exist -- this biography by John van der Kiste, and this album guide by James R Turner.  I also referred to this biography of Jeff Lynne by van der Kiste, The Electric Light Orchestra Story by Bev Bevan, and Mr Big by Don Arden with Mick Wall.  Most of the more comprehensive compilations of the Move's material are out of print, but this single-CD-plus-DVD anthology is the best compilation that's in print. This is the one collection of Wood's solo and Wizzard hits that seems currently in print, and for those who want to investigate further, this cheap box set has the last Move album, the first ELO album, the first Wizzard album, Wood's solo Boulders, and a later Wood solo album, for the price of a single CD. Transcript Before I start, a brief note. This episode deals with organised crime, and so contains some mild descriptions of violence, and also has some mention of mental illness and drug use, though not much of any of those things. And it's probably also important to warn people that towards the end there's some Christmas music, including excerpts of a song that is inescapable at this time of year in the UK, so those who work in retail environments and the like may want to listen to this later, at a point when they're not totally sick of hearing Christmas records. Most of the time, the identity of the party in government doesn't make that much of a difference to people's everyday lives.  At least in Britain, there tends to be a consensus ideology within the limits of which governments of both main parties tend to work. They will make a difference at the margins, and be more or less competent, and more or less conservative or left-wing, more or less liberal or authoritarian, but life will, broadly speaking, continue along much as before for most people. Some will be a little better or worse off, but in general steering the ship of state is a matter of a lot of tiny incremental changes, not of sudden u-turns. But there have been a handful of governments that have made big, noticeable, changes to the structure of society, reforms that for better or worse affect the lives of every person in the country. Since the end of the Second World War there have been two UK governments that made economic changes of this nature. The Labour government under Clement Atlee which came into power in 1945, and which dramatically expanded the welfare state, introduced the National Health Service, and nationalised huge swathes of major industries, created the post-war social democratic consensus which would be kept to with only minor changes by successive governments of both major parties for decades. The next government to make changes to the economy of such a radical nature was the Conservative government which came to power under Margaret Thatcher in 1979, which started the process of unravelling that social democratic consensus and replacing it with a far more hypercapitalist economic paradigm, which would last for the next several decades. It's entirely possible that the current Conservative government, in leaving the EU, has made a similarly huge change, but we won't know that until we have enough distance from the event to know what long-term changes it's caused. Those are economic changes. Arguably at least as impactful was the Labour government led by Harold Wilson that came to power in 1964, which did not do much to alter the economic consensus, but revolutionised the social order at least as much. Largely because of the influence of Roy Jenkins, the Home Secretary for much of that time, between 1964 and the end of the sixties, Britain abolished the death penalty for murder, decriminalised some sex acts between men in private, abolished corporal punishment in prisons, legalised abortion in certain circumstances, and got rid of censorship in the theatre. They also vastly increased spending on education, and made many other changes. By the end of their term, Britain had gone from being a country with laws reflecting a largely conservative, authoritarian, worldview to one whose laws were some of the most liberal in Europe, and society had started changing to match. There were exceptions, though, and that government did make some changes that were illiberal. They brought in increased restrictions on immigration, starting a worrying trend that continues to this day of governments getting ever crueler to immigrants, and they added LSD to the list of illegal drugs. And they brought in the Marine Broadcasting Offences Act, banning the pirate stations. We've mentioned pirate radio stations very briefly, but never properly explained them. In Britain, at this point, there was a legal monopoly on broadcasting. Only the BBC could run a radio station in the UK, and thanks to agreements with the Musicians' Union, the BBC could only play a very small amount of recorded music, with everything else having to be live performances or spoken word. And because it had a legal obligation to provide something for everyone, that meant the tiny amount of recorded music that was played on the radio had to cover all genres, meaning that even while Britain was going through the most important changes in its musical history, pop records were limited to an hour or two a week on British radio. Obviously, that wasn't going to last while there was money to be made, and the record companies in particular wanted to have somewhere to showcase their latest releases. At the start of the sixties, Radio Luxembourg had become popular, broadcasting from continental Europe but largely playing shows that had been pre-recorded in London. But of course, that was far enough away that it made listening to the transmissions difficult. But a solution presented itself: [Excerpt: The Fortunes, "Caroline"] Radio Caroline still continues to this day, largely as an Internet-based radio station, but in the mid-sixties it was something rather different. It was one of a handful of radio stations -- the pirate stations -- that broadcast from ships in international waters. The ships would stay three miles off the coast of Britain, close enough for their broadcasts to be clearly heard in much of the country, but outside Britain's territorial waters. They soon became hugely popular, with Radio Caroline and Radio London the two most popular, and introduced DJs like Tony Blackburn, Dave Lee Travis, Kenny Everett, and John Peel to the airwaves of Britain. The stations ran on bribery and advertising, and if you wanted a record to get into the charts one of the things you had to do was bribe one of the big pirate stations to playlist it, and with this corruption came violence, which came to a head when as we heard in the episode on “Here Comes the Night”, in 1966 Major Oliver Smedley, a failed right-wing politician and one of the directors of Radio Caroline, got a gang of people to board an abandoned sea fort from which a rival station was broadcasting and retrieve some equipment he claimed belonged to him. The next day, Reginald Calvert, the owner of the rival station, went to Smedley's home to confront him, and Smedley shot him dead, claiming self-defence. The jury in Smedley's subsequent trial took only a minute to find him not guilty and award him two hundred and fifty guineas to cover his costs. This was the last straw for the government, which was already concerned that the pirates' transmitters were interfering with emergency services transmissions, and that proper royalties weren't being paid for the music broadcast (though since much of the music was only on there because of payola, this seems a little bit of a moot point).  They introduced legislation which banned anyone in the UK from supplying the pirate ships with records or other supplies, or advertising on the stations. They couldn't do anything about the ships themselves, because they were outside British jurisdiction, but they could make sure that nobody could associate with them while remaining in the UK. The BBC was to regain its monopoly (though in later years some commercial radio stations were allowed to operate). But as well as the stick, they needed the carrot. The pirate stations *had* been filling a real need, and the biggest of them were getting millions of listeners every day. So the arrangements with the Musicians' Union and the record labels were changed, and certain BBC stations were now allowed to play a lot more recorded music per day. I haven't been able to find accurate figures anywhere -- a lot of these things were confidential agreements -- but it seems to have been that the so-called "needle time" rules were substantially relaxed, allowing the BBC to separate what had previously been the Light Programme -- a single radio station that played all kinds of popular music, much of it live performances -- into two radio stations that were each allowed to play as much as twelve hours of recorded music per day, which along with live performances and between-track commentary from DJs was enough to allow a full broadcast schedule. One of these stations, Radio 2, was aimed at older listeners, and to start with mostly had programmes of what we would now refer to as Muzak, mixed in with the pop music of an older generation -- crooners and performers like Englebert Humperdinck. But another, Radio 1, was aimed at a younger audience and explicitly modelled on the pirate stations, and featured many of the DJs who had made their names on those stations. And on its first broadcast, as George Martin's theme tune for the new station faded, Tony Blackburn reached for a record. At different times Blackburn has said either that he was just desperately reaching for whatever record came to hand or that he made a deliberate choice because the record he chose had such a striking opening that it would be the perfect way to start a new station: [Excerpt: Tony Blackburn first radio show into "Flowers in the Rain" by the Move] You may remember me talking in the episode on "Here Comes the Night" about how in 1964 Dick Rowe of Decca, the manager Larry Page, and the publicist and co-owner of Radio Caroline Phil Solomon were all trying to promote something called Brumbeat as the answer to Merseybeat – Brummies, for those who don't know, are people from Birmingham. Brumbeat never took off the way Merseybeat did, but several bands did get a chance to make records, among them Gerry Levene and the Avengers: [Excerpt: Gerry Levene and the Avengers, "Dr. Feelgood"] That was the only single the Avengers made, and the B-side wasn't even them playing, but a bunch of session musicians under the direction of Bert Berns, and the group split up soon afterwards, but several of the members would go on to have rather important careers. According to some sources, one of their early drummers was John Bohnam, who you can be pretty sure will be turning up later in the story, while the drummer on that track was Graeme Edge, who would later go on to co-found the Moody Blues.  But today it's the guitarist we'll be looking at. Roy Wood had started playing music when he was very young -- he'd had drum lessons when he was five years old, the only formal musical tuition he ever had, and he'd played harmonica around working men's clubs as a kid. And as a small child he'd loved classical music, particularly Tchaikovsky and Elgar. But it wasn't until he was twelve that he decided that he wanted to be a guitarist. He went to see the Shadows play live, and was inspired by the sound of Hank Marvin's guitar, which he later described as sounding "like it had been dipped in Dettol or something": [Excerpt: The Shadows, "Apache"] He started begging his parents for a guitar, and got one for his thirteenth birthday -- and by the time he was fourteen he was already in a band, the Falcons, whose members were otherwise eighteen to twenty years old, but who needed a lead guitarist who could play like Marvin. Wood had picked up the guitar almost preternaturally quickly, as he would later pick up every instrument he turned his hand to, and he'd also got the equipment. His friend Jeff Lynne later said "I first saw Roy playing in a church hall in Birmingham and I think his group was called the Falcons. And I could tell he was dead posh because he had a Fender Stratocaster and a Vox AC30 amplifier. The business at the time. I mean, if you've got those, that's it, you're made." It was in the Falcons that Wood had first started trying to write songs, at first instrumentals in the style of the Shadows, but then after the Beatles hit the charts he realised it was possible for band members to write their own material, and started hesitantly trying to write a few actual songs. Wood had moved on from the Falcons to Gerry Levene's band, one of the biggest local bands in Birmingham, when he was sixteen, which is also when he left formal education, dropping out from art school -- he's later said that he wasn't expelled as such, but that he and the school came to a mutual agreement that he wouldn't go back there. And when Gerry Levene and the Avengers fell apart after their one chance at success hadn't worked out, he moved on again to an even bigger band. Mike Sheridan and the Night Riders had had two singles out already, both produced by Cliff Richard's producer Norrie Paramor, and while they hadn't charted they were clearly going places. They needed a new guitarist, and Wood was by far the best of the dozen or so people who auditioned, even though Sheridan was very hesitant at first -- the Night Riders were playing cabaret, and all dressed smartly at all times, and this sixteen-year-old guitarist had turned up wearing clothes made by his sister and ludicrous pointy shoes. He was the odd man out, but he was so good that none of the other players could hold a candle to him, and he was in the Night Riders by the time of their third single, "What a Sweet Thing That Was": [Excerpt: Mike Sheridan and the Night Riders, "What a Sweet Thing That Was"] Sheridan later said "Roy was and still is, in my opinion, an unbelievable talent. As stubborn as a mule and a complete extrovert. Roy changed the group by getting us into harmonies and made us realize there was better material around with more than three chords to play. This was our turning point and we became a group's group and a bigger name." -- though there are few other people who would describe Wood as extroverted, most people describing him as painfully shy off-stage. "What a  Sweet Thing That Was" didn't have any success, and nor did its follow-up, "Here I Stand", which came out in January 1965. But by that point, Wood had got enough of a reputation that he was already starting to guest on records by other bands on the Birmingham scene, like "Pretty Things" by Danny King and the Mayfair Set: [Excerpt: Danny King and the Mayfair Set, "Pretty Things"] After their fourth single was a flop, Mike Sheridan and the Night Riders changed their name to Mike Sheridan's Lot, and the B-side of their first single under the new name was a Roy Wood song, the first time one of his songs was recorded. Unfortunately the song, modelled on "It's Not Unusual" by Tom Jones, didn't come off very well, and Sheridan blamed himself for what everyone was agreed was a lousy sounding record: [Excerpt: Mike Sheridan's Lot, "Make Them Understand"] Mike Sheridan's Lot put out one final single, but the writing was on the wall for the group. Wood left, and soon after so did Sheridan himself. The remaining members regrouped under the name The Idle Race, with Wood's friend Jeff Lynne as their new singer and guitarist. But Wood wouldn't remain without a band for long. He'd recently started hanging out with another band, Carl Wayne and the Vikings, who had also released a couple of singles, on Pye: [Excerpt: Carl Wayne and the Vikings, "What's the Matter Baby"] But like almost every band from Birmingham up to this point, the Vikings' records had done very little, and their drummer had quit, and been replaced by Bev Bevan, who had been in yet another band that had gone nowhere, Denny Laine and the Diplomats, who had released one single under the name of their lead singer Nicky James, featuring the Breakaways, the girl group who would later sing on "Hey Joe", on backing vocals: [Excerpt: Nicky James, "My Colour is Blue"] Bevan had joined Carl Wayne's group, and they'd recorded one track together, a cover version of "My Girl", which was only released in the US, and which sank without a trace: [Excerpt: Carl Wayne and the Vikings, "My Girl"] It was around this time that Wood started hanging around with the Vikings, and they would all complain about how if you were playing the Birmingham circuit you were stuck just playing cover versions, and couldn't do anything more interesting.  They were also becoming more acutely aware of how successful they *could* have been, because one of the Brumbeat bands had become really big. The Moody Blues, a supergroup of players from the best bands in Birmingham who featured Bev Bevan's old bandmate Denny Laine and Wood's old colleague Graeme Edge, had just hit number one with their version of "Go Now": [Excerpt: The Moody Blues, "Go Now"] So they knew the potential for success was there, but they were all feeling trapped. But then Ace Kefford, the bass player for the Vikings, went to see Davy Jones and the Lower Third playing a gig: [Excerpt: Davy Jones and the Lower Third, "You've Got a Habit of Leaving"] Also at the gig was Trevor Burton, the guitarist for Danny King and the Mayfair Set. The two of them got chatting to Davy Jones after the gig, and eventually the future David Bowie told them that the two of them should form their own band if they were feeling constricted in their current groups. They decided to do just that, and they persuaded Carl Wayne from Kefford's band to join them, and got in Wood.  Now they just needed a drummer. Their first choice was John Bonham, the former drummer for Gerry Levene and the Avengers who was now drumming in a band with Kefford's uncle and Nicky James from the Diplomats. But Bonham and Wayne didn't get on, and so Bonham decided to remain in the group he was in, and instead they turned to Bev Bevan, the Vikings' new drummer.  (Of the other two members of the Vikings, one went on to join Mike Sheridan's Lot in place of Wood, before leaving at the same time as Sheridan and being replaced by Lynne, while the other went on to join Mike Sheridan's New Lot, the group Sheridan formed after leaving his old group. The Birmingham beat group scene seems to have only had about as many people as there were bands, with everyone ending up a member of twenty different groups). The new group called themselves the Move, because they were all moving on from other groups, and it was a big move for all of them. Many people advised them not to get together, saying they were better off where they were, or taking on offers they'd got from more successful groups -- Carl Wayne had had an offer from a group called the Spectres, who would later become famous as Status Quo, while Wood had been tempted by Tony Rivers and the Castaways, a group who at the time were signed to Immediate Records, and who did Beach Boys soundalikes and covers: [Excerpt: Tony Rivers and the Castaways, "Girl Don't Tell Me"] Wood was a huge fan of the Beach Boys and would have fit in with Rivers, but decided he'd rather try something truly new. After their first gig, most of the people who had warned against the group changed their minds. Bevan's best friend, Bobby Davis, told Bevan that while he'd disliked all the other groups Bevan had played in, he liked this one. (Davis would later become a famous comedian, and have a top five single himself in the seventies, produced by Jeff Lynne and with Bevan on the drums, under his stage name Jasper Carrott): [Excerpt: Jasper Carrott, "Funky Moped"] Most of their early sets were cover versions, usually of soul and Motown songs, but reworked in the group's unique style. All five of the band could sing, four of them well enough to be lead vocalists in their own right (Bevan would add occasional harmonies or sing novelty numbers) and so they became known for their harmonies -- Wood talked at the time about how he wanted the band to have Beach Boys harmonies but over instruments that sounded like the Who. And while they were mostly doing cover versions live, Wood was busily writing songs. Their first recording session was for local radio, and at that session they did cover versions of songs by Brenda Lee, the Isley Brothers, the Orlons, the Marvelettes, and Betty Everett, but they also performed four songs written by Wood, with each member of the front line taking a lead vocal, like this one with Kefford singing: [Excerpt: The Move, "You're the One I Need"] The group were soon signed by Tony Secunda, the manager of the Moody Blues, who set about trying to get the group as much publicity as possible. While Carl Wayne, as the only member who didn't play an instrument, ended up the lead singer on most of the group's early records, Secunda started promoting Kefford, who was younger and more conventionally attractive than Wayne, and who had originally put the group together, as the face of the group, while Wood was doing most of the heavy lifting with the music. Wood quickly came to dislike performing live, and to wish he could take the same option as Brian Wilson and stay home and write songs and make records while the other four went out and performed, so Kefford and Wayne taking the spotlight from him didn't bother him at the time, but it set the group up for constant conflicts about who was actually the leader of the group. Wood was also uncomfortable with the image that Secunda set up for the group. Secunda decided that the group needed to be promoted as "bad boys", and so he got them to dress up as 1930s gangsters, and got them to do things like smash busts of Hitler, or the Rhodesian dictator Ian Smith, on stage. He got them to smash TVs on stage too, and in one publicity stunt he got them to smash up a car, while strippers took their clothes off nearby -- claiming that this was to show that people were more interested in violence than in sex. Wood, who was a very quiet, unassuming, introvert, didn't like this sort of thing, but went along with it. Secunda got the group a regular slot at the Marquee club, which lasted several months until, in one of Secunda's ideas for publicity, Carl Wayne let off smoke bombs on stage which set fire to the stage. The manager came up to try to stop the fire, and Wayne tossed the manager's wig into the flames, and the group were banned from the club (though the ban was later lifted). In another publicity stunt, at the time of the 1966 General Election, the group were photographed with "Vote Tory" posters, and issued an invitation to Edward Heath, the leader of the Conservative Party and a keen amateur musician, to join them on stage on keyboards. Sir Edward didn't respond to the invitation. All this publicity led to record company interest. Joe Boyd tried to sign the group to Elektra Records, but much as with The Pink Floyd around the same time, Jac Holzman wasn't interested. Instead they signed with a new production company set up by Denny Cordell, the producer of the Moody Blues' hits. The contract they signed was written on the back of a nude model, as yet another of Secunda's publicity schemes. The group's first single, "Night of Fear" was written by Wood and an early sign of his interest in incorporating classical music into rock: [Excerpt: The Move, "Night of Fear"] Secunda claimed in the publicity that that song was inspired by taking bad acid and having a bad trip, but in truth Wood was more inspired by brown ale than by brown acid -- he and Bev Bevan would never do any drugs other than alcohol. Wayne did take acid once, but didn't like it, though Burton and Kefford would become regular users of most drugs that were going. In truth, the song was not about anything more than being woken up in the middle of the night by an unexpected sound and then being unable to get back to sleep because you're scared of what might be out there. The track reached number two on the charts in the UK, being kept off the top by "I'm a Believer" by the Monkees, and was soon followed up by another song which again led to assumptions of drug use. "I Can Hear the Grass Grow" wasn't about grass the substance, but was inspired by a letter to Health and Efficiency, a magazine which claimed to be about the nudist lifestyle as an excuse for printing photos of naked people at a time before pornography laws were liberalised. The letter was from a reader saying that he listened to pop music on the radio because "where I live it's so quiet I can hear the grass grow!" Wood took that line and turned it into the group's next single, which reached number five: [Excerpt: The Move, "I Can Hear the Grass Grow"] Shortly after that, the group played two big gigs at Alexandra Palace. The first was the Fourteen-Hour Technicolor Dream, which we talked about in the Pink Floyd episode. There Wood had one of the biggest thrills of his life when he walked past John Lennon, who saluted him and then turned to a friend and said "He's brilliant!" -- in the seventies Lennon would talk about how Wood was one of his two favourite British songwriters, and would call the Move "the Hollies with balls". The other gig they played at Alexandra Palace was a "Free the Pirates" benefit show, sponsored by Radio Caroline, to protest the imposition of the Marine Broadcasting (Offences) Act.  Despite that, it was, of course, the group's next single that was the first one to be played on Radio One. And that single was also the one which kickstarted Roy Wood's musical ambitions.  The catalyst for this was Tony Visconti. Visconti was a twenty-three-year-old American who had been in the music business since he was sixteen, working the typical kind of jobs that working musicians do, like being for a time a member of a latter-day incarnation of the Crew-Cuts, the white vocal group who had had hits in the fifties with covers of "Sh'Boom" and “Earth Angel”. He'd also recorded two singles as a duo with his wife Siegrid, which had gone nowhere: [Excerpt: Tony and Siegrid, "Up Here"] Visconti had been working for the Richmond Organisation as a staff songwriter when he'd met the Move's producer Denny Cordell. Cordell was in the US to promote a new single he had released with a group called Procol Harum, "A Whiter Shade of Pale", and Visconti became the first American to hear the record, which of course soon became a massive hit: [Excerpt: Procol Harum, "A Whiter Shade of Pale"] While he was in New York, Cordell also wanted to record a backing track for one of his other hit acts, Georgie Fame. He told Visconti that he'd booked several of the best session players around, like the jazz trumpet legend Clark Terry, and thought it would be a fun session. Visconti asked to look at the charts for the song, out of professional interest, and Cordell was confused -- what charts? The musicians would just make up an arrangement, wouldn't they? Visconti asked what he was talking about, and Cordell talked about how you made records -- you just got the musicians to come into the studio, hung around while they smoked a few joints and worked out what they were going to play, and then got on with it. It wouldn't take more than about twelve hours to get a single recorded that way. Visconti was horrified, and explained that that might be how they did things in London, but if Cordell tried to make a record that way in New York, with an eight-piece group of session musicians who charged union scale, and would charge double scale for arranging work on top, then he'd bankrupt himself. Cordell went pale and said that the session was in an hour, what was he going to do? Luckily, Cordell had a copy of the demo with him, and Visconti, who unlike Cordell was a trained musician, quickly sat down and wrote an arrangement for him, sketching out parts for guitar, bass, drums, piano, sax, and trumpets. The resulting arrangement wasn't perfect -- Visconti had to write the whole thing in less than an hour with no piano to hand -- but it was good enough that Cordell's production assistant on the track, Harvey Brooks of the group Electric Flag, who also played bass on the track, could tweak it in the studio, and the track was recorded quickly, saving Cordell a fortune: [Excerpt: Georgie Fame, "Because I Love You"] One of the other reasons Cordell had been in the US was that he was looking for a production assistant to work with him in the UK to help translate his ideas into language the musicians could understand. According to Visconti he said that he was going to try asking Phil Spector to be his assistant, and Artie Butler if Spector said no.  Astonishingly, assuming he did ask them, neither Phil Spector nor Artie Butler (who was the arranger for records like "Leader of the Pack" and "I'm a Believer" among many, many, others, and who around this time was the one who suggested to Louis Armstrong that he should record "What a Wonderful World") wanted to fly over to the UK to work as Denny Cordell's assistant, and so Cordell turned back to Visconti and invited him to come over to the UK. The main reason Cordell needed an assistant was that he had too much work on his hands -- he was currently in the middle of recording albums for three major hit groups -- Procol Harum, The Move, and Manfred Mann -- and he physically couldn't be in multiple studios at once. Visconti's first work for him was on a Manfred Mann session, where they were recording the Randy Newman song "So Long Dad" for their next single. Cordell produced the rhythm track then left for a Procol Harum session, leaving Visconti to guide the group through the overdubs, including all the vocal parts and the lead instruments: [Excerpt: Manfred Mann, "So Long Dad"] The next Move single, "Flowers in the Rain", was the first one to benefit from Visconti's arrangement ideas. The band had recorded the track, and Cordell had been unhappy with both the song and performance, thinking it was very weak compared to their earlier singles -- not the first time that Cordell would have a difference of opinion with the band, who he thought of as a mediocre pop group, while they thought of themselves as a heavy rock band who were being neutered in the studio by their producer.  In particular, Cordell didn't like that the band fell slightly out of time in the middle eight of the track. He decided to scrap it, and get the band to record something else. Visconti, though, thought the track could be saved. He told Cordell that what they needed to do was to beat the Beatles, by using a combination of instruments they hadn't thought of. He scored for a quartet of wind instruments -- oboe, flute, clarinet, and French horn, in imitation of Mendelssohn: [Excerpt: The Move, "Flowers in the Rain"] And then, to cover up the slight sloppiness on the middle eight, Visconti had the wind instruments on that section recorded at half speed, so when played back at normal speed they'd sound like pixies and distract from the rhythm section: [Excerpt: The Move, "Flowers in the Rain"] Visconti's instincts were right. The single went to number two, kept off the top spot by Englebert Humperdinck, who spent 1967 keeping pretty much every major British band off number one, and thanks in part to it being the first track played on Radio 1, but also because it was one of the biggest hits of 1967, it's been the single of the Move's that's had the most airplay over the years. Unfortunately, none of the band ever saw a penny in royalties from it. It was because of another of Tony Secunda's bright ideas. Harold Wilson, the Prime Minister at the time, was very close to his advisor Marcia Williams, who started out as his secretary, rose to be his main political advisor, and ended up being elevated to the peerage as Baroness Falkender. There were many, many rumours that Williams was corrupt -- rumours that were squashed by both Wilson and Williams frequently issuing libel writs against newspapers that mentioned them -- though it later turned out that at least some of these were the work of Britain's security services, who believed Wilson to be working for the KGB (and indeed Williams had first met Wilson at a dinner with Khrushchev, though Wilson was very much not a Communist) and were trying to destabilise his government as a result. Their personal closeness also led to persistent rumours that Wilson and Williams were having an affair. And Tony Secunda decided that the best way to promote "Flowers in the Rain" was to print a postcard with a cartoon of Wilson and Williams on it, and send it out. Including sticking a copy through the door of ten Downing St, the Prime Minister's official residence. This backfired *spectacularly*. Wilson sued the Move for libel, even though none of them had known of their manager's plans, and as a result of the settlement it became illegal for any publication to print the offending image (though it can easily be found on the Internet now of course), everyone involved with the record was placed under a permanent legal injunction to never discuss the details of the case, and every penny in performance or songwriting royalties the track earned would go to charities of Harold Wilson's choice. In the 1990s newspaper reports said that the group had up to that point lost out on two hundred thousand pounds in royalties as a result of Secunda's stunt, and given the track's status as a perennial favourite, it's likely they've missed out on a similar amount in the decades since. Incidentally, while every member of the band was banned from ever describing the postcard, I'm not, and since Wilson and Williams are now both dead it's unlikely they'll ever sue me. The postcard is a cartoon in the style of Aubrey Beardsley, and shows Wilson as a grotesque naked homunculus sat on a bed, with Williams naked save for a diaphonous nightgown through which can clearly be seen her breasts and genitals, wearing a Marie Antoinette style wig and eyemask and holding a fan coquettishly, while Wilson's wife peers at them through a gap in the curtains. The text reads "Disgusting Depraved Despicable, though Harold maybe is the only way to describe "Flowers in the Rain" The Move, released Aug 23" The stunt caused huge animosity between the group and Secunda, not only because of the money they lost but also because despite Secunda's attempts to associate them with the Conservative party the previous year, Ace Kefford was upset at an attack on the Labour leader -- his grandfather was a lifelong member of the Labour party and Kefford didn't like the idea of upsetting him. The record also had a knock-on effect on another band. Wood had given the song "Here We Go Round the Lemon Tree" to his friends in The Idle Race, the band that had previously been Mike Sheridan and the Night Riders, and they'd planned to use their version as their first single: [Excerpt: The Idle Race, "Here We Go Round the Lemon Tree"] But the Move had also used the song as the B-side for their own single, and "Flowers in the Rain" was so popular that the B-side also got a lot of airplay. The Idle Race didn't want to be thought of as a covers act, and so "Lemon Tree" was pulled at the last minute and replaced by "Impostors of Life's Magazine", by the group's guitarist Jeff Lynne: [Excerpt: The Idle Race, "Impostors of Life's Magazine"] Before the problems arose, the Move had been working on another single. The A-side, "Cherry Blossom Clinic", was a song about being in a psychiatric hospital, and again had an arrangement by Visconti, who this time conducted a twelve-piece string section: [Excerpt: The Move, "Cherry Blossom Clinic"] The B-side, meanwhile, was a rocker about politics: [Excerpt: The Move, "Vote For Me"] Given the amount of controversy they'd caused, the idea of a song about mental illness backed with one about politics seemed a bad idea, and so "Cherry Blossom Clinic" was kept back as an album track while "Vote For Me" was left unreleased until future compilations. The first Wood knew about "Cherry Blossom Clinic" not being released was when after a gig in London someone -- different sources have it as Carl Wayne or Tony Secunda -- told him that they had a recording session the next morning for their next single and asked what song he planned on recording. When he said he didn't have one, he was sent up to his hotel room with a bottle of Scotch and told not to come down until he had a new song. He had one by 8:30 the next morning, and was so drunk and tired that he had to be held upright by his bandmates in the studio while singing his lead vocal on the track. The song was inspired by "Somethin' Else", a track by Eddie Cochran, one of Wood's idols: [Excerpt: Eddie Cochran, "Somethin' Else"] Wood took the bass riff from that and used it as the basis for what was the Move's most straight-ahead rock track to date. As 1967 was turning into 1968, almost universally every band was going back to basics, recording stripped down rock and roll tracks, and the Move were no exception. Early takes of "Fire Brigade" featured Matthew Fisher of Procol Harum on piano, but the final version featured just guitar, bass, drums and vocals, plus a few sound effects: [Excerpt: The Move, "Fire Brigade"] While Carl Wayne had sung lead or co-lead on all the Move's previous singles, he was slowly being relegated into the background, and for this one Wood takes the lead vocal on everything except the brief bridge, which Wayne sings: [Excerpt: The Move, "Fire Brigade"] The track went to number three, and while it's not as well-remembered as a couple of other Move singles, it was one of the most influential. Glen Matlock of the Sex Pistols has often said that the riff for "God Save the Queen" is inspired by "Fire Brigade": [Excerpt: The Sex Pistols, "God Save the Queen"] The reversion to a heavier style of rock on "Fire Brigade" was largely inspired by the group's new friend Jimi Hendrix. The group had gone on a package tour with The Pink Floyd (who were at the bottom of the bill), Amen Corner, The Nice, and the Jimi Hendrix Experience, and had become good friends with Hendrix, often jamming with him backstage. Burton and Kefford had become so enamoured of Hendrix that they'd both permed their hair in imitation of his Afro, though Burton regretted it -- his hair started falling out in huge chunks as a result of the perm, and it took him a full two years to grow it out and back into a more natural style. Burton had started sharing a flat with Noel Redding of the Jimi Hendrix Experience, and Burton and Wood had also sung backing vocals with Graham Nash of the Hollies on Hendrix's "You Got Me Floatin'", from his Axis: Bold as Love album: [Excerpt: The Jimi Hendrix Experience, "You Got Me Floatin'"] In early 1968, the group's first album came out. In retrospect it's arguably their best, but at the time it felt a little dated -- it was a compilation of tracks recorded between late 1966 and late 1967, and by early 1968 that might as well have been the nineteenth century. The album included their two most recent singles, a few more songs arranged by Visconti, and three cover versions -- versions of Eddie Cochran's "Weekend", Moby Grape's "Hey Grandma", and the old standard "Zing! Went the Strings of My Heart", done copying the Coasters' arrangement with Bev Bevan taking a rare lead vocal. By this time there was a lot of dissatisfaction among the group. Most vocal -- or least vocal, because by this point he was no longer speaking to any of the other members, had been Ace Kefford. Kefford felt he was being sidelined in a band he'd formed and where he was the designated face of the group. He'd tried writing songs, but the only one he'd brought to the group, "William Chalker's Time Machine", had been rejected, and was eventually recorded by a group called The Lemon Tree, whose recording of it was co-produced by Burton and Andy Fairweather-Low of Amen Corner: [Excerpt: The Lemon Tree, "William Chalker's Time Machine"] He was also, though the rest of the group didn't realise it at the time, in the middle of a mental breakdown, which he later attributed to his overuse of acid. By the time the album, titled Move, came out, he'd quit the group. He formed a new group, The Ace Kefford Stand, with Cozy Powell on drums, and they released one single, a cover version of the Yardbirds' "For Your Love", which didn't chart: [Excerpt: The Ace Kefford Stand, "For Your Love"] Kefford recorded a solo album in 1968, but it wasn't released until an archival release in 2003, and he spent most of the next few decades dealing with mental health problems. The group continued on as a four-piece, with Burton moving over to bass. While they thought about what to do -- they were unhappy with Secunda's management, and with the sound that Cordell was getting from their recordings, which they considered far wimpier than their live sound -- they released a live EP of cover versions, recorded at the Marquee. The choice of songs for the EP showed their range of musical influences at the time, going from fifties rockabilly to the burgeoning progressive rock scene, with versions of Cochran's "Somethin' Else", Jerry Lee Lewis' "It'll Be Me", "So You Want to Be a Rock and Roll Star" by the Byrds, "Sunshine Help Me" by Spooky Tooth, and "Stephanie Knows Who" by Love: [Excerpt: The Move, "Stephanie Knows Who"] Incidentally, later that year they headlined a gig at the Royal Albert Hall with the Byrds as the support act, and Gram Parsons, who by that time was playing guitar for the Byrds, said that the Move did "So You Want to Be a Rock and Roll Star" better than the Byrds did. The EP, titled "Something Else From the Move", didn't do well commercially, but it did do something that the band thought important -- Trevor Burton in particular had been complaining that Denny Cordell's productions "took the toughness out" of the band's sound, and was worried that the group were being perceived as a pop band, not as a rock group like his friends in the Jimi Hendrix Experience or Cream. There was an increasing tension between Burton, who wanted to be a heavy rocker, and the older Wayne, who thought there was nothing at all wrong with being a pop band. The next single, "Wild Tiger Woman", was much more in the direction that Burton wanted their music to go. It was ostensibly produced by Cordell, but for the most part he left it to the band, and as a result it ended up as a much heavier track than normal. Roy Wood had only intended the song as an album track, and Bevan and Wayne were hesitant about it being a single, but Burton was insistent -- "Wild Tiger Woman" was going to be the group's first number one record: [Excerpt: The Move, "Wild Tiger Woman"] In fact, it turned out to be the group's first single not to chart at all, after four top ten singles in a row.  The group were now in crisis. They'd lost Ace Kefford, Burton and Wayne were at odds, and they were no longer guaranteed hitmakers. They decided to stop working with Cordell and Secunda, and made a commitment that if the next single was a flop, they would split up. In any case, Roy Wood was already thinking about another project. Even though the group's recent records had gone in a guitar-rock direction, he thought maybe you could do something more interesting. Ever since seeing Tony Visconti conduct orchestral instruments playing his music, he'd been thinking about it. As he later put it "I thought 'Well, wouldn't it be great to get a band together, and rather than advertising for a guitarist how about advertising for a cellist or a French horn player or something? There must be lots of young musicians around who play the... instruments that would like to play in a rock kind of band.' That was the start of it, it really was, and I think after those tracks had been recorded with Tony doing the orchestral arrangement, that's when I started to get bored with the Move, with the band, because I thought 'there's something more to it'". He'd started sketching out plans for an expanded lineup of the group, drawing pictures of what it would look like on stage if Carl Wayne was playing timpani while there were cello and French horn players on stage with them. He'd even come up with a name for the new group -- a multi-layered pun. The group would be a light orchestra, like the BBC Light Orchestra, but they would be playing electrical instruments, and also they would have a light show when they performed live, and so he thought "the Electric Light Orchestra" would be a good name for such a group. The other band members thought this was a daft idea, but Wood kept on plotting. But in the meantime, the group needed some new management. The person they chose was Don Arden. We talked about Arden quite a bit in the last episode, but he's someone who is going to turn up a lot in future episodes, and so it's best if I give a little bit more background about him. Arden was a manager of the old school, and like several of the older people in the music business at the time, like Dick James or Larry Page, he had started out as a performer, doing an Al Jolson tribute act, and he was absolutely steeped in showbusiness -- his wife had been a circus contortionist before they got married, and when he moved from Manchester to London their first home had been owned by Winifred Atwell, a boogie piano player who became the first Black person to have a UK number one -- and who is *still* the only female solo instrumentalist to have a UK number one -- with her 1954 hit "Let's Have Another Party": [Excerpt: WInifred Atwell, "Let's Have Another Party"] That was only Atwell's biggest in a long line of hits, and she'd put all her royalties into buying properties in London, one of which became the Ardens' home. Arden had been considered quite a promising singer, and had made a few records in the early 1950s. His first recordings, of material in Yiddish aimed at the Jewish market, are sadly not findable online, but he also apparently recorded as a session singer for Embassy Records. I can't find a reliable source for what records he sang on for that label, which put out budget rerecordings of hits for sale exclusively through Woolworths, but according to Wikipedia one of them was Embassy's version of "Blue Suede Shoes", put out under the group name "The Canadians", and the lead vocal on that track certainly sounds like it could be him: [Excerpt: The Canadians, "Blue Suede Shoes"] As you can tell, rock and roll didn't really suit Arden's style, and he wisely decided to get out of performance and into behind-the-scenes work, though he would still try on occasion to make records of his own -- an acetate exists from 1967 of him singing "Sunrise, Sunset": [Excerpt: Don Arden, "Sunrise, Sunset"] But he'd moved first into promotion -- he'd been the promoter who had put together tours of the UK for Gene Vincent, Little Richard, Brenda Lee and others which we mentioned in the second year of the podcast -- and then into management. He'd first come into management with the Animals -- apparently acting at that point as the money man for Mike Jeffries, who was the manager the group themselves dealt with. According to Arden -- though his story differs from the version of the story told by others involved -- the group at some point ditched Arden for Allen Klein, and when they did, Arden's assistant Peter Grant, another person we'll be hearing a lot more of, went with them.  Arden, by his own account, flew over to see Klein and threatened to throw him out of the window of his office, which was several stories up. This was a threat he regularly made to people he believed had crossed him -- he made a similar threat to one of the Nashville Teens, the first group he managed after the Animals, after the musician asked what was happening to the group's money. And as we heard last episode, he threatened Robert Stigwood that way when Stigwood tried to get the Small Faces off him. One of the reasons he'd signed the Small Faces was that Steve Marriott had gone to the Italia Conti school, where Arden had sent his own children, Sharon and David, and David had said that Marriott was talented. And David was also a big reason the Move came over to Arden. After the Small Faces had left him, Arden had bought Galaxy Entertaimnent, the booking agency that handled bookings for Amen Corner and the Move, among many other acts. Arden had taken over management of Amen Corner himself, and had put his son David in charge of liaising with Tony Secunda about the Move.  But David Arden was sure that the Move could be an albums act, not just a singles act, and was convinced the group had more potential than they were showing, and when they left Secunda, Don Arden took them on as his clients, at least for the moment. Secunda, according to Arden (who is not the most reliable of witnesses, but is unfortunately the only one we have for a lot of this stuff) tried to hire someone to assassinate Arden, but Arden quickly let Secunda know that if anything happened to Arden, Secunda himself would be dead within the hour. As "Wild Tiger Woman" hadn't been a hit, the group decided to go back to their earlier "Flowers in the Rain" style, with "Blackberry Way": [Excerpt: The Move, "Blackberry Way"] That track was produced by Jimmy Miller, who was producing the Rolling Stones and Traffic around this time, and featured the group's friend Richard Tandy on harpsichord. It's also an example of the maxim "Good artists copy, great artists steal". There are very few more blatant examples of plagiarism in pop music than the middle eight of "Blackberry Way". Compare Harry Nilsson's "Good Old Desk": [Excerpt: Nilsson, "Good Old Desk"] to the middle eight of "Blackberry Way": [Excerpt: The Move, "Blackberry Way"] "Blackberry Way" went to number one, but that was the last straw for Trevor Burton -- it was precisely the kind of thing he *didn't* want to be doing,. He was so sick of playing what he thought of as cheesy pop music that at one show he attacked Bev Bevan on stage with his bass, while Bevan retaliated with his cymbals. He stormed off stage, saying he was "tired of playing this crap". After leaving the group, he almost joined Blind Faith, a new supergroup that members of Cream and Traffic were forming, but instead formed his own supergroup, Balls. Balls had a revolving lineup which at various times included Denny Laine, formerly of the Moody Blues, Jackie Lomax, a singer-songwriter who was an associate of the Beatles, Richard Tandy who had played on "Blackberry Way", and Alan White, who would go on to drum with the band Yes. Balls only released one single, "Fight for My Country", which was later reissued as a Trevor Burton solo single: [Excerpt: Balls, "Fight For My Country"] Balls went through many lineup changes, and eventually seemed to merge with a later lineup of the Idle Race to become the Steve Gibbons Band, who were moderately successful in the seventies and eighties. Richard Tandy covered on bass for a short while, until Rick Price came in as a permanent replacement. Before Price, though, the group tried to get Hank Marvin to join, as the Shadows had then split up, and Wood was willing to move over to bass and let Marvin play lead guitar. Marvin turned down the offer though. But even though "Blackberry Way" had been the group's biggest hit to date, it marked a sharp decline in the group's fortunes.  Its success led Peter Walsh, the manager of Marmalade and the Tremeloes, to poach the group from Arden, and even though Arden took his usual heavy-handed approach -- he describes going and torturing Walsh's associate, Clifford Davis, the manager of Fleetwood Mac, in his autobiography -- he couldn't stop Walsh from taking over. Unfortunately, Walsh put the group on the chicken-in-a-basket cabaret circuit, and in the next year they only released one record, the single "Curly", which nobody was happy with. It was ostensibly produced by Mike Hurst, but Hurst didn't turn up to the final sessions and Wood did most of the production work himself, while in the next studio over Jimmy Miller, who'd produced "Blackberry Way", was producing "Honky Tonk Women" by the Rolling Stones. The group were getting pigeonholed as a singles group, at a time when album artists were the in thing. In a three-year career they'd only released one album, though they were working on their second. Wood was by this point convinced that the Move was unsalvageable as a band, and told the others that the group was now just going to be a launchpad for his Electric Light Orchestra project. The band would continue working the chicken-in-a-basket circuit and releasing hit singles, but that would be just to fund the new project -- which they could all be involved in if they wanted, of course. Carl Wayne, on the other hand, was very, very, happy playing cabaret, and didn't see the need to be doing anything else. He made a counter-suggestion to Wood -- keep The Move together indefinitely, but let Wood do the Brian Wilson thing and stay home and write songs. Wayne would even try to get Burton and Kefford back into the band. But Wood wasn't interested. Increasingly his songs weren't even going to the Move at all. He was writing songs for people like Cliff Bennett and the Casuals. He wrote "Dance Round the Maypole" for Acid Gallery: [Excerpt: Acid Gallery, "Dance Round the Maypole"] On that, Wood and Jeff Lynne sang backing vocals. Wood and Lynne had been getting closer since Lynne had bought a home tape recorder which could do multi-tracking -- Wood had wanted to buy one of his own after "Flowers in the Rain", but even though he'd written three hit singles at that point his publishing company wouldn't give him an advance to buy one, and so he'd started using Lynne's. The two have often talked about how they'd recorded the demo for "Blackberry Way" at Lynne's parents' house, recording Wood's vocal on the demo with pillows and cushions around his head so that his singing wouldn't wake Lynne's parents. Lynne had been another person that Wood had asked to join the group when Burton left, but Lynne was happy with The Idle Race, where he was the main singer and songwriter, though their records weren't having any success: [Excerpt: The Idle Race, "I Like My Toys"] While Wood was writing material for other people, the only one of those songs to become a hit was "Hello Suzie", written for Amen Corner, which became a top five single on Immediate Records: [Excerpt: Amen Corner, "Hello Suzie"] While the Move were playing venues like Batley Variety Club in Britain, when they went on their first US tour they were able to play for a very different audience. They were unknown in the US, and so were able to do shows for hippie audiences that had no preconceptions about them, and did things like stretch "Cherry Blossom Clinic" into an eight-minute-long extended progressive rock jam that incorporated bits of "Jesu, Joy of Man's Desiring", the Nutcracker Suite, and the Sorcerer's Apprentice: [Excerpt: The Move, "Cherry Blossom Clinic Revisited (live at the Fillmore West)"] All the group were agreed that those shows were the highlight of the group's career. Even Carl Wayne, the band member most comfortable with them playing the cabaret circuit, was so proud of the show at the Fillmore West which that performance is taken from that when the tapes proved unusable he kept hold of them, hoping all his life that technology would progress to the point where they could be released and show what a good live band they'd been, though as things turned out they didn't get released until after his death. But when they got back to the UK it was back to the chicken-in-a-basket circuit, and back to work on their much-delayed second album. That album, Shazam!, was the group's attempt at compromise between their different visions. With the exception of one song, it's all heavy rock music, but Wayne, Wood, and Price all co-produced, and Wayne had the most creative involvement he'd ever had. Side two of the album was all cover versions, chosen by Wayne, and Wayne also went out onto the street and did several vox pops, asking members of the public what they thought of pop music: [Excerpt: Vox Pops from "Don't Make My Baby Blue"] There were only six songs on the album, because they were mostly extended jams. Other than the three cover versions chosen by Wayne, there was a sludge-metal remake of "Hello Suzie", the new arrangement of "Cherry Blossom Clinic" they'd been performing live, retitled "Cherry Blossom Clinic Revisited", and only one new original, "Beautiful Daughter", which featured a string arrangement by Visconti, who also played bass: [Excerpt: The Move, "Beautiful Daughter"] And Carl Wayne sang lead on five of the six tracks, which given that one of the reasons Wayne was getting unhappy with the band was that Wood was increasingly becoming the lead singer, must have been some comfort. But it wasn't enough. By the time Shazam! came out, with a cover drawn by Mike Sheridan showing the four band members as superheroes, the band was down to three -- Carl Wayne had quit the group, for a solo career. He continued playing the cabaret circuit, and made records, but never had another hit, but he managed to have a very successful career as an all-round entertainer, acting on TV and in the theatre, including a six-year run as the narrator in the musical Blood Brothers, and replacing Alan Clarke as the lead singer of the Hollies. He died in 2004. As soon as Wayne left the group, the three remaining band members quit their management and went back to Arden. And to replace Wayne, Wood once again asked Jeff Lynne to join the group. But this time the proposition was different -- Lynne wouldn't just be joining the Move, but he would be joining the Electric Light Orchestra. They would continue putting out Move records and touring for the moment, and Lynne would be welcome to write songs for the Move so that Wood wouldn't have to be the only writer, but they'd be doing it while they were planning their new group.  Lynne was in, and the first single from the new lineup was a return to the heavy riff rock style of "Wild Tiger Woman", "Brontosaurus": [Excerpt: The Move, "Brontosaurus"] But Wayne leaving the group had put Wood in a difficult position. He was now the frontman, and he hated that responsibility -- he said later "if you look at me in photos of the early days, I'm always the one hanging back with my head down, more the musician than the frontman." So he started wearing makeup, painting his face with triangles and stars, so he would be able to hide his shyness. And it worked -- and "Brontosaurus" returned the group to the top ten. But the next single, "When Alice Comes Back to the Farm", didn't chart at all. The first album for the new Move lineup, Looking On, was to finish their contract with their current record label. Many regard it as the group's "Heavy metal album", and it's often considered the worst of their four albums, with Bev Bevan calling it "plodding", but that's as much to do with Bevan's feeling about the sessions as anything else -- increasingly, after the basic rhythm tracks had been recorded, Wood and Lynne would get to work without the other two members of the band, doing immense amounts of overdubbing.  And that continued after Looking On was finished. The group signed a new contract with EMI's new progressive rock label, Harvest, and the contract stated that they were signing as "the Move performing as The Electric Light Orchestra". They started work on two albums' worth of material, with the idea that anything with orchestral instruments would be put aside for the first Electric Light Orchestra album, while anything with just guitar, bass, drums, keyboard, and horns would be for the Move. The first Electric Light Orchestra track, indeed, was intended as a Move B-side. Lynne came in with a song based around a guitar riff, and with lyrics vaguely inspired by the TV show The Prisoner, about someone with a number instead of a name running, trying to escape, and then eventually dying.  But then Wood decided that what the track really needed was cello. But not cello played in the standard orchestral manner, but something closer to what the Beatles had done on "I am the Walrus". He'd bought a cheap cello himself, and started playing Jimi Hendrix riffs on it, and Lynne loved the sound of it, so onto the Move's basic rhythm track they overdubbed fifteen cello tracks by Wood, and also two French horns, also by Wood: [Excerpt: The Electric Light Orchestra, "10538 Overture"] The track was named "10538 Overture", after they saw the serial number 1053 on the console they were using to mix the track, and added the number 8 at the end, making 10538 the number of the character in the song. Wood and Lynne were so enamoured with the sound of their new track that they eventually got told by the other two members of the group that they had to sit in the back when the Move were driving to gigs, so they couldn't reach the tape player, because they'd just keep playing the track over and over again. So they got a portable tape player and took that into the back seat with them to play it there. After finishing some pre-existing touring commitments, the Move and Electric Light Orchestra became a purely studio group, and Rick Price quit the bands -- he needed steady touring work to feed his family, and went off to form another band, Mongrel. Around this time, Wood also took part in another strange project. After Immediate Records collapsed, Andrew Oldham needed some fast money, so he and Don Arden put together a fake group they could sign to EMI for ten thousand pounds.  The photo of the band Grunt Futtock was of some random students, and that was who Arden and Oldham told EMI was on the track, but the actual performers on the single included Roy Wood, Steve Marriott, Peter Frampton, and Andy Bown, the former keyboard player of the Herd: [Excerpt: Grunt Futtock, "Rock 'n' Roll Christian"] Nobody knows who wrote the song, although it's credited to Bernard Webb, which is a pseudonym Paul McCartney had previously used -- but everyone knew he'd used the pseudonym, so it could very easily be a nod to that. The last Move album, Message From The Country, didn't chart -- just like the previous two hadn't. But Wood's song "Tonight" made number eleven, the follow-up, "Chinatown", made number twenty-three, and then the final Move single, "California Man", a fifties rock and roll pastiche, made the top ten: [Excerpt: The Move, "California Man"] In the US, that single was flipped, and the B-side, Lynne's song "Do Ya", became the only Move song ever to make the Hot One Hundred, reaching number ninety-nine: [Excerpt: The Move, "Do Ya"] By the time "California Man" was released, the Electric Light Orchestra were well underway. They'd recorded their first album, whose biggest highlights were Lynne's "10538 Overture" and Wood's "Whisper in the Night": [Excerpt: The Electric Light Orchestra, "Whisper in the Night"] And they'd formed a touring lineup, including Richard Tandy on keyboards and several orchestral instrumentalists. Unfortunately, there were problems developing between Wood and Lynne. When the Electric Light Orchestra toured, interviewers only wanted to speak to Wood, thinking of him as the band leader, even though Wood insisted that he and Lynne were the joint leaders. And both men had started arguing a lot, to the extent that at some shows they would refuse to go on stage because of arguments as to which of them should go on first. Wood has since said that he thinks most of the problems between Lynne and himself were actually caused by Don Arden, who realised that if he split the two of them into separate acts he could have two hit groups, not one. If that was the plan, it worked, because by the time "10538 Overture" was released as the Electric Light Orchestra's first single, and made the top ten -- while "California Man" was also still in the charts -- it was announced that Roy Wood was now leaving the Electric Light Orchestra, as were keyboard playe

Joe kicks this episode off, discussing the most introspective rappers of all time (22:00). The crew also discusses Gunna being denied bail (37:00), albums of the year (1:16:00), billionaire conspiracies (1:34:50), and Juneteenth (1:42:45). Lastly, the guys cover Katt Williams's latest Netflix standup (2:01:00), the Part of the Show segment (2:36:00), and MORE!   Become a Patron of The Joe Budden Podcast for additional bonus episodes and visual content for all things J.B.P.: Tap in here www.patreon.com/JoeBudden   Sleeper Picks Joe | Dixson - “Cherry Sorbet” (Ft. Sevyn) Ice | Rucci & RJMrLA - “What If?” Parks | Boldy James & Real Bad Man - “Ain't No Bon Jovi” Ish | Usher - “Crash”