Podcasts about mcvie

ReferencesNature Metabolism.2019.VOL 1 JULY 666–675J Oncol. 2014 Dec 9;2014:524101.Nature Communications 2023. 14, # 1323 JACC Basic Transl Sci. 2023 Jul 5;8(9):1123–1137.McVie, Christie.1973 "Why" from Fleetwood Mac. "Mystery to Me" lp.https://music.youtube.com/watch?v=XBgG6FtQOCQ&si=dRAhat8i2H8V7CVNSchubert,F. 1828. Piano Sonata 22. A Major. D.959.https://music.youtube.com/watch?v=olmgg0y2o9A&si=zvaktahOQCAr9uH8

Send us a textStevie McVie celebrates the timeless classics of Stevie Nicks and Fleetwood Mac with an electrifying, heartfelt performance that goes beyond imitation. We bring a fresh energy to every show, infusing our performances with passion, precision, and just the right amount of enchantment. We met with Karen and Mike to find out if there were any Rumours about the band.Support the showPodcast edited by Paul Martin.Theme song courtesy of M&R Rush.www.rocknrollchicagopodcast.com

Happy Birthday Fats Domino!Pacific St Blues & AmericanaSpotlight on Fats DominoSupport our Show and get the word out by wearin' our gear Enjoy all our Spotlights Shows including Stevie Ray Vaughan, Johnny Cash, Johnny Winter, Jeff Beck, Muddy Waters, The Folk & Blues Roots of Led Zeppelin, Hank Williams, Elmore James, Etta James, John Hiatt, The Allman Brothers, Jimi Hendrix, and more...If you like music and trivia, try...What's the Common Thread, The Music Trivia Game1. Van Morrison / Domino2. Fats Domino / Lady Madonna3. Louis Jordan / Saturday Night Fish Fry4. Hank Ballard & the Midnighters / Let's Go, Let's Go (Thrill Upon the Hill) 5. Louis Armstrong / Blueberry Hill 6. Louis Prima & Phil Harris / I Wanna Be Like You (OST The Jungle Book) 7. Jelly Roll Morton / New Orleans Blues (the Spanish tinge) 8. Fats Domino / Blue MondayEarly Influences on Fats Domino9. Amos Milburn / Chicken Shack Boogie (Christine Perfect nee' McVie w/ 10. Charles Brown / Trouble Blues 11. Ella Fitzgerald / A Tisket, A Tasket12. Meade Lux Lewis / Doll House Boogie 13. Lloyd Price / Lawdy Miss Clawdy Hit Parade - 194914. Wynonie Harris / Good Rockin' Tonight (1948)15. Babe Ruth retires from baseball (1947) 16. Count Basie / Did You See Jackie Robinson Hit That Ball (Buddy Johnson Orchestra, 1949) 17. Sister Rosetta Tharpe / Up Above My Head (1949)16. Fats Domina / The Fat Man 17. John Lee Hooker / Boogie ChillenNew Orleans and The Big Beat (Earl Palmer & Dave Bartholomew) 18. Archibald / Stack-a-Lee (Stagger Lee)19. Little Richard / Long Tall Sally 20. Smiley Lewis / I Hear You Knocking21. Roy Brown / Let the Four Winds Blow22. Earl King /Trick Bag

Former Global sports anchor Joe Pascucci on the passing of Tom McVie, former Winnipeg Jets 1.0 head coach. Plus, Pardons Canada on how the pardon system works, Lastly, Googling symptoms do's and dont's (mostly dont's!)

The date August 12th marks two significant and big events in the life of the band Fleetwood Mac. On that date in 1967, the original band, consisting of founder Peter Green, drummer Mick Fleetwood, bassist John McVie and guitarist Jeremy Spencer, made their stage debut at the National Blues & Jazz Festival in London. This heavy blues version of the band was a far cry from the group most fans are familiar with today. Exactly 30 years later, the classic lineup of Fleetwood, McVie, Lindsey Buckingham, Stevie Nicks and Christine McVie reunited on stage for the first time in 15 years on MTV's full concert program, “The Dance.” Fleetwood Mac is a tale of many bands filled with numerous personalities who've all left an indelible mark on their sound. Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

The date August 12th marks two significant and big events in the life of the band Fleetwood Mac. On that date in 1967, the original band, consisting of founder Peter Green, drummer Mick Fleetwood, bassist John McVie and guitarist Jeremy Spencer, made their stage debut at the National Blues & Jazz Festival in London. This heavy blues version of the band was a far cry from the group most fans are familiar with today. Exactly 30 years later, the classic lineup of Fleetwood, McVie, Lindsey Buckingham, Stevie Nicks and Christine McVie reunited on stage for the first time in 15 years on MTV's full concert program, “The Dance.” Fleetwood Mac is a tale of many bands filled with numerous personalities who've all left an indelible mark on their sound. Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

Pacific St Blues & AmericanaSpotlight on Peter Green's Fleetwood Mac Blues BandJune 30, 2024Facebook Contact1. Warren Haynes w/ Grace Potter / Gold Dust Woman 2. New Pornographers / Think About Me 3. John Mayall & the Blues Breakers / Double Trouble4. Long John Baldry / Don't Try to Lay No Boogie Woogie on the The King of Rock and Roll 5. Chris Barber Jazz & Skiffle Group w/ Van Morrison / Goin' Home  6. Alexis Korner (featuring Steve Marriott & Peter Frampton with Keith Richards) / Get Off My Cloud 7. Gary Moore / The Supernatural 8. Fleetwood Mac / Fleetwood Mac9. Amos Milburn / Chick Shack 10. Christian Perfect (McVie) & Chicken Shack / I'd Rather Go Blind 11. Spencer Davis Group feat Stevie Winwood / Gimme Some Lovin'12. Santana / Black Magic Woman 13. Eric Clapton / Man of the World 14. Black Crowes & Jimmy Page / Oh Well15. Led Zeppelin / Black Dog 16. John Mayall feat Mick Taylor / Knockers Step Forward17. Vince Converse & Innes Silbun / Rattlesnake Shake18. Otis Span with Green, McVie, Kirwin / Temperature is Rising (100.2F)

The singer-musician is best known for her long stint with Fleetwood Mac, serving as co-lead singer, keyboardist and writer on many of the group's hit songs. 

Riotboy Productions presents Phonogenics 101 - the podcast where people who love music discuss albums track by track.In the era of the digital single it's important to remember the artistry of the LP.  During our Phonogenics 101 discussions we take an album we love and discuss it in detail, track by track.  Phonogenics is hosted by Tampa performer/songwriter Jeremy Gloff. Thank you to my Patreon subscribers for making this possible.  Please consider supporting this project at www.patreon.com/jeremygloff - even a couple bucks a month is awesome!Support the show

In this episode I welcome Rob McVie to the pod. Rob uses his extensive 23 years in the fitness world to support others needing help and guidance through the business he runs with his wife.Rob truly love to help others. At times on this episode he is insightful, funny, scary but most of all absorbing and a caring loving Dad.Come listen to Rob give an insight into his world and how he helps others. A great guest!!!https://www.instagram.com/robertmcviehttps://www.facebook.com/RobertMcVie.BusinessCoachhttps://youtube.com/@robmcvie8994https://www.bosscoaches.co.uk Support the showhttps://open.spotify.com/show/3iyaIzadgB909TIbjZ3HM9?si=1PRDHzuuQSSybHYr8XnhAghttps://podcasts.apple.com/gb/podcast/free4allpod/id1541456071

As Emma welcomes their new dog into the Settles family and household, they and Adrian discuss about the 1985 Berenstain Bears TV series that aired on CBS, and how it compares to the 2003 PBS Kids series that the two of them are more familiar with. Afterwards, Adrian and Emma pay tribute to Fleetwood Mac's Christine McVie by talking about their memories of the music McVie composed for the renowned rock band, just shy of what would've been her 80th birthday in 2023. Chapters00:00:00 - Intro00:12:32 - The Berenstain Bears' 1985 TV series00:54:54 - Memories of Christine McVie Follow The Sachairi & Peaches Show:Instagram: @sachairiandpeachesThreads: @sachairiandpeaches Follow Adrian:DeviantArt: @AdrianMata26Instagram: @adrianmata26 and @sachlandhubThreads: @adrianmata26 and @sachlandhubTumblr: @adrianmata26YouTube: @Sachland (Adrian Mata // Sachland) Follow Emma:DeviantArt: @LocalPeachesYouTube: @localpeachesstudios8124 (LocalPeaches Studios)

Episode 166 of A History of Rock Music in Five Hundred Songs looks at “Crossroads", Cream, the myth of Robert Johnson, and whether white men can sing the blues. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-eight-minute bonus episode available, on “Tip-Toe Thru' the Tulips" by Tiny Tim. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I talk about an interview with Clapton from 1967, I meant 1968. I mention a Graham Bond live recording from 1953, and of course meant 1963. I say Paul Jones was on vocals in the Powerhouse sessions. Steve Winwood was on vocals, and Jones was on harmonica. Resources As I say at the end, the main resource you need to get if you enjoyed this episode is Brother Robert by Annye Anderson, Robert Johnson's stepsister. There are three Mixcloud mixes this time. As there are so many songs by Cream, Robert Johnson, John Mayall, and Graham Bond excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here -- one, two, three. This article on Mack McCormick gives a fuller explanation of the problems with his research and behaviour. The other books I used for the Robert Johnson sections were McCormick's Biography of a Phantom; Up Jumped the Devil: The Real Life of Robert Johnson, by Bruce Conforth and Gayle Dean Wardlow; Searching for Robert Johnson by Peter Guralnick; and Escaping the Delta by Elijah Wald. I can recommend all of these subject to the caveats at the end of the episode. The information on the history and prehistory of the Delta blues mostly comes from Before Elvis by Larry Birnbaum, with some coming from Charley Patton by John Fahey. The information on Cream comes mostly from Cream: How Eric Clapton Took the World by Storm by Dave Thompson. I also used Ginger Baker: Hellraiser by Ginger Baker and Ginette Baker, Mr Showbiz by Stephen Dando-Collins, Motherless Child by Paul Scott, and  Alexis Korner: The Biography by Harry Shapiro. The best collection of Cream's work is the four-CD set Those Were the Days, which contains every track the group ever released while they were together (though only the stereo mixes of the albums, and a couple of tracks are in slightly different edits from the originals). You can get Johnson's music on many budget compilation records, as it's in the public domain in the EU, but the double CD collection produced by Steve LaVere for Sony in 2011 is, despite the problems that come from it being associated with LaVere, far and away the best option -- the remasters have a clarity that's worlds ahead of even the 1990s CD version it replaced. And for a good single-CD introduction to the Delta blues musicians and songsters who were Johnson's peers and inspirations, Back to the Crossroads: The Roots of Robert Johnson, compiled by Elijah Wald as a companion to his book on Johnson, can't be beaten, and contains many of the tracks excerpted in this episode. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we start, a quick note that this episode contains discussion of racism, drug addiction, and early death. There's also a brief mention of death in childbirth and infant mortality. It's been a while since we looked at the British blues movement, and at the blues in general, so some of you may find some of what follows familiar, as we're going to look at some things we've talked about previously, but from a different angle. In 1968, the Bonzo Dog Band, a comedy musical band that have been described as the missing link between the Beatles and the Monty Python team, released a track called "Can Blue Men Sing the Whites?": [Excerpt: The Bonzo Dog Band, "Can Blue Men Sing the Whites?"] That track was mocking a discussion that was very prominent in Britain's music magazines around that time. 1968 saw the rise of a *lot* of British bands who started out as blues bands, though many of them went on to different styles of music -- Fleetwood Mac, Ten Years After, Jethro Tull, Chicken Shack and others were all becoming popular among the kind of people who read the music magazines, and so the question was being asked -- can white men sing the blues? Of course, the answer to that question was obvious. After all, white men *invented* the blues. Before we get any further at all, I have to make clear that I do *not* mean that white people created blues music. But "the blues" as a category, and particularly the idea of it as a music made largely by solo male performers playing guitar... that was created and shaped by the actions of white male record executives. There is no consensus as to when or how the blues as a genre started -- as we often say in this podcast "there is no first anything", but like every genre it seems to have come from multiple sources. In the case of the blues, there's probably some influence from African music by way of field chants sung by enslaved people, possibly some influence from Arabic music as well, definitely some influence from the Irish and British folk songs that by the late nineteenth century were developing into what we now call country music, a lot from ragtime, and a lot of influence from vaudeville and minstrel songs -- which in turn themselves were all very influenced by all those other things. Probably the first published composition to show any real influence of the blues is from 1904, a ragtime piano piece by James Chapman and Leroy Smith, "One O' Them Things": [Excerpt: "One O' Them Things"] That's not very recognisable as a blues piece yet, but it is more-or-less a twelve-bar blues. But the blues developed, and it developed as a result of a series of commercial waves. The first of these came in 1914, with the success of W.C. Handy's "Memphis Blues", which when it was recorded by the Victor Military Band for a phonograph cylinder became what is generally considered the first blues record proper: [Excerpt: The Victor Military Band, "Memphis Blues"] The famous dancers Vernon and Irene Castle came up with a dance, the foxtrot -- which Vernon Castle later admitted was largely inspired by Black dancers -- to be danced to the "Memphis Blues", and the foxtrot soon overtook the tango, which the Castles had introduced to the US the previous year, to become the most popular dance in America for the best part of three decades. And with that came an explosion in blues in the Handy style, cranked out by every music publisher. While the blues was a style largely created by Black performers and writers, the segregated nature of the American music industry at the time meant that most vocal performances of these early blues that were captured on record were by white performers, Black vocalists at this time only rarely getting the chance to record. The first blues record with a Black vocalist is also technically the first British blues record. A group of Black musicians, apparently mostly American but led by a Jamaican pianist, played at Ciro's Club in London, and recorded many tracks in Britain, under a name which I'm not going to say in full -- it started with Ciro's Club, and continued alliteratively with another word starting with C, a slur for Black people. In 1917 they recorded a vocal version of "St. Louis Blues", another W.C. Handy composition: [Excerpt: Ciro's Club C**n Orchestra, "St. Louis Blues"] The first American Black blues vocal didn't come until two years later, when Bert Williams, a Black minstrel-show performer who like many Black performers of his era performed in blackface even though he was Black, recorded “I'm Sorry I Ain't Got It You Could Have It If I Had It Blues,” [Excerpt: Bert Williams, "I'm Sorry I Ain't Got It You Could Have It If I Had It Blues,”] But it wasn't until 1920 that the second, bigger, wave of popularity started for the blues, and this time it started with the first record of a Black *woman* singing the blues -- Mamie Smith's "Crazy Blues": [Excerpt: Mamie Smith, "Crazy Blues"] You can hear the difference between that and anything we've heard up to that point -- that's the first record that anyone from our perspective, a hundred and three years later, would listen to and say that it bore any resemblance to what we think of as the blues -- so much so that many places still credit it as the first ever blues record. And there's a reason for that. "Crazy Blues" was one of those records that separates the music industry into before and after, like "Rock Around the Clock", "I Want to Hold Your Hand", Sgt Pepper, or "Rapper's Delight". It sold seventy-five thousand copies in its first month -- a massive number by the standards of 1920 -- and purportedly went on to sell over a million copies. Sales figures and market analysis weren't really a thing in the same way in 1920, but even so it became very obvious that "Crazy Blues" was a big hit, and that unlike pretty much any other previous records, it was a big hit among Black listeners, which meant that there was a market for music aimed at Black people that was going untapped. Soon all the major record labels were setting up subsidiaries devoted to what they called "race music", music made by and for Black people. And this sees the birth of what is now known as "classic blues", but at the time (and for decades after) was just what people thought of when they thought of "the blues" as a genre. This was music primarily sung by female vaudeville artists backed by jazz bands, people like Ma Rainey (whose earliest recordings featured Louis Armstrong in her backing band): [Excerpt: Ma Rainey, "See See Rider Blues"] And Bessie Smith, the "Empress of the Blues", who had a massive career in the 1920s before the Great Depression caused many of these "race record" labels to fold, but who carried on performing well into the 1930s -- her last recording was in 1933, produced by John Hammond, with a backing band including Benny Goodman and Jack Teagarden: [Excerpt: Bessie Smith, "Give Me a Pigfoot and a Bottle of Beer"] It wouldn't be until several years after the boom started by Mamie Smith that any record companies turned to recording Black men singing the blues accompanied by guitar or banjo. The first record of this type is probably "Norfolk Blues" by Reese DuPree from 1924: [Excerpt: Reese DuPree, "Norfolk Blues"] And there were occasional other records of this type, like "Airy Man Blues" by Papa Charlie Jackson, who was advertised as the “only man living who sings, self-accompanied, for Blues records.” [Excerpt: Papa Charlie Jackson, "Airy Man Blues"] But contrary to the way these are seen today, at the time they weren't seen as being in some way "authentic", or "folk music". Indeed, there are many quotes from folk-music collectors of the time (sadly all of them using so many slurs that it's impossible for me to accurately quote them) saying that when people sang the blues, that wasn't authentic Black folk music at all but an adulteration from commercial music -- they'd clearly, according to these folk-music scholars, learned the blues style from records and sheet music rather than as part of an oral tradition. Most of these performers were people who recorded blues as part of a wider range of material, like Blind Blake, who recorded some blues music but whose best work was his ragtime guitar instrumentals: [Excerpt: Blind Blake, "Southern Rag"] But it was when Blind Lemon Jefferson started recording for Paramount records in 1926 that the image of the blues as we now think of it took shape. His first record, "Got the Blues", was a massive success: [Excerpt: Blind Lemon Jefferson, "Got the Blues"] And this resulted in many labels, especially Paramount, signing up pretty much every Black man with a guitar they could find in the hopes of finding another Blind Lemon Jefferson. But the thing is, this generation of people making blues records, and the generation that followed them, didn't think of themselves as "blues singers" or "bluesmen". They were songsters. Songsters were entertainers, and their job was to sing and play whatever the audiences would want to hear. That included the blues, of course, but it also included... well, every song anyone would want to hear.  They'd perform old folk songs, vaudeville songs, songs that they'd heard on the radio or the jukebox -- whatever the audience wanted. Robert Johnson, for example, was known to particularly love playing polka music, and also adored the records of Jimmie Rodgers, the first country music superstar. In 1941, when Alan Lomax first recorded Muddy Waters, he asked Waters what kind of songs he normally played in performances, and he was given a list that included "Home on the Range", Gene Autry's "I've Got Spurs That Jingle Jangle Jingle", and Glenn Miller's "Chattanooga Choo-Choo". We have few recordings of these people performing this kind of song though. One of the few we have is Big Bill Broonzy, who was just about the only artist of this type not to get pigeonholed as just a blues singer, even though blues is what made him famous, and who later in his career managed to record songs like the Tin Pan Alley standard "The Glory of Love": [Excerpt: Big Bill Broonzy, "The Glory of Love"] But for the most part, the image we have of the blues comes down to one man, Arthur Laibley, a sales manager for the Wisconsin Chair Company. The Wisconsin Chair Company was, as the name would suggest, a company that started out making wooden chairs, but it had branched out into other forms of wooden furniture -- including, for a brief time, large wooden phonographs. And, like several other manufacturers, like the Radio Corporation of America -- RCA -- and the Gramophone Company, which became EMI, they realised that if they were going to sell the hardware it made sense to sell the software as well, and had started up Paramount Records, which bought up a small label, Black Swan, and soon became the biggest manufacturer of records for the Black market, putting out roughly a quarter of all "race records" released between 1922 and 1932. At first, most of these were produced by a Black talent scout, J. Mayo Williams, who had been the first person to record Ma Rainey, Papa Charlie Jackson, and Blind Lemon Jefferson, but in 1927 Williams left Paramount, and the job of supervising sessions went to Arthur Laibley, though according to some sources a lot of the actual production work was done by Aletha Dickerson, Williams' former assistant, who was almost certainly the first Black woman to be what we would now think of as a record producer. Williams had been interested in recording all kinds of music by Black performers, but when Laibley got a solo Black man into the studio, what he wanted more than anything was for him to record the blues, ideally in a style as close as possible to that of Blind Lemon Jefferson. Laibley didn't have a very hands-on approach to recording -- indeed Paramount had very little concern about the quality of their product anyway, and Paramount's records are notorious for having been put out on poor-quality shellac and recorded badly -- and he only occasionally made actual suggestions as to what kind of songs his performers should write -- for example he asked Son House to write something that sounded like Blind Lemon Jefferson, which led to House writing and recording "Mississippi County Farm Blues", which steals the tune of Jefferson's "See That My Grave is Kept Clean": [Excerpt: Son House, "Mississippi County Farm Blues"] When Skip James wanted to record a cover of James Wiggins' "Forty-Four Blues", Laibley suggested that instead he should do a song about a different gun, and so James recorded "Twenty-Two Twenty Blues": [Excerpt: Skip James, "Twenty-Two Twenty Blues"] And Laibley also suggested that James write a song about the Depression, which led to one of the greatest blues records ever, "Hard Time Killing Floor Blues": [Excerpt: Skip James, "Hard Time Killing Floor Blues"] These musicians knew that they were getting paid only for issued sides, and that Laibley wanted only blues from them, and so that's what they gave him. Even when it was a performer like Charlie Patton. (Incidentally, for those reading this as a transcript rather than listening to it, Patton's name is more usually spelled ending in ey, but as far as I can tell ie was his preferred spelling and that's what I'm using). Charlie Patton was best known as an entertainer, first and foremost -- someone who would do song-and-dance routines, joke around, play guitar behind his head. He was a clown on stage, so much so that when Son House finally heard some of Patton's records, in the mid-sixties, decades after the fact, he was astonished that Patton could actually play well. Even though House had been in the room when some of the records were made, his memory of Patton was of someone who acted the fool on stage. That's definitely not the impression you get from the Charlie Patton on record: [Excerpt: Charlie Patton, "Poor Me"] Patton is, as far as can be discerned, the person who was most influential in creating the music that became called the "Delta blues". Not a lot is known about Patton's life, but he was almost certainly the half-brother of the Chatmon brothers, who made hundreds of records, most notably as members of the Mississippi Sheiks: [Excerpt: The Mississippi Sheiks, "Sitting on Top of the World"] In the 1890s, Patton's family moved to Sunflower County, Mississippi, and he lived in and around that county until his death in 1934. Patton learned to play guitar from a musician called Henry Sloan, and then Patton became a mentor figure to a *lot* of other musicians in and around the plantation on which his family lived. Some of the musicians who grew up in the immediate area around Patton included Tommy Johnson: [Excerpt: Tommy Johnson, "Big Road Blues"] Pops Staples: [Excerpt: The Staple Singers, "Will The Circle Be Unbroken"] Robert Johnson: [Excerpt: Robert Johnson, "Crossroads"] Willie Brown, a musician who didn't record much, but who played a lot with Patton, Son House, and Robert Johnson and who we just heard Johnson sing about: [Excerpt: Willie Brown, "M&O Blues"] And Chester Burnett, who went on to become known as Howlin' Wolf, and whose vocal style was equally inspired by Patton and by the country star Jimmie Rodgers: [Excerpt: Howlin' Wolf, "Smokestack Lightnin'"] Once Patton started his own recording career for Paramount, he also started working as a talent scout for them, and it was him who brought Son House to Paramount. Soon after the Depression hit, Paramount stopped recording, and so from 1930 through 1934 Patton didn't make any records. He was tracked down by an A&R man in January 1934 and recorded one final session: [Excerpt, Charlie Patton, "34 Blues"] But he died of heart failure two months later. But his influence spread through his proteges, and they themselves influenced other musicians from the area who came along a little after, like Robert Lockwood and Muddy Waters. This music -- or that portion of it that was considered worth recording by white record producers, only a tiny, unrepresentative, portion of their vast performing repertoires -- became known as the Delta Blues, and when some of these musicians moved to Chicago and started performing with electric instruments, it became Chicago Blues. And as far as people like John Mayall in Britain were concerned, Delta and Chicago Blues *were* the blues: [Excerpt: John Mayall and the Bluesbreakers, "It Ain't Right"] John Mayall was one of the first of the British blues obsessives, and for a long time thought of himself as the only one. While we've looked before at the growth of the London blues scene, Mayall wasn't from London -- he was born in Macclesfield and grew up in Cheadle Hulme, both relatively well-off suburbs of Manchester, and after being conscripted and doing two years in the Army, he had become an art student at Manchester College of Art, what is now Manchester Metropolitan University. Mayall had been a blues fan from the late 1940s, writing off to the US to order records that hadn't been released in the UK, and by most accounts by the late fifties he'd put together the biggest blues collection in Britain by quite some way. Not only that, but he had one of the earliest home tape recorders, and every night he would record radio stations from Continental Europe which were broadcasting for American service personnel, so he'd amassed mountains of recordings, often unlabelled, of obscure blues records that nobody else in the UK knew about. He was also an accomplished pianist and guitar player, and in 1956 he and his drummer friend Peter Ward had put together a band called the Powerhouse Four (the other two members rotated on a regular basis) mostly to play lunchtime jazz sessions at the art college. Mayall also started putting on jam sessions at a youth club in Wythenshawe, where he met another drummer named Hughie Flint. Over the late fifties and into the early sixties, Mayall more or less by himself built up a small blues scene in Manchester. The Manchester blues scene was so enthusiastic, in fact, that when the American Folk Blues Festival, an annual European tour which initially featured Willie Dixon, Memhis Slim, T-Bone Walker, Sonny Terry & Brownie McGhee, and John Lee Hooker, first toured Europe, the only UK date it played was at the Manchester Free Trade Hall, and people like Mick Jagger, Keith Richards, Brian Jones and Jimmy Page had to travel up from London to see it. But still, the number of blues fans in Manchester, while proportionally large, was objectively small enough that Mayall was captivated by an article in Melody Maker which talked about Alexis Korner and Cyril Davies' new band Blues Incorporated and how it was playing electric blues, the same music he was making in Manchester. He later talked about how the article had made him think that maybe now people would know what he was talking about. He started travelling down to London to play gigs for the London blues scene, and inviting Korner up to Manchester to play shows there. Soon Mayall had moved down to London. Korner introduced Mayall to Davey Graham, the great folk guitarist, with whom Korner had recently recorded as a duo: [Excerpt: Alexis Korner and Davey Graham, "3/4 AD"] Mayall and Graham performed together as a duo for a while, but Graham was a natural solo artist if ever there was one. Slowly Mayall put a band together in London. On drums was his old friend Peter Ward, who'd moved down from Manchester with him. On bass was John McVie, who at the time knew nothing about blues -- he'd been playing in a Shadows-style instrumental group -- but Mayall gave him a stack of blues records to listen to to get the feeling. And on guitar was Bernie Watson, who had previously played with Screaming Lord Sutch and the Savages. In late 1963, Mike Vernon, a blues fan who had previously published a Yardbirds fanzine, got a job working for Decca records, and immediately started signing his favourite acts from the London blues circuit. The first act he signed was John Mayall and the Bluesbreakers, and they recorded a single, "Crawling up a Hill": [Excerpt: John Mayall and the Bluesbreakers, "Crawling up a Hill (45 version)"] Mayall later called that a "clumsy, half-witted attempt at autobiographical comment", and it sold only five hundred copies. It would be the only record the Bluesbreakers would make with Watson, who soon left the band to be replaced by Roger Dean (not the same Roger Dean who later went on to design prog rock album covers). The second group to be signed by Mike Vernon to Decca was the Graham Bond Organisation. We've talked about the Graham Bond Organisation in passing several times, but not for a while and not in any great detail, so it's worth pulling everything we've said about them so far together and going through it in a little more detail. The Graham Bond Organisation, like the Rolling Stones, grew out of Alexis Korner's Blues Incorporated. As we heard in the episode on "I Wanna Be Your Man" a couple of years ago, Blues Incorporated had been started by Alexis Korner and Cyril Davies, and at the time we're joining them in 1962 featured a drummer called Charlie Watts, a pianist called Dave Stevens, and saxophone player Dick Heckstall-Smith, as well as frequent guest performers like a singer who called himself Mike Jagger, and another one, Roderick Stewart. That group finally found themselves the perfect bass player when Dick Heckstall-Smith put together a one-off group of jazz players to play an event at Cambridge University. At the gig, a little Scottish man came up to the group and told them he played bass and asked if he could sit in. They told him to bring along his instrument to their second set, that night, and he did actually bring along a double bass. Their bluff having been called, they decided to play the most complicated, difficult, piece they knew in order to throw the kid off -- the drummer, a trad jazz player named Ginger Baker, didn't like performing with random sit-in guests -- but astonishingly he turned out to be really good. Heckstall-Smith took down the bass player's name and phone number and invited him to a jam session with Blues Incorporated. After that jam session, Jack Bruce quickly became the group's full-time bass player. Bruce had started out as a classical cellist, but had switched to the double bass inspired by Bach, who he referred to as "the guv'nor of all bass players". His playing up to this point had mostly been in trad jazz bands, and he knew nothing of the blues, but he quickly got the hang of the genre. Bruce's first show with Blues Incorporated was a BBC recording: [Excerpt: Blues Incorporated, "Hoochie Coochie Man (BBC session)"] According to at least one source it was not being asked to take part in that session that made young Mike Jagger decide there was no future for him with Blues Incorporated and to spend more time with his other group, the Rollin' Stones. Soon after, Charlie Watts would join him, for almost the opposite reason -- Watts didn't want to be in a band that was getting as big as Blues Incorporated were. They were starting to do more BBC sessions and get more gigs, and having to join the Musicians' Union. That seemed like a lot of work. Far better to join a band like the Rollin' Stones that wasn't going anywhere. Because of Watts' decision to give up on potential stardom to become a Rollin' Stone, they needed a new drummer, and luckily the best drummer on the scene was available. But then the best drummer on the scene was *always* available. Ginger Baker had first played with Dick Heckstall-Smith several years earlier, in a trad group called the Storyville Jazzmen. There Baker had become obsessed with the New Orleans jazz drummer Baby Dodds, who had played with Louis Armstrong in the 1920s. Sadly because of 1920s recording technology, he hadn't been able to play a full kit on the recordings with Armstrong, being limited to percussion on just a woodblock, but you can hear his drumming style much better in this version of "At the Jazz Band Ball" from 1947, with Mugsy Spanier, Jack Teagarden, Cyrus St. Clair and Hank Duncan: [Excerpt: "At the Jazz Band Ball"] Baker had taken Dobbs' style and run with it, and had quickly become known as the single best player, bar none, on the London jazz scene -- he'd become an accomplished player in multiple styles, and was also fluent in reading music and arranging. He'd also, though, become known as the single person on the entire scene who was most difficult to get along with. He resigned from his first band onstage, shouting "You can stick your band up your arse", after the band's leader had had enough of him incorporating bebop influences into their trad style. Another time, when touring with Diz Disley's band, he was dumped in Germany with no money and no way to get home, because the band were so sick of him. Sometimes this was because of his temper and his unwillingness to suffer fools -- and he saw everyone else he ever met as a fool -- and sometimes it was because of his own rigorous musical ideas. He wanted to play music *his* way, and wouldn't listen to anyone who told him different. Both of these things got worse after he fell under the influence of a man named Phil Seaman, one of the only drummers that Baker respected at all. Seaman introduced Baker to African drumming, and Baker started incorporating complex polyrhythms into his playing as a result. Seaman also though introduced Baker to heroin, and while being a heroin addict in the UK in the 1960s was not as difficult as it later became -- both heroin and cocaine were available on prescription to registered addicts, and Baker got both, which meant that many of the problems that come from criminalisation of these drugs didn't affect addicts in the same way -- but it still did not, by all accounts, make him an easier person to get along with. But he *was* a fantastic drummer. As Dick Heckstall-Smith said "With the advent of Ginger, the classic Blues Incorporated line-up, one which I think could not be bettered, was set" But Alexis Korner decided that the group could be bettered, and he had some backers within the band. One of the other bands on the scene was the Don Rendell Quintet, a group that played soul jazz -- that style of jazz that bridged modern jazz and R&B, the kind of music that Ray Charles and Herbie Hancock played: [Excerpt: The Don Rendell Quintet, "Manumission"] The Don Rendell Quintet included a fantastic multi-instrumentalist, Graham Bond, who doubled on keyboards and saxophone, and Bond had been playing occasional experimental gigs with the Johnny Burch Octet -- a group led by another member of the Rendell Quartet featuring Heckstall-Smith, Bruce, Baker, and a few other musicians, doing wholly-improvised music. Heckstall-Smith, Bruce, and Baker all enjoyed playing with Bond, and when Korner decided to bring him into the band, they were all very keen. But Cyril Davies, the co-leader of the band with Korner, was furious at the idea. Davies wanted to play strict Chicago and Delta blues, and had no truck with other forms of music like R&B and jazz. To his mind it was bad enough that they had a sax player. But the idea that they would bring in Bond, who played sax and... *Hammond* organ? Well, that was practically blasphemy. Davies quit the group at the mere suggestion. Bond was soon in the band, and he, Bruce, and Baker were playing together a *lot*. As well as performing with Blues Incorporated, they continued playing in the Johnny Burch Octet, and they also started performing as the Graham Bond Trio. Sometimes the Graham Bond Trio would be Blues Incorporated's opening act, and on more than one occasion the Graham Bond Trio, Blues Incorporated, and the Johnny Burch Octet all had gigs in different parts of London on the same night and they'd have to frantically get from one to the other. The Graham Bond Trio also had fans in Manchester, thanks to the local blues scene there and their connection with Blues Incorporated, and one night in February 1963 the trio played a gig there. They realised afterwards that by playing as a trio they'd made £70, when they were lucky to make £20 from a gig with Blues Incorporated or the Octet, because there were so many members in those bands. Bond wanted to make real money, and at the next rehearsal of Blues Incorporated he announced to Korner that he, Bruce, and Baker were quitting the band -- which was news to Bruce and Baker, who he hadn't bothered consulting. Baker, indeed, was in the toilet when the announcement was made and came out to find it a done deal. He was going to kick up a fuss and say he hadn't been consulted, but Korner's reaction sealed the deal. As Baker later said "‘he said “it's really good you're doing this thing with Graham, and I wish you the best of luck” and all that. And it was a bit difficult to turn round and say, “Well, I don't really want to leave the band, you know.”'" The Graham Bond Trio struggled at first to get the gigs they were expecting, but that started to change when in April 1963 they became the Graham Bond Quartet, with the addition of virtuoso guitarist John McLaughlin. The Quartet soon became one of the hottest bands on the London R&B scene, and when Duffy Power, a Larry Parnes teen idol who wanted to move into R&B, asked his record label to get him a good R&B band to back him on a Beatles cover, it was the Graham Bond Quartet who obliged: [Excerpt: Duffy Power, "I Saw Her Standing There"] The Quartet also backed Power on a package tour with other Parnes acts, but they were also still performing their own blend of hard jazz and blues, as can be heard in this recording of the group live in June 1953: [Excerpt: The Graham Bond Quartet, "Ho Ho Country Kicking Blues (Live at Klooks Kleek)"] But that lineup of the group didn't last very long. According to the way Baker told the story, he fired McLaughlin from the group, after being irritated by McLaughlin complaining about something on a day when Baker was out of cocaine and in no mood to hear anyone else's complaints. As Baker said "We lost a great guitar player and I lost a good friend." But the Trio soon became a Quartet again, as Dick Heckstall-Smith, who Baker had wanted in the band from the start, joined on saxophone to replace McLaughlin's guitar. But they were no longer called the Graham Bond Quartet. Partly because Heckstall-Smith joining allowed Bond to concentrate just on his keyboard playing, but one suspects partly to protect against any future lineup changes, the group were now The Graham Bond ORGANisation -- emphasis on the organ. The new lineup of the group got signed to Decca by Vernon, and were soon recording their first single, "Long Tall Shorty": [Excerpt: The Graham Bond Organisation, "Long Tall Shorty"] They recorded a few other songs which made their way onto an EP and an R&B compilation, and toured intensively in early 1964, as well as backing up Power on his follow-up to "I Saw Her Standing There", his version of "Parchman Farm": [Excerpt: Duffy Power, "Parchman Farm"] They also appeared in a film, just like the Beatles, though it was possibly not quite as artistically successful as "A Hard Day's Night": [Excerpt: Gonks Go Beat trailer] Gonks Go Beat is one of the most bizarre films of the sixties. It's a far-future remake of Romeo and Juliet. where the two star-crossed lovers are from opposing countries -- Beatland and Ballad Isle -- who only communicate once a year in an annual song contest which acts as their version of a war, and is overseen by "Mr. A&R", played by Frank Thornton, who would later star in Are You Being Served? Carry On star Kenneth Connor is sent by aliens to try to bring peace to the two warring countries, on pain of exile to Planet Gonk, a planet inhabited solely by Gonks (a kind of novelty toy for which there was a short-lived craze then). Along the way Connor encounters such luminaries of British light entertainment as Terry Scott and Arthur Mullard, as well as musical performances by Lulu, the Nashville Teens, and of course the Graham Bond Organisation, whose performance gets them a telling-off from a teacher: [Excerpt: Gonks Go Beat!] The group as a group only performed one song in this cinematic masterpiece, but Baker also made an appearance in a "drum battle" sequence where eight drummers played together: [Excerpt: Gonks Go Beat drum battle] The other drummers in that scene included, as well as some lesser-known players, Andy White who had played on the single version of "Love Me Do", Bobby Graham, who played on hits by the Kinks and the Dave Clark Five, and Ronnie Verrell, who did the drumming for Animal in the Muppet Show. Also in summer 1964, the group performed at the Fourth National Jazz & Blues Festival in Richmond -- the festival co-founded by Chris Barber that would evolve into the Reading Festival. The Yardbirds were on the bill, and at the end of their set they invited Bond, Baker, Bruce, Georgie Fame, and Mike Vernon onto the stage with them, making that the first time that Eric Clapton, Ginger Baker, and Jack Bruce were all on stage together. Soon after that, the Graham Bond Organisation got a new manager, Robert Stigwood. Things hadn't been working out for them at Decca, and Stigwood soon got the group signed to EMI, and became their producer as well. Their first single under Stigwood's management was a cover version of the theme tune to the Debbie Reynolds film "Tammy". While that film had given Tamla records its name, the song was hardly an R&B classic: [Excerpt: The Graham Bond Organisation, "Tammy"] That record didn't chart, but Stigwood put the group out on the road as part of the disastrous Chuck Berry tour we heard about in the episode on "All You Need is Love", which led to the bankruptcy of  Robert Stigwood Associates. The Organisation moved over to Stigwood's new company, the Robert Stigwood Organisation, and Stigwood continued to be the credited producer of their records, though after the "Tammy" disaster they decided they were going to take charge themselves of the actual music. Their first album, The Sound of 65, was recorded in a single three-hour session, and they mostly ran through their standard set -- a mixture of the same songs everyone else on the circuit was playing, like "Hoochie Coochie Man", "Got My Mojo Working", and "Wade in the Water", and originals like Bruce's "Train Time": [Excerpt: The Graham Bond Organisation, "Train Time"] Through 1965 they kept working. They released a non-album single, "Lease on Love", which is generally considered to be the first pop record to feature a Mellotron: [Excerpt: The Graham Bond Organisation, "Lease on Love"] and Bond and Baker also backed another Stigwood act, Winston G, on his debut single: [Excerpt: Winston G, "Please Don't Say"] But the group were developing severe tensions. Bruce and Baker had started out friendly, but by this time they hated each other. Bruce said he couldn't hear his own playing over Baker's loud drumming, Baker thought that Bruce was far too fussy a player and should try to play simpler lines. They'd both try to throw each other during performances, altering arrangements on the fly and playing things that would trip the other player up. And *neither* of them were particularly keen on Bond's new love of the Mellotron, which was all over their second album, giving it a distinctly proto-prog feel at times: [Excerpt: The Graham Bond Organisation, "Baby Can it Be True?"] Eventually at a gig in Golders Green, Baker started throwing drumsticks at Bruce's head while Bruce was trying to play a bass solo. Bruce retaliated by throwing his bass at Baker, and then jumping on him and starting a fistfight which had to be broken up by the venue security. Baker fired Bruce from the band, but Bruce kept turning up to gigs anyway, arguing that Baker had no right to sack him as it was a democracy. Baker always claimed that in fact Bond had wanted to sack Bruce but hadn't wanted to get his hands dirty, and insisted that Baker do it, but neither Bond nor Heckstall-Smith objected when Bruce turned up for the next couple of gigs. So Baker took matters into his own hands, He pulled out a knife and told Bruce "If you show up at one more gig, this is going in you." Within days, Bruce was playing with John Mayall, whose Bluesbreakers had gone through some lineup changes by this point. Roger Dean had only played with the Bluesbreakers for a short time before Mayall had replaced him. Mayall had not been impressed with Eric Clapton's playing with the Yardbirds at first -- even though graffiti saying "Clapton is God" was already starting to appear around London -- but he had been *very* impressed with Clapton's playing on "Got to Hurry", the B-side to "For Your Love": [Excerpt: The Yardbirds, "Got to Hurry"] When he discovered that Clapton had quit the band, he sprang into action and quickly recruited him to replace Dean. Clapton knew he had made the right choice when a month after he'd joined, the group got the word that Bob Dylan had been so impressed with Mayall's single "Crawling up a Hill" -- the one that nobody liked, not even Mayall himself -- that he wanted to jam with Mayall and his band in the studio. Clapton of course went along: [Excerpt: Bob Dylan and the Bluesbreakers, "If You Gotta Go, Go Now"] That was, of course, the session we've talked about in the Velvet Underground episode and elsewhere of which little other than that survives, and which Nico attended. At this point, Mayall didn't have a record contract, his experience recording with Mike Vernon having been no more successful than the Bond group's had been. But soon he got a one-off deal -- as a solo artist, not with the Bluesbreakers -- with Immediate Records. Clapton was the only member of the group to play on the single, which was produced by Immediate's house producer Jimmy Page: [Excerpt: John Mayall, "I'm Your Witchdoctor"] Page was impressed enough with Clapton's playing that he invited him round to Page's house to jam together. But what Clapton didn't know was that Page was taping their jam sessions, and that he handed those tapes over to Immediate Records -- whether he was forced to by his contract with the label or whether that had been his plan all along depends on whose story you believe, but Clapton never truly forgave him. Page and Clapton's guitar-only jams had overdubs by Bill Wyman, Ian Stewart, and drummer Chris Winter, and have been endlessly repackaged on blues compilations ever since: [Excerpt: Jimmy Page and Eric Clapton, "Draggin' My Tail"] But Mayall was having problems with John McVie, who had started to drink too much, and as soon as he found out that Jack Bruce was sacked by the Graham Bond Organisation, Mayall got in touch with Bruce and got him to join the band in McVie's place. Everyone was agreed that this lineup of the band -- Mayall, Clapton, Bruce, and Hughie Flint -- was going places: [Excerpt: John Mayall's Bluesbreakers with Jack Bruce, "Hoochie Coochie Man"] Unfortunately, it wasn't going to last long. Clapton, while he thought that Bruce was the greatest bass player he'd ever worked with, had other plans. He was going to leave the country and travel the world as a peripatetic busker. He was off on his travels, never to return. Luckily, Mayall had someone even better waiting in the wings. A young man had, according to Mayall, "kept coming down to all the gigs and saying, “Hey, what are you doing with him?” – referring to whichever guitarist was onstage that night – “I'm much better than he is. Why don't you let me play guitar for you?” He got really quite nasty about it, so finally, I let him sit in. And he was brilliant." Peter Green was probably the best blues guitarist in London at that time, but this lineup of the Bluesbreakers only lasted a handful of gigs -- Clapton discovered that busking in Greece wasn't as much fun as being called God in London, and came back very soon after he'd left. Mayall had told him that he could have his old job back when he got back, and so Green was out and Clapton was back in. And soon the Bluesbreakers' revolving door revolved again. Manfred Mann had just had a big hit with "If You Gotta Go, Go Now", the same song we heard Dylan playing earlier: [Excerpt: Manfred Mann, "If You Gotta Go, Go Now"] But their guitarist, Mike Vickers, had quit. Tom McGuinness, their bass player, had taken the opportunity to switch back to guitar -- the instrument he'd played in his first band with his friend Eric Clapton -- but that left them short a bass player. Manfred Mann were essentially the same kind of band as the Graham Bond Organisation -- a Hammond-led group of virtuoso multi-instrumentalists who played everything from hardcore Delta blues to complex modern jazz -- but unlike the Bond group they also had a string of massive pop hits, and so made a lot more money. The combination was irresistible to Bruce, and he joined the band just before they recorded an EP of jazz instrumental versions of recent hits: [Excerpt: Manfred Mann, "(I Can't Get No) Satisfaction"] Bruce had also been encouraged by Robert Stigwood to do a solo project, and so at the same time as he joined Manfred Mann, he also put out a solo single, "Drinkin' and Gamblin'" [Excerpt: Jack Bruce, "Drinkin' and Gamblin'"] But of course, the reason Bruce had joined Manfred Mann was that they were having pop hits as well as playing jazz, and soon they did just that, with Bruce playing on their number one hit "Pretty Flamingo": [Excerpt: Manfred Mann, "Pretty Flamingo"] So John McVie was back in the Bluesbreakers, promising to keep his drinking under control. Mike Vernon still thought that Mayall had potential, but the people at Decca didn't agree, so Vernon got Mayall and Clapton -- but not the other band members -- to record a single for a small indie label he ran as a side project: [Excerpt: John Mayall and Eric Clapton, "Bernard Jenkins"] That label normally only released records in print runs of ninety-nine copies, because once you hit a hundred copies you had to pay tax on them, but there was so much demand for that single that they ended up pressing up five hundred copies, making it the label's biggest seller ever. Vernon eventually convinced the heads at Decca that the Bluesbreakers could be truly big, and so he got the OK to record the album that would generally be considered the greatest British blues album of all time -- Blues Breakers, also known as the Beano album because of Clapton reading a copy of the British kids' comic The Beano in the group photo on the front. [Excerpt: John Mayall with Eric Clapton, "Ramblin' On My Mind"] The album was a mixture of originals by Mayall and the standard repertoire of every blues or R&B band on the circuit -- songs like "Parchman Farm" and "What'd I Say" -- but what made the album unique was Clapton's guitar tone. Much to the chagrin of Vernon, and of engineer Gus Dudgeon, Clapton insisted on playing at the same volume that he would on stage. Vernon later said of Dudgeon "I can remember seeing his face the very first time Clapton plugged into the Marshall stack and turned it up and started playing at the sort of volume he was going to play. You could almost see Gus's eyes meet over the middle of his nose, and it was almost like he was just going to fall over from the sheer power of it all. But after an enormous amount of fiddling around and moving amps around, we got a sound that worked." [Excerpt: John Mayall with Eric Clapton, "Hideaway"] But by the time the album cane out. Clapton was no longer with the Bluesbreakers. The Graham Bond Organisation had struggled on for a while after Bruce's departure. They brought in a trumpet player, Mike Falana, and even had a hit record -- or at least, the B-side of a hit record. The Who had just put out a hit single, "Substitute", on Robert Stigwood's record label, Reaction: [Excerpt: The Who, "Substitute"] But, as you'll hear in episode 183, they had moved to Reaction Records after a falling out with their previous label, and with Shel Talmy their previous producer. The problem was, when "Substitute" was released, it had as its B-side a song called "Circles" (also known as "Instant Party -- it's been released under both names). They'd recorded an earlier version of the song for Talmy, and just as "Substitute" was starting to chart, Talmy got an injunction against the record and it had to be pulled. Reaction couldn't afford to lose the big hit record they'd spent money promoting, so they needed to put it out with a new B-side. But the Who hadn't got any unreleased recordings. But the Graham Bond Organisation had, and indeed they had an unreleased *instrumental*. So "Waltz For a Pig" became the B-side to a top-five single, credited to The Who Orchestra: [Excerpt: The Who Orchestra, "Waltz For a Pig"] That record provided the catalyst for the formation of Cream, because Ginger Baker had written the song, and got £1,350 for it, which he used to buy a new car. Baker had, for some time, been wanting to get out of the Graham Bond Organisation. He was trying to get off heroin -- though he would make many efforts to get clean over the decades, with little success -- while Bond was starting to use it far more heavily, and was also using acid and getting heavily into mysticism, which Baker despised. Baker may have had the idea for what he did next from an article in one of the music papers. John Entwistle of the Who would often tell a story about an article in Melody Maker -- though I've not been able to track down the article itself to get the full details -- in which musicians were asked to name which of their peers they'd put into a "super-group". He didn't remember the full details, but he did remember that the consensus choice had had Eric Clapton on lead guitar, himself on bass, and Ginger Baker on drums. As he said later "I don't remember who else was voted in, but a few months later, the Cream came along, and I did wonder if somebody was maybe believing too much of their own press". Incidentally, like The Buffalo Springfield and The Pink Floyd, Cream, the band we are about to meet, had releases both with and without the definite article, and Eric Clapton at least seems always to talk about them as "the Cream" even decades later, but they're primarily known as just Cream these days. Baker, having had enough of the Bond group, decided to drive up to Oxford to see Clapton playing with the Bluesbreakers. Clapton invited him to sit in for a couple of songs, and by all accounts the band sounded far better than they had previously. Clapton and Baker could obviously play well together, and Baker offered Clapton a lift back to London in his new car, and on the drive back asked Clapton if he wanted to form a new band. Clapton was as impressed by Baker's financial skills as he was by his musicianship. He said later "Musicians didn't have cars. You all got in a van." Clearly a musician who was *actually driving a new car he owned* was going places. He agreed to Baker's plan. But of course they needed a bass player, and Clapton thought he had the perfect solution -- "What about Jack?" Clapton knew that Bruce had been a member of the Graham Bond Organisation, but didn't know why he'd left the band -- he wasn't particularly clued in to what the wider music scene was doing, and all he knew was that Bruce had played with both him and Baker, and that he was the best bass player he'd ever played with. And Bruce *was* arguably the best bass player in London at that point, and he was starting to pick up session work as well as his work with Manfred Mann. For example it's him playing on the theme tune to "After The Fox" with Peter Sellers, the Hollies, and the song's composer Burt Bacharach: [Excerpt: The Hollies with Peter Sellers, "After the Fox"] Clapton was insistent. Baker's idea was that the band should be the best musicians around. That meant they needed the *best* musicians around, not the second best. If Jack Bruce wasn't joining, Eric Clapton wasn't joining either. Baker very reluctantly agreed, and went round to see Bruce the next day -- according to Baker it was in a spirit of generosity and giving Bruce one more chance, while according to Bruce he came round to eat humble pie and beg for forgiveness. Either way, Bruce agreed to join the band. The three met up for a rehearsal at Baker's home, and immediately Bruce and Baker started fighting, but also immediately they realised that they were great at playing together -- so great that they named themselves the Cream, as they were the cream of musicians on the scene. They knew they had something, but they didn't know what. At first they considered making their performances into Dada projects, inspired by the early-twentieth-century art movement. They liked a band that had just started to make waves, the Bonzo Dog Doo-Dah Band -- who had originally been called the Bonzo Dog Dada Band -- and they bought some props with the vague idea of using them on stage in the same way the Bonzos did. But as they played together they realised that they needed to do something different from that. At first, they thought they needed a fourth member -- a keyboard player. Graham Bond's name was brought up, but Clapton vetoed him. Clapton wanted Steve Winwood, the keyboard player and vocalist with the Spencer Davis Group. Indeed, Winwood was present at what was originally intended to be the first recording session the trio would play. Joe Boyd had asked Eric Clapton to round up a bunch of players to record some filler tracks for an Elektra blues compilation, and Clapton had asked Bruce and Baker to join him, Paul Jones on vocals, Winwood on Hammond and Clapton's friend Ben Palmer on piano for the session. Indeed, given that none of the original trio were keen on singing, that Paul Jones was just about to leave Manfred Mann, and that we know Clapton wanted Winwood in the band, one has to wonder if Clapton at least half-intended for this to be the eventual lineup of the band. If he did, that plan was foiled by Baker's refusal to take part in the session. Instead, this one-off band, named The Powerhouse, featured Pete York, the drummer from the Spencer Davis Group, on the session, which produced the first recording of Clapton playing on the Robert Johnson song originally titled "Cross Road Blues" but now generally better known just as "Crossroads": [Excerpt: The Powerhouse, "Crossroads"] We talked about Robert Johnson a little back in episode ninety-seven, but other than Bob Dylan, who was inspired by his lyrics, we had seen very little influence from Johnson up to this point, but he's going to be a major influence on rock guitar for the next few years, so we should talk about him a little here. It's often said that nobody knew anything about Robert Johnson, that he was almost a phantom other than his records which existed outside of any context as artefacts of their own. That's... not really the case. Johnson had died a little less than thirty years earlier, at only twenty-seven years old. Most of his half-siblings and step-siblings were alive, as were his son, his stepson, and dozens of musicians he'd played with over the years, women he'd had affairs with, and other assorted friends and relatives. What people mean is that information about Johnson's life was not yet known by people they consider important -- which is to say white blues scholars and musicians. Indeed, almost everything people like that -- people like *me* -- know of the facts of Johnson's life has only become known to us in the last four years. If, as some people had expected, I'd started this series with an episode on Johnson, I'd have had to redo the whole thing because of the information that's made its way to the public since then. But here's what was known -- or thought -- by white blues scholars in 1966. Johnson was, according to them, a field hand from somewhere in Mississippi, who played the guitar in between working on the cotton fields. He had done two recording sessions, in 1936 and 1937. One song from his first session, "Terraplane Blues", had been a very minor hit by blues standards: [Excerpt: Robert Johnson, "Terraplane Blues"] That had sold well -- nobody knows how well, but maybe as many as ten thousand copies, and it was certainly a record people knew in 1937 if they liked the Delta blues, but ten thousand copies total is nowhere near the sales of really successful records, and none of the follow-ups had sold anything like that much -- many of them had sold in the hundreds rather than the thousands. As Elijah Wald, one of Johnson's biographers put it "knowing about Johnson and Muddy Waters but not about Leroy Carr or Dinah Washington was like knowing about, say, the Sir Douglas Quintet but not knowing about the Beatles" -- though *I* would add that the Sir Douglas Quintet were much bigger during the sixties than Johnson was during his lifetime. One of the few white people who had noticed Johnson's existence at all was John Hammond, and he'd written a brief review of Johnson's first two singles under a pseudonym in a Communist newspaper. I'm going to quote it here, but the word he used to talk about Black people was considered correct then but isn't now, so I'll substitute Black for that word: "Before closing we cannot help but call your attention to the greatest [Black] blues singer who has cropped up in recent years, Robert Johnson. Recording them in deepest Mississippi, Vocalion has certainly done right by us and by the tunes "Last Fair Deal Gone Down" and "Terraplane Blues", to name only two of the four sides already released, sung to his own guitar accompaniment. Johnson makes Leadbelly sound like an accomplished poseur" Hammond had tried to get Johnson to perform at the Spirituals to Swing concerts we talked about in the very first episodes of the podcast, but he'd discovered that he'd died shortly before. He got Big Bill Broonzy instead, and played a couple of Johnson's records from a record player on the stage. Hammond introduced those recordings with a speech: "It is tragic that an American audience could not have been found seven or eight years ago for a concert of this kind. Bessie Smith was still at the height of her career and Joe Smith, probably the greatest trumpet player America ever knew, would still have been around to play obbligatos for her...dozens of other artists could have been there in the flesh. But that audience as well as this one would not have been able to hear Robert Johnson sing and play the blues on his guitar, for at that time Johnson was just an unknown hand on a Robinsonville, Mississippi plantation. Robert Johnson was going to be the big surprise of the evening for this audience at Carnegie Hall. I know him only from his Vocalion blues records and from the tall, exciting tales the recording engineers and supervisors used to bring about him from the improvised studios in Dallas and San Antonio. I don't believe Johnson had ever worked as a professional musician anywhere, and it still knocks me over when I think of how lucky it is that a talent like his ever found its way onto phonograph records. We will have to be content with playing two of his records, the old "Walkin' Blues" and the new, unreleased, "Preachin' Blues", because Robert Johnson died last week at the precise moment when Vocalion scouts finally reached him and told him that he was booked to appear at Carnegie Hall on December 23. He was in his middle twenties and nobody seems to know what caused his death." And that was, for the most part, the end of Robert Johnson's impact on the culture for a generation. The Lomaxes went down to Clarksdale, Mississippi a couple of years later -- reports vary as to whether this was to see if they could find Johnson, who they were unaware was dead, or to find information out about him, and they did end up recording a young singer named Muddy Waters for the Library of Congress, including Waters' rendition of "32-20 Blues", Johnson's reworking of Skip James' "Twenty-Two Twenty Blues": [Excerpt: Muddy Waters, "32-20 Blues"] But Johnson's records remained unavailable after their initial release until 1959, when the blues scholar Samuel Charters published the book The Country Blues, which was the first book-length treatment ever of Delta blues. Sixteen years later Charters said "I shouldn't have written The Country Blues when I did; since I really didn't know enough, but I felt I couldn't afford to wait. So The Country Blues was two things. It was a romanticization of certain aspects of black life in an effort to force the white society to reconsider some of its racial attitudes, and on the other hand it was a cry for help. I wanted hundreds of people to go out and interview the surviving blues artists. I wanted people to record them and document their lives, their environment, and their music, not only so that their story would be preserved but also so they'd get a little money and a little recognition in their last years." Charters talked about Johnson in the book, as one of the performers who played "minor roles in the story of the blues", and said that almost nothing was known about his life. He talked about how he had been poisoned by his common-law wife, about how his records were recorded in a pool hall, and said "The finest of Robert Johnson's blues have a brooding sense of torment and despair. The blues has become a personified figure of despondency." Along with Charters' book came a compilation album of the same name, and that included the first ever reissue of one of Johnson's tracks, "Preaching Blues": [Excerpt: Robert Johnson, "Preaching Blues"] Two years later, John Hammond, who had remained an ardent fan of Johnson, had Columbia put out the King of the Delta Blues Singers album. At the time no white blues scholars knew what Johnson looked like and they had no photos of him, so a generic painting of a poor-looking Black man with a guitar was used for the cover. The liner note to King of the Delta Blues Singers talked about how Johnson was seventeen or eighteen when he made his recordings, how he was "dead before he reached his twenty-first birthday, poisoned by a jealous girlfriend", how he had "seldom, if ever, been away from the plantation in Robinsville, Mississippi, where he was born and raised", and how he had had such stage fright that when he was asked to play in front of other musicians, he'd turned to face a wall so he couldn't see them. And that would be all that any of the members of the Powerhouse would know about Johnson. Maybe they'd also heard the rumours that were starting to spread that Johnson had got his guitar-playing skills by selling his soul to the devil at a crossroads at midnight, but that would have been all they knew when they recorded their filler track for Elektra: [Excerpt: The Powerhouse, "Crossroads"] Either way, the Powerhouse lineup only lasted for that one session -- the group eventually decided that a simple trio would be best for the music they wanted to play. Clapton had seen Buddy Guy touring with just a bass player and drummer a year earlier, and had liked the idea of the freedom that gave him as a guitarist. The group soon took on Robert Stigwood as a manager, which caused more arguments between Bruce and Baker. Bruce was convinced that if they were doing an all-for-one one-for-all thing they should also manage themselves, but Baker pointed out that that was a daft idea when they could get one of the biggest managers in the country to look after them. A bigger argument, which almost killed the group before it started, happened when Baker told journalist Chris Welch of the Melody Maker about their plans. In an echo of the way that he and Bruce had been resigned from Blues Incorporated without being consulted, now with no discussion Manfred Mann and John Mayall were reading in the papers that their band members were quitting before those members had bothered to mention it. Mayall was furious, especially since the album Clapton had played on hadn't yet come out. Clapton was supposed to work a month's notice while Mayall found another guitarist, but Mayall spent two weeks begging Peter Green to rejoin the band. Green was less than eager -- after all, he'd been fired pretty much straight away earlier -- but Mayall eventually persuaded him. The second he did, Mayall turned round to Clapton and told him he didn't have to work the rest of his notice -- he'd found another guitar player and Clapton was fired: [Excerpt: John Mayall's Bluesbreakers, "Dust My Blues"] Manfred Mann meanwhile took on the Beatles' friend Klaus Voorman to replace Bruce. Voorman would remain with the band until the end, and like Green was for Mayall, Voorman was in some ways a better fit for Manfred Mann than Bruce was. In particular he could double on flute, as he did for example on their hit version of Bob Dylan's "The Mighty Quinn": [Excerpt: Manfred Mann "The Mighty Quinn"] The new group, The Cream, were of course signed in the UK to Stigwood's Reaction label. Other than the Who, who only stuck around for one album, Reaction was not a very successful label. Its biggest signing was a former keyboard player for Screaming Lord Sutch, who recorded for them under the names Paul Dean and Oscar, but who later became known as Paul Nicholas and had a successful career in musical theatre and sitcom. Nicholas never had any hits for Reaction, but he did release one interesting record, in 1967: [Excerpt: Oscar, "Over the Wall We Go"] That was one of the earliest songwriting attempts by a young man who had recently named himself David Bowie. Now the group were public, they started inviting journalists to their rehearsals, which were mostly spent trying to combine their disparate musical influences --

Industrial Design, Creative Inspiration & Personal Projects! We chat about the ingenuity of industrial designers, professional vs personal success and recreational trespassing. On today's episode of “The Process” we discuss: Politics Rekindling design interest Ingenuity of industrial design First year experiences First job stories Learnings from General Dynamics Meeting James Personal vs professional success Composite manufacturing Recreational trespassing Rolex's and pocket knives NFT's & art What are we interested in? Sustiainability All the links, all the time! Industrial Design, Creativity & Inspiration! Follow us on Instagram! @theprocess__podcast https://www.instagram.com/theprocess__podcast/ Zak Watson // LinkedIn: https://www.linkedin.com/in/zak-watson-48618517a/ Behance: https://www.behance.net/zakwatson Website: https://www.zakwatson.com/ Dylan Torraville // LinkedIn: https://www.linkedin.com/in/dylantorraville/ Website: https://dylantorraville.com Portfolio: https://dylanjtorraville.myportfolio.com/ Behance: https://www.behance.net/dylantorraville Send us an email to hi.theprocesspodcast@gmail.com if you have any questions or want to reach out! The Process is a podcast created by industrial designers Dylan Torraville and Zak Watson. Dyl and Zak are picking up microphones to chat about their experiences in design school,  personal projects and navigating the creative process. Oh yeah, and there will be some sweet interviews with other designers and friends too.

In this brand new interview, Spencer is joined by online business coach, Robert McVie, to discuss how Robert overcame bankruptcy and mental health concerns while trying to launch his own fitness center and start his new family. Robert drops some serious food for thought and mic drop worthy ideas about the mindset of a father. Keep in touch:Robert: https://www.facebook.com/RobertMcVie.BusinessCoachBoss Coaches: https://bosscoaches.co.uk/The Fit Father Podcast: https://go.gallofitness.com/fit-father-podcastThe Fit Father Podcast on IG: https://www.instagram.com/fitfatherpodcast/Gallo Fitness - Busy Dad Blueprint: https://www.facebook.com/groups/busydadblueprintSpencer Gallo: FB: https://www.facebook.com/spencer.gallo; IG: https://www.instagram.com/spencergallo_/

Battling cancer takes place in many parts of the world and our next guest has led initiatives to do just that. In Part One of this Oncology, Etc. Podcast episode, Dr. Richard Sullivan, Professor of Cancer and Global Health at King's College London, shares with us his intriguing life trajectory, encompassing a childhood in various parts of the world, aspirations for a veterinary career that turned to basic science, medicine, health policy (4:27), and even a long-term stint with the British Army Intelligence (12:22). Dr. Sullivan, who served as Director of Cancer Research UK for nearly a decade also discusses traits he looks for in a cancer investigator (19:21), and how to be happy (21:16)! Guest Disclosures Dr. Richard Sullivan: Honoraria – Pfizer; Consulting or Advisory Role – Pfizer Dr. David Johnson: Consulting or Advisory Role – Merck, Pfizer, Aileron Therapeutics, Boston University Dr. Patrick Loehrer: Research Funding – Novartis, Lilly Foundation, Taiho Pharmaceutical If you liked this episode, please follow. To explore other episodes, as well as courses visit https://education.asco.org. Contact us at education@asco.org. TRANSCRIPT  Pat Loehrer: Hi, I'm Pat Loehrer. I'm director of the Center of Global Oncology and Health Equity at Indiana University Cancer Center.   Dave Johnson: And I'm Dave Johnson at UT Southwestern in Dallas, Texas.   Pat Loehrer: And this is Oncology, Etc. Dave, what book have you read this last month?   Dave Johnson: I have one I wanted to recommend to you. It's very interesting. It's by Steven Johnson, not of the syndrome fame. It's entitled Extra Life: A Short History of Living Longer. You may have heard of this because PBS made a special documentary about this particular book. But in it, Johnson talks about the remarkable increase in human lifespan, especially over the 20th century, and the various factors that contributed to increased years of life from on average in the United States of about 48-49 in 1900 to just about 80 in the year 2000. So that beats anything in the history of mankind before.   And he has a chapter about each of the factors that contribute to this, and some of which I think we all recognize. Things like antibiotics playing a role, but some of the things that I hadn't thought about were improved drug regulation and the development of randomized controlled trials, which all of us have participated in. How important that is.   He also talked about, at least in the United States, the importance of automotive safety. And I'm sure some of us on this podcast are old enough to remember cars that did not have safety belts and certainly not other safety maneuvers that have really improved lifespan in that regard. So I found it a fascinating book. I think our listeners who are interested in medical history would also enjoy this text.   Pat Loehrer: Did he mention this podcast?   Dave Johnson: No, actually it wasn't mentioned, and I thought that was a tremendous oversight. So, I've sent him a letter and recommended that he add it.   Pat Loehrer: We may not live longer, but it just seems like we're living longer. When you listen to this podcast, time stands still.   Pat Loehrer: Well, it's my real great pleasure to introduce our interviewee today, Richard Sullivan. I met Richard several years ago through the late Professor Peter Boyle in Leon, and it's one of the greatest highlights of my life to be able to know Richard.   Professor Richard Sullivan's Research Group studies health systems and particularly chronic disease policy and the impact of conflict on health. He's a professor of cancer and Global Health at King's College in London and director of the Institute of Cancer Policy and Co-director of Conflict and Health Research Group. As well as holding a number of visiting chairs, Richard is an NCD advisor to the WHO, a civil military advisor to the Save the Children Foundation, and a member of the National Cancer Grid of India. His research focuses on global cancer policy and planning and health system strengthening, particularly in conflict ecosystems. He's principal investigative research programs ranging from automated radiotherapy planning for low resource settings to the use of augmented or virtual reality for cancer surgery through the political economy to build affordable equitable cancer control plans around the world.   Richard has led more Lancet Oncology commissions than anyone else. In fact, Lancet is talking about calling it the Sullivan Commissions. He's led five Lancet Oncology commissions and worked on four others. He's currently co-leading the Lancet Oncology Commission on the Future of Cancer Research in Europe and Cancer Care and Conflict in the conflict systems. His research teams have had major programs in capacity building in conflict regions across the Middle East and North Africa. He's done studies on the basic packages of health services in Afghanistan and worked in Pakistan, Syria, and the Democratic Republic of Congo. He's been a member of the British Army, intelligence and security, and in that capacity he's worked many years in biosecurity and counterterrorism issues. I think in some ways, this is the most interesting man in the world, and it's our pleasure today to have Richard join us. Richard, thank you for coming.   Richard Sullivan: Pat, Dave, you're really too kind. Marvelous to be with you. Thank you for the invitation.   Pat Loehrer: Can you tell us a little about your upbringing and early life before you became Dr. James Bond?   Richard Sullivan: I'm not sure that's anywhere close to the truth, sadly. But, yeah, I have had a very interesting, eclectic life. I was born in Aden just on the cusp of where the British Aden Protectorate met a country which actually no longer exists, the People's Democratic Republic of Yemen. Because after the British left Aden, essentially the East Germans, and what was then the Soviet Union took over southern Yemen. So I was born in a very unusual part of the world, which sadly, since then has just deteriorated. I spent many years of my life with my parents, who were in the diplomatic service and doing other things, wandering around the globe, mainly in the Middle East and East Africa. We spent quite a lot of time, strangely enough, we washed up on the shores in the USA once as well. Dayton, Ohio, and eventually-   Pat Loehrer:  Not to interrupt you, Richard, there are no shores in Dayton, Ohio. So just correct you there.   Richard Sullivan: That is so true. My memory - cornfields everywhere. I had a wonderful dog then, that's how I remember it so well. And I didn't really come back to the UK until, oh, gosh, I was nearly 10-11 years old. So, coming back to the UK was actually a bit of a culture shock for me. And then relatively classical in terms of the UK, sort of minor public school and then into medical school. In the old days when it was in the 80's. I had a fabulous childhood, going all over the place, seeing lots of things, being exposed to lots of different cultures. I think it remained with me all my life. I never really feel a foreigner in a foreign land. That's nice. That's really unique and it's been marvelous being able to tie in the passion for global health with my upbringing as well. So, yeah, I had a wonderful childhood.   Dave Johnson: Would you mind expanding on your medical training, Richard? Tell us a little bit about that.   Richard Sullivan: Yeah, so when I, when I went to medical school in the UK, we were still running the old system. And by the old system, I mean, you know, these small medical schools with entries of, you know, 70, 80 individuals, particularly in London, you had that St. Mary's Hospital Medical School, which is where I went, Charing Cross, Guy's, St. Thomas', and they were all individual medical schools. Now, most of these now have merged together into these super medical schools. But certainly when I went to medical school, I'll be absolutely honest with you, I wanted to be a vet to begin with, but actually discovered I wasn't bright enough to be a vet. It was harder to become a vet than it was to become a doctor. In my day going into medicine, and people listening to this, or some people who understand the A level system in the UK will recognize if you're offered a BCD, that's quite low grades to get into medical school. So I went to Mary's, to be absolutely honest with you, because I heard that they took people that played rugby, and I came from a rugby-playing school. And sure enough, 90% of the interview was based on my rugby prowess, and that was St. Mary's Hospital Medical School. So it was wonderful.   And we'd already had people going there who were big rugby players. And again, it was, I remember thinking to myself, am I making the right decision here? But it was interesting, as soon as I went into medical school, I realized that was the life for me. I had done myself a favor by not going into veterinary science, which I would have been awful at. We had six years of very, very intensive pre-medicine, the classical medical rotations, and then that movement into the old schools of pre registration house officers, registrar jobs. We were quite an early stage. I kind of slightly went off-piste and started doing more academic work. Interestingly, most of my academic early days academic work was not in health policy and research. It was actually in very hard core cell signaling. So my doctorate was in biochemistry, and we worked on small GTPases, calcium-sensing proteins.   There were some really extraordinary heady days, and I'm talking here about the early nineties and the mid-nineties of tremendous discovery, real innovation. I was at UCL at the time, but mixing and matching that up with a sort of surgical training, and again, surgical training in those days was pretty classical. You went into your general surgery, then sort of specialized. It was really, really interesting but it was full on. I mean, you spent your entire life working. Morning to night so these were the days of 100 hours week rotations. You were doing one in twos, one in threes. That's every other night and every other weekend on call. It was incredibly intense, but there was a lot more diversity and plasticity in those days. You could dip in and out of medicine because of the way you were chosen and how you were recruited. So it suited my personality because I liked moving around and doing different things and that sort of took me through, really until the late 1990s.   Pat Loehrer: You became a urologist, right?   Richard Sullivan: That's right. Exactly. So I trained up until the late 1990s, it was all pretty standard, I would say. And then I decided I was bored and moved into the pharmaceutical industry and I went to work in for Merck Damstadt at the time, which was relatively small. I was going to say family owned, but it was quite family-owned pharmaceutical company that was just moving into oncology. And because I'd done the background in cell signaling and cell signaling was really the backbone of the new era of targeted therapies, this seemed like a great move. To be absolutely blunt with you, I didn't last very long, less than a couple of years, I think, mainly because I just found the whole environment way too constraining. But what it did provide me with was a springboard to meet the wonderful late Gordon McVie, who I met at a conference. And he said to me, ‘You're absolutely wasting your time and life by staying in the pharmaceutical industry. Why don't you come out, get an academic job at University College London and become my head of clinical programs?” - for what was then the Cancer Research Campaign. This Cancer Research Campaign and the Imperial Cancer Research Fund were the forerunners of Cancer Research UK. So, you know, this was an offer that was too good to be true.   So I jumped ship immediately, went back into academic life and joined CRC. And really the next ten years was this extraordinary blossoming of the merger of CRC with the Imperial College Research Fund, the creation of Cancer Research UK, and that was Paul Nurse, and obviously Gordon and me, bringing that all together. And it was the heady days of that resurgence of cancer, the importance of cancer care and research in the UK. And coupled with that, of course, it was the blossoming of my interest, really then into the global health aspects of cancer, which really, Gordon, people like you mentioned already, the late, wonderful Peter Boyle, all those individuals were already engaged in and they were the ones that really kind of catapulted me into a more international scene.   Dave Johnson: Did you know Dr. McVie before you met him at this conference, or was it just a chance encounter?   Richard Sullivan: No, he actually met me via John Mendelson, because John had picked up a paper I'd been writing on basically the very early versions of Rituximab that we were working on and we were looking for pharmacodynamic endpoints. And of course, one of the things I noticed with the patients is they were getting all these skin rashes on their faces, and I thought, that's terrific. Just seemed to be the skin rashes seemed to be together with those individuals that had better responses. And I remember writing this paper for Signal, which was a kind of relatively minor journal, and I think it was John Mendelson who picked it up and must have mentioned something to Gordon. Gordon hunted me out down at a particular conference, said, "How on earth do you know about this, that you're not anything more than a surgeon?" He was absolutely right about, goodness sake, what do you know about pharmacodynamic endpoints, and I kind of had to sort of confess that I've gone kind of slightly off-piste by doing biochemistry and cells signaling and working with these extraordinary people. And that's how I essentially met Gordon. He was very good for spotting slightly unusual, eclectic human beings.   Pat Loehrer: I'm very curious about the intersection of your work and how you got into the British Army and Intelligence with medicine and how that even may continue even today. So explain that story, that part of your life a little bit to us.   Richard Sullivan: Yeah, it was very early on, as I went into medical school, one of the key concerns was making money. I looked around for ways of doing something interesting to make money, and most of the jobs on offer were bar jobs, et cetera. Then I thought, what about the Territorial Army, which, in the early days of the 1980s, was, and still is, a very large component of the UK Armed Forces. So I actually joined the Royal Army Medical Corps, as you would expect for someone going into medicine. I thought, okay, I'll join the Royal Army Medical Corps, and I was a combat Medical Training Technician, et cetera. So I went along, signed up, and I think I was about three months into training when I was at a place called Kew Barracks and some chap came up to me and handed me a little bit of paper. It said "Intelligence Security Group" and gave a phone number. He said, "This is more your line of work. Why don't you give them a ring?"   It was interesting because, in those early days, they were looking for analysts who could work on lots of different areas. In those days, most of the work was domestic.. Of course, there was counterterrorism with Northern Ireland, but there was also the Soviet Union, and the fallout from the Warsaw Pact, so they were still actively recruiting into that area. There are lots of details I can't talk about, but it was relatively, to begin with, quite hard work and low level. It was a lot of learning foreign equipment recognition. It was what we consider to be standard combat intelligence. But the more time you spend in it, the more interesting it gets.   One of the areas they were looking to recruit into, which I didn't realize at the time but only later, was bioweapons and biosecurity. They needed people who understood biotechnology and the language of science, and who could be taught the language of infectious disease on top of that. That is quite a difficult combination to find. It's very easy to teach people trade craft and intelligence, it's very hard to teach them subject matter expertise. And they were really missing people who specialized in that area.   It was interesting because it was still a relatively open domain. There was still a lot of work going on in the counterterrorism front with biological weapons, and a lot around the Verification of the Biological Weapons and Toxin Convention. And it was an interesting, and I'd almost say parallel life. But your medical knowledge and the scientific knowledge I had already gained and was gaining was what was being looked for. So that was very early on and it has expanded over the years. More and more now we talk about health security and intelligence so that goes beyond what you would consider classic medical intelligence or Armed Forces - this is more about putting together the disciplines of intelligence with the securitized issues of, for example Ebola. That is a classic example. The big outbreaks in West Africa, the DRC, these are sort of the classic security intelligence issues - even COVID 19 for example - and mostly around the world, what we've seen is the intelligence apparatus taking front and center in that, whether you're looking at states like South Korea, et cetera. So I've moved more into that, and we do a lot of work and research into this as well. So we look at, particularly now, how to improve human intelligence in this area, the pros and cons of signal intelligence collection. And we go as far as to kind of ask sort of deep ethical and moral issues, for example, about how far should these sorts of apparatus of state be applied to public good issues like health. Because at the end of the day, when you're talking about the armed forces security sector, their primary job is for defense of the realm. So applying them in other areas obviously comes with a whole load of moral and ethical challenges. So, yes, it's been a fascinating journey, which, as I said, it extends all the way back to the late 1980s. It's been both complementary and different.   Dave Johnson: So, Richard, there's so many things in your resume that warrant exploration, but you served as Clinical Director of Cancer Research UK for nearly a decade. What was that experience like, and what accomplishment are you most proud of?   Richard Sullivan: It was an enormous privilege. In your life, you always look at some jobs and you think, “How lucky I was to be there at that time with those people.” I think, first of all, enormous respect for the people that ran both Cancer Research Campaign, Imperial Cancer Research Fund – I mean, Paul Nurse and Gordon McVeigh, Richard Treisman – I mean, some extraordinary people who were leading both of these charities. And so to be there at that moment when they both came together, but more importantly as well, they had this most amazing global network of literally the illuminati of cancer research, spanning from basic science all the way through to epidemiology, public health, health systems. And in those days, of course, those individuals would come on site visits to the UK to look at the different units and evaluate them. So you can imagine when you're bringing those sorts of individuals across, you get a chance to go out with them, go drinking, talk to them, learn about their research, and also learn about the extraordinary breadth of research that was there in the UK. So you're condensing almost a lifetime's worth of learning into a few years. It was an absolute privilege to have been able to serve the community like that.   What I'm most proud of? Gosh, I like to think I suspect that most proud of trying to help a lot of the fellows get through to where they were going to actually get the most out of their careers. When I look back, there are lots and lots of names of people who started at a very early stage with funding from Cancer Research Campaign or the Imperial College Research Fund, who are now very, very senior professors and global research leaders. And I like to think that we did a little bit to help them along that way and also help to support individual research programs actually reach their full potential. Because I think research management and planning is often overlooked. People think of this as very transactional – it's not transactional. It's an incredibly important, serious discipline. It requires very careful handling to get the very best out of your research ecosystem. You've really, really got to get under the skin and really have a clear view of how you're going to help people. So I think that's what I'm most proud of – is the individuals who made it all the way through and now these great leaders out there.   But it was also, let's be honest, it was halcyon days. Great innovations, great discoveries, new networks growing, incredible expansion of funding in the UK, in Europe, in the USA. They were very, very good days. And it was, as I said, it was a real privilege to be there almost at the center for nearly a decade.   Dave Johnson: Let me follow up on that, if I may, just for a moment. You have had such an incredible influence. What characteristics do you think are most desired in a cancer investigator? What sorts of things do you look for, especially when you're thinking about funding someone?   Richard Sullivan: Creativity. I think creativity is really important. We talk about the word innovation a lot, and it's an interesting engineering term, but creativity is that spark that you can see it in people, the way they talk about what they're doing. They have this really creative approach. And with that, I think you have to have the passion. Research careers are long and difficult, and I'd probably suggest there's probably more downs than there are ups, and you have to have that passion for it. And I think along with that passion is the belief in what you're doing – that first of all, you have that belief that actually drives you forward, that what you know you're doing is good work, and that you're really dedicated to it. But obviously, hand on heart, when you're looking at researchers, it's that passion and that creativity.   I think it's a brave person to judge how any person's career or program is going to go. I don't think any of us are prophets. Even in our own land. We might be able to see slightly into the future, but there are so many elements that make up  “success”. It's funny when I look back and I think those who've been successful, it's people who've also been generally happy in their lives. They've found their careers in whatever shape or form, fulfilling, and they've generally been happy human beings, and they've managed to create a life around research which has given them meaning.   Pat Loehrer: Richard, you have reinvented yourself a number of times – this transition of going from like a basic scientist, a surgeon, moving into public policy and global policy. Tell me a little bit about the journey that's been in terms of academics. How do you learn? What were the transition points in each of these things to get you now to be, as I mentioned before, kind of the key person for Lancet's commissions to somebody who was a rugby player?   Richard Sullivan: I suppose if you're being mean, you say, he clearly gets bored easily. But it's not that. Actually, I'm not very instrumental about life either. I mean, there are many people you will meet who have got their lives and strategies mapped out. They know they're going to do X next year, Y the following year. And for me, it's never been like that. For me, it's that excitement, that creativity of working on new and interesting things, but also knowing when you've run out of road in a particular area, where it no longer gets you out of bed in the morning, where you no longer feel happy, where you no longer feel you're contributing. All of us talking today have the great privilege of having choice about our lives, about what direction our lives should take. And it's not a privilege one should squander lightly because many people do not have choices about their lives. It's all about chance. And having that choice to be able to move into different areas is really important because I said you can stick in the same thing because you think you have to. And you can become an unhappy, miserable human being. And that makes you a miserable researcher to be around. It makes you a terrible doctor. Probably makes you a terrible person, actually, generally, if you're having a miserable life.   So finding new things, that really you're passionate about how you do it, there's no shortcut in this. It's hard work. Readily admit I went back to law school of economics, retaught myself lots of things. There are no shortcuts for. Deciding if you're going to a new area is learning, learning, practice, practice, practice, and just doing the hard work. I think that's an ethos that was probably drilled into us quite early anyway in medical school, because that's how you approach medicine. That's how you approach science when I was growing up. And it was that idea of humility that you can never have enough learning, you will always learn off other people. That's probably what drove me and how I've managed to change and as I say, who knows what the future is? I don't know. Maybe one day I'll think about doing a bit of poetry.   Dave Johnson: Your comments about happiness and work resonate with Pat and me. I think we both feel like humor is really important for happiness and career success. And, you know, Osler once said, “The master word of medicine is work.” You can't get around that. It is what it is. And I think you just reaffirmed that.   Well, this concludes part one of our interview with Richard Sullivan, professor of Cancer and Global Health at King's College, London and director of the King's Institute of Cancer Policy and co-director of the Conflict and Health Research Group. In the second part of this episode, Professor Sullivan will speak about the progress of global health, especially in conflict areas, and the need for young people to enter into the world of oncology and oncology research.   Thank you to all of our listeners for tuning into Oncology, Etc. This is an ASCO educational podcast where we will talk about just about anything and everything. So if you have an idea for a topic or a guest you would like us to interview, please email us at education@asco.org. Thank you again for listening.  Thank you for listening to the ASCO Education podcast. To stay up to date with the latest episodes, please click subscribe. Let us know what you think by leaving a review. For more information, visit the Comprehensive Education Center at education ASCO.org. The purpose of this podcast is to educate and to inform. This is not a substitute for professional medical care and is not intended for use in the diagnosis or treatment of individual conditions. Guests on this podcast express their own opinions, experience and conclusions. Statements on the podcast do not express the opinions of ASCO. The mention of any product, service, organization, activity or therapy should not be construed as an ASCO endorsement.  

[Transcript included at the end of these show notes] Fleetwood Mac's "Everywhere" is one of the greatest pop songs ever. Although forged in tumultuous times, "Everywhere" sounds like it comes straight from heaven.  Thanks for spending your time with us! Follows, ratings, and recommendations are always appreciated! Helpful links mentioned in the episode: Our mixtape The demo That awful video You can find us on Instagram, Facebook, Twitter, Masadon, and our website. You can email us at BandFGuiltFree@gmail.com, too. Here is our Spotify playlist featuring every song we've featured. Our theme music is by the incredibly talented Ian McGlynn. Transcript (easier to read on our website) Bill: [0:07] Let me set the stage for you, Frank. It's 2011. Frank: [0:11] Okay, like now or then? Gotcha. Bill: [0:13] Then, so bring yourself back to 2011. Frank: [0:19] 34 years old? Oh, what was I doing? Bill: [0:23] I know what I was doing. Frank: [0:25] Oh, yeah, that's right. Bill: [0:26] I was pining. So it's somewhere in March and I'm wondering if things are going to work out with me and, Ashley because we're not back together yet. It's been this seven year stretch and things look like they're promising but there are no kind of guarantees. Frank: [0:44] Yeah. Bill: [0:52] She's actually living in France. dating somebody else. Frank: [0:58] So there's a lot of obstacles stacked up against you. Bill: [1:03] Yeah, I got some, I got a bit of faith. [1:09] And that's, that's what I had going for me. Gumption. Frank: [1:12] Yeah engumption yes. Bill: [1:16] Yeah, that's right. I had gumption. So it's my like week off from school and our great friend of the podcast, our mentor, Chris Newkirk, says to me, hey, I got to go back to the States. Do you want to drive with me? I got to go for the week. It's your holiday. Why don't we drive down and you can do we road trip it? Frank: [1:38] And just road trip it. Yeah, nice. Bill: [1:40] So I went with on this road trip with Chris Newkirk. And at one point we're doing a drive from New Jersey to Pennsylvania. And he said, you know what? I have an iPod. He had an actual one of those old iPods, not even a phone, just iPod full of music. Frank: [1:58] Yeah, yeah, yeah. I had one of those up until about two years ago when it was stolen out of my car. Bill: [1:59] Because when we play a game. [2:03] That's right. Frank: [2:04] Just so you know. Bill: [2:05] Yeah, that's right. No, of course not. So he said, why don't we play three songs each? Frank: [2:06] It's not that old. It's not that uncommon, Bill. Bill: [2:11] You pick three songs and you could set it up in queue and then he'd pick three songs in queue and so that would be our way to kind of get things moving on our journey. And so I'm looking through his music which of course is way cooler than mine so I'm like I don't know this Smith song, I don't know this Pure song. So I'm desperately trying to find a song that I could put on also to impress him because we're always kind of trying to impress him. And then I see this song, Fleetwood Max everywhere. And I think to myself, oh, I remember this song. I was a kid, I loved this song. So I put it on the queue and then those opening notes come out or what would we call it? Opening beats. Frank: [2:55] Notes. I think you were right the first time. Bill: [2:56] Notes. Notes. I think you were right the first time. Okay. And suddenly everything is right in the world. And I say to him, everything about this song, is what makes life beautiful, something like that. I had this like profound moment that everything is gonna be okay. This is the most joy I have felt. And suddenly when I heard this song, it brought back feelings of being a kid and full of wonder. And it brought back sort of memories of just straight up hopefulness. And then I knew things would be okay. And so within the week, things are looking good. I'm engaged to Ashley by June, we're married. And then flash forward 11 years later, you're sitting amongst a ton of toys and blocks. And I apologize, there was a diaper right at your feet. We couldn't figure out why this place smelled like sewage. My apologies, but this is the life. This is everywhere to me. Frank: [3:57] In your defense, you didn't smell it because you're nose-blind. But no, this is a good place to be, and I'm glad that we can do this podcast everywhere. Bill: [4:12] Christine McVie just passed away recently. So people have been commenting on social media and in the news about how she really was. Frank: [4:14] Yeah, yeah. Bill: [4:24] One of the great songwriters of the past 40 years in a sense. And with Fleetwood Mac, we love to talk about, the Buckingham Knicks thing, the kind of craziness surrounding their albums, but she was the sort of steady hand in terms of making consistently great songs. Frank: [4:44] Yeah, so after her passing, I found I was listening to the radio and they did this little thing talking about Christine McVie and how she joined the band. So I don't know if you if you heard this necessarily. So she she's married to the bass player John McVie, but she has her own solo thing going on. But the tensions of like, two artists, you know, separately on the road doing different things. She kind of took a backseat and decided like, you know, I'm gonna give up my solo career and, I'm gonna be a wife. I'm gonna try and like that this marriage is too important like I'm gonna make the sacrifice and and just like I'll give up music as my career and, Then I can't remember which album it was but they're in this cabin and they're, No, no, sorry. It was it was for a tour, tour. They're in this cabin and they're just kind of rehearsing and performing and all this. And she's sitting there just on the sidelines. She knows all the songs because she's been with the band for as long as they've been together at this cabin rehearsing, getting ready for this tour. And then at the last minute, it was just like, hey, do you want, Wanna just join the band? Bill: [5:58] And so that's 1970. She joins Fleetwood back in 1970. By 1971, she's writing and singing in Fleetwood Mac. And she stays right through, you know, you have Buckingham Nicks joining, right through this album, Tango in the Night. And then there was still behind the mask and time, albums in the 90s, she was still there. And still writing actually pretty good music for albums that were not strong. She still was the sort of steady hand. And then she was there for the reunion, retired, but then came back around, I think it was around 2014 or something like that. So she's back in the band and still playing up until recently. And so she's had an incredible career, and still released a pretty good album with Lindsay Buckingham a few years ago called Christine McVee, Lindsay Buckingham, although Buckingham McVee would have sounded way cooler. Frank: [6:52] Yeah, a little bit on the nose with the title of the album, right? Yeah. But yeah, to say that Fleetwood Mac's history of personality is tumultuous, I think is a slight understatement. Bill: [7:05] Oh my goodness. So, I mean, I dove deep for the last few days into the history of Fleetwood Mac and you can find it. You can find all these stories and it is a tale of massive excess. It's just insane. All the things I was warned about with heavy metal groups, I didn't realize Fleetwood Mac was way, oh man, it is insane. It's just insane. Just reading about the amount of drugs consumed and the amount of money spent and wasted is crazy. So we all know that, or if you don't know that, you can just look into it. so we won't dive into it. Frank: [7:44] Yeah, just just Google Fleetwood Mac Gong show and then it's something you'll get the whole history. Bill: [7:51] So Tango in the Night, which is this album, this was originally supposed to be Lindsey Buckingham's third solo album. He's working on it. He has three songs that are decent songs, Big Love, Caroline, and I think maybe Tango in the Night. I think that those are three songs he's already working on. And they ask him to come back and do a Fleetwood Mac album. So this is, I think, the record company. So his solo career is not taking off like Stevie Nicks and Christine McVie had a great album in the eighties. You really got a hold on me. Do you remember that song? Frank: [8:29] Oh, yeah, yeah, yeah, big. Bill: [8:30] So good. So good. She's just so steady. And Lindsay Buckingham, I think might have produced it. Either way, Buckingham's just like, okay, I'll put my solo aspirations on hold for the sake of the band. And because he's Lindsay Buckingham, He just can't go in there and play his music. He needs to kind of take over. So whoever was producing, they just ended up saying, okay, why don't you leave? Lindsay Buckingham, Richard Dashett will come in. They're gonna produce. And so there's these stories about it. And basically it's just super depressing, how much work they put in. They put in 18 months of nonstop work. It's insane. And Lindsay Buckingham is a perfectionist, but he's also experimenting with some synthesizers. the Fairlight program we've talked about, he's experimenting with that. He's doing so much. And so every song he'd spend weeks and weeks and weeks on. [9:27] So let's head into the backstory. They ended up recording at his house a lot of the time. And that wasn't good for Stevie Nicks, who was coming out of, who just came out of rehab, she wouldn't have gone in during it. And going to her ex-boyfriend's house to record didn't make her feel well. And he's, I don't think he has like a great bedside manner anyways, Mick Fleetwood and the others ended up renting an RV and stationing it in the driveway so they could go out of his house and do whatever it is they're doing. Like it sounded just like a mess. Often they would talk about how you have the sixties and they're doing all the experimenting. And then the seventies is a lot of cocaine. And the eighties, the drugs aren't working and that cocaine's now controlling the people more than they're using it to make their music. And this is what's going on. Like it's just a mess. And Buckingham talks about how they're all at their worst point when they're recording this album. I don't know much about Christine McVie in terms of this, but she brought these songs that are wonderful to this album. Frank: [10:33] She wrote some great songs for the album. Like there's this song in Little Lies, which is... Bill: [10:38] Which are the two greatest songs on the album to me. Frank: [10:40] Yeah, yeah, yeah. Absolutely there. Bill: [10:43] The amazing thing is her two songs that she brought, Little Lies and Everywhere are the third and fourth singles. You'd think they would be the lead singles. So, yeah. So the first two singles are Big Love and Seven Wonders, which are good. Frank: [10:49] They're so good. [10:51] Yeah. Well, I know, right? They're so good. Bill: [10:59] It's just so weird. whole time is weird because they those songs didn't stand the test of time in In terms of us, I like them. I like them all. I really like this album. Frank: [11:07] Well, in the context of those songs, like I don't or barely remember them. But Little Eyes and Everywhere, yeah, in a heartbeat. say Everywhere Fleetwood Mac? Yeah, I know exactly the song you're talking about and I know that it's awesome. Same with Little Lies. Bill: [11:24] Yeah. So whatever went on in production, they don't have like an interview where they talk about this. But there's a demo, which wasn't released on the deluxe edition, but I found it on YouTube. Frank: [11:30] Yeah. Bill: [11:37] So I'm assuming the demo was done by Buckingham and McVie. She brings it. He does some things to, it, but he hasn't done the full Buckingham to it. So I'm gonna play this for you. He hasn't bucking. Frank: [11:49] Yeah. He hasn't Buckinghammed it. Bill: [11:51] Their new verb. Okay. I'm going to play a little bit of it for you. So you can hear the beginnings of it, but it doesn't have that special quality. Frank: [12:02] It's really quite raw. It's missing a lot of the final touches, but you can feel hints of them. So when we played this song, it sounds magical. It sounds like a fantasy. Bill: [12:15] Yeah. Well, this is it. This is why the song is so perfect. is it creates this sort of fairy-like world where people, you can almost just see fireflies around you while the song is going on. So Richard Dashett, who is the co-producer, by co-producer, he was the encourager of Buckingham. Like he's really good about this when he talks about it. He said, I know my role. There's gonna be, Buckingham is the guy. So I'm there to support him and to kind of listen and do it. He said that the beginning that we always talk about is a half speed acoustic guitar and an electric guitar combined. And then, yeah, McV said, Buckingham slowed the tape down really slowly. So they did this all over the album, slows it down and played the part slowly. Then when it came to the right speed, it sounded bloody amazing. So whatever he was doing, he was playing with both acoustic and electric over top of each other and altering the speeds. Frank: [13:10] Mm-hmm. Yeah, okay. Yeah. Bill: [13:12] And so he does this actually with like voices too. Sometimes he uses his voice to become a female voice. Yeah, there's all these things going on. So even the voices in this song, I'm not sure who they are. And so, but apparently it is Stevie Nicks because she got into a big fight with him because she thought that he took her vocals off of this song. Stevie Nicks only showed up for two weeks to do any recording of this 18 month process. So just to put that out there, so Stevie Nicks is kind of to say the least. Frank: [13:36] Oh, tumultuous. Bill: [13:42] But anyways, we got everywhere out of this time and everywhere is perfect. Frank: [13:47] Yeah, yeah if it took 18 months to get everywhere I'm okay with that. Bill: [13:52] All right, so the opener, we got that already down. This is magical, this is perfect. Frank: [13:57] Yeah, because it's a song about those first sort of throws of being in love. Bill: [13:58] And so this is one of those things where the lyrics, they're just pretty straightforward, which she does well, but she also is able to kind of take in these sort of, the emotions of love. And she's really good at singing about this feeling in love. Frank: [14:20] And that really giddy sort of euphoric feeling you feel. And it's childlike and fun and everything's great and fantastic and the world could be crumbling around you but you're in love. So you're smiling and you're happy. Bill: [14:35] And what she say here, she says, Can you hear me calling out your name? You know that I'm falling and I don't know what to say. I'll speak a little louder. I'll even shout. You know that I'm proud and I can't get the words out. So, okay. Basically, when you're feeling this, everything seems right to say, or you have nothing to say. That sound makes sense? I'm trying to find the words myself and I can't find them. Frank: [14:59] Yeah. I can't mark. Just going through those lyrics. But like I immediately went back. There's that scene in Anchorman when Ron Burgundy is falling in love. It's like, I'm in love with Veronica Corningstone and I don't care who knows it. It's just like, did I say that loudly? It's like, yeah, Ron, you pretty much shouted it. That's that feeling, right? Like you don't care who knows. Yeah. Bill: [15:20] I think that does speak of my 2011. Like I was just so, it just set everything in motion. And then it leads to that chorus with all those voices. Frank: [15:30] Yeah. [15:31] And it's layered, right? Bill: [15:32] Yeah. Frank: [15:34] And it's soft and it's not saying a whole lot. It's just repeating the same line twice, but it's so effective and you can feel it. Bill: [15:47] I can't say this enough about how his instincts as a producer are right on the money. So he'll make his songs kind of complicated or difficult at times to listen to. They're not that difficult, but he knows that there is this sort of pure beauty to what she's doing. And he just highlights it and adds to it and does creative things, but they're all about this dreamlike feel, which he does in Little Eyes as well. It's just so incredible. And I don't know how many times he's layering voices what he's doing but I can guess just from the sounds of it. It's so pleasing to our ears but, it might have been a month of a nightmare for these other co-producers and engineers who are, just watching him. That's right the one producer used the following two words to describe the. Frank: [16:34] If they have to suffer for my pleasure, I'm okay with that. Bill: [16:41] Experience trauma. Still thank you it was worth it. The only other verse really because then they. Frank: [16:44] Yeah, exactly. Yeah. Bill: [16:52] Start repeating things but something's happening, happening to me, my friend's saying I'm acting peculiarly. Come on baby. Did I say peculiarly right? Sure. Okay. I'm gonna say yes. Come on baby. Frank: [17:02] Line, the Pekirulu. Bill: [17:06] We better make a start. You better make it soon before you break my heart. Frank: [17:10] That you said, Pekirulu, that's a good one. Bill: [17:16] Yeah. Frank: [17:17] That P word that you said, peculiar. Oh my goodness. Bill: [17:22] Peq- Oh, how did she say it? Peq-ular-ly. Yeah. Frank: [17:25] Yeah, yeah. But it's, my friends have me saying, I'm acting this way. And that's like, when you're kind of, again, giddy in love. I feel like I should write a song called Giddy in Love. It'll be like the spiritual sister to Crazy in Love by Beyonce. Anyways, when you're giddy in love, yeah, you're acting a little bit different. Like, you know, you're happy, you're bouncy, you're kind of doing goofy things, I find. Like, I know that's the way I've been, like when I'm kind of really into someone and they're into me and things are going good, before everything just falls apart. Bill: [18:07] Yeah, then it's a different song. I think that song you're looking for is Nowhere. Frank: [18:11] Yeah. That song's like every other song we've done on the podcast. Bill: [18:18] That's right. [18:19] This is a brief moment of levity. Frank: [18:20] I know, right? Yeah, so, you know, we'll do a breakup song again pretty quick, I'm sure. Bill: [18:21] I know. Thank you for bringing it back down. [18:26] Oh yeah, no question. She did co-write this with Jonas David Kroeper. I'm giving his full name just because it's on my songwriting sheet here. but that was her husband at the time. So this is about their love and their early love, so much joy and... Frank: [18:41] Yeah, yeah, he was he was also a keyboard player, right? Bill: [18:44] Okay, well then that, maybe that explains... Frank: [18:46] Because I think they married shortly after the recording of this album. Bill: [18:50] Okay, right, so they're already in this sort of love. Frank: [18:52] Yeah, this this giddy stage. Bill: [18:54] She has a tendency to do that with certain songs. By tendency, I mean she wrote one other song like that. So rumors she wrote, you make love and fun, which was about her affair or relationship, with the lighting guy in Fleetwood Mac. But she told John McVie it was about her dog so that he wouldn't get suspicious or angry. Oh man, so everywhere it was not about her dog. This is about this happy new relationship, and this marriage that was coming. The power beyond those lyrics, of course, is just the sounds. It's what Buckingham is doing with those sounds. Frank: [19:31] I read a quote saying that it's a bulletproof pop song, which I will not disagree with. The song's, what, 87 it came out, so we're 36 years after this song comes out, and it still plays, and it's still bouncy and fun and poppy and great. It's not contemporary to in 2022, but it still plays. Bill: [19:55] It not only still plays, Like it shows up in commercials in the UK and then re charts at like got to number 15 recently. Frank: [20:02] Yeah, it was used for a Chevrolet electric vehicle commercial recently. Bill: [20:09] And there are a lot of bands that have kind of, arisen in the last decade, like Vampire Weekend, there's been more than a decade I know. Paramore, there's a bunch of other bands too, who've looked towards Tango in the Night as their inspiration. They talk about it and everywhere is covered by Vampire Weekend and Perron More. Frank: [20:27] Yeah, and Paramore, yeah. Bill: [20:29] So I think it is getting its due. And when you see like the top 50 songs, or Rolling Stone did the top 50 songs of Fleetwood Mac, this was number five. So I think it's not an unsung hero. People are realizing how incredible it is. It's still incredible to me that this is the fourth single. So if I had to choose between these two, I would put this ahead of Little Lies. I like Little Lies, but everywhere is the one. I can't believe this wasn't the lead-off single. Frank: [20:56] Yeah, oh I know. And it charted relatively well. It was 14 on the US Billboard Top 100. But I mean, ultimately, the Bill and Frank's guilt-free pleasure, the only chart we really care about is the adult contemporary chart, right? Bill: [21:14] Straight to number one, baby. So, and we brought this up before, even though I charted 14, whatever was number one that week. Frank: [21:16] Straight to number one. [21:24] I don't even know. Bill: [21:24] I know I don't even care because this is the one. Frank: [21:25] I don't care! Bill: [21:28] That endures, because it was played all the time. Frank: [21:30] I don't want to, you know, jump the gun here, but this is a roller rink song. Bill: [21:30] At least when I was a kid, I remember it. And so just hearing the, oh my goodness, there's so many bits and pieces to that song. [21:44] Yeah. Oh yeah. This is perfect. Roller rinks still around late 80s? Okay. Would you put, would you roller skate to this at Prudhommes Landing? Did you ever roller skate at Prudhams? Frank: [21:46] I think so. Yeah, I roller skated in the early 90s even. I mean, I would if I was cool enough to roller skate at Prudhommes Landing. No, no. Bill: [22:05] Oh man, this is a call back to our Prudhommes Landing episode. Just songs that remind you of. Frank: [22:11] If you don't know what you're talking about, just listen to all of our previous. Bill: [22:15] Yeah. Frank: [22:15] Episodes and eventually you'll get get the reference. No, no, no, no, don't tell them I'm trying to get listens here. Bill: [22:18] So in Gloria Stefan's bad boy, it's a, Oh, well we can get them straight to bad boy and we can see the, okay. Frank: [22:25] But I'm trying to get them to listen to everything. Bill: [22:27] Either way, if you don't know Prudhommes Landing, well, you'll know this is the summer song, not to jump into a category. We are there for jumping into these categories. Frank: [22:35] We're jumping into categories. Bill: [22:36] So, all right. I see this as a perfect breezy summer day. Frank: [22:44] Yes, absolutely. Bill: [22:46] Also, I could see this as snow falling close to Christmas. This could be like a Christmas song. Frank: [22:52] It's an all-season song. Bill: [22:53] It is because it just will make whatever situation you're in brighter. Now, I'll tell you what's not bright is the music video. Frank: [23:04] Yeah, it's... not good. Bill: [23:06] Yeah, apparently there was two. I can't find this other version that is with Fleetwood, McV and McV. Because by the time Everywhere comes out, this is depressing, but Buckingham has left the band. So he had done all this work on the album And then it came down to them planning their tour. And he just said, I can't do it. And basically saying, I can't be around you guys. You guys are destructive. You're gonna die. I don't wanna die. And then Stevie Nicks lunged at him while they're in Christine McVie's mansion. And then he got so angry that he chased her. And she talked about, this is Stevie Nicks saying, she was running through the halls of this sort of house that was almost like, it feels like they're in some sort, of maze and he's chasing her and they're end up on the street, he's still chasing her and she's afraid for her life. Frank: [24:05] Oh, jeez! Oh! Bill: [24:06] And he throws her against a car and then she threatens to have him killed by her family. It's just awful. And this of course is bringing over their relationship from a decade earlier and it's awful. I imagine Christine McVie just sitting still there in the house and it's- Frank: [24:17] Yeah. Oh my goodness. [24:22] I just want to sing everywhere on stage. Bill: [24:24] I know, so he's already gone, he's left the band. And so by the time this video comes out, they film it without any members of the band. And they think, oh, everywhere, why don't we do like something that's like a ghost story, and we do the highway man as a music video. Now the highway man is that old poem, and you can watch the music video and it kind of just follows the story of it. But this does not work with the song at all, because there's like... Frank: [24:53] Not at all. It's not, it's a song about falling in love and being in love early on and when everything's good and fantastic and fun. Bill: [25:04] It's not about getting kidnapped, killed and then getting revenge and then being a ghost. Oh, that's insane. The only time I want to hear the Highwayman is from Anne Shirley when she's. Frank: [25:08] Yeah, by redcoats! Bill: [25:15] Doing her speech competition and Anna Green Gables. That's the most powerful version of the Highwayman. Everything else doesn't matter. Oh, I'm sure he is. Megan Follows, best Highwayman. Frank: [25:25] Is Gilbert in the audience watching? Bill: [25:31] And rendition, that might've occurred at the same time. Cause standing green gables I think came around then. Sorry, Fleetwood Mac, bad choice. Frank: [25:35] Yeah, yeah, yeah. Bad choice, yeah. Bill: [25:39] Now, if you look at the cover of the single, this cover of the single has this sort of picture of someone whose arms are kind of open up to the world. Frank: [25:47] Oh, okay. Bill: [25:48] There's a planets star. It looks like the person who did the artwork for the little prince did the artwork for everywhere. It's perfect. It works exactly as it should. And that's what it should have been. Frank: [26:02] Yeah. [26:02] The video doesn't, yeah, it doesn't work. And if we're going to be critical of the video, so I watched it just once. And there's a bunch of scenes where like these British redcoats are running inside this cottage house or whatever it is. They're going up the stairs and it's clearly animated shadows on- so there's all these animated pieces that just like- it's like was your shadow guy on vacation? that's why you couldn't get the lighting right? I don't know. No, no, no, no, no. Bill: [26:31] It's not worthy of the song. The record company spent a boatload of money on producing this album, just like they've spent it on Tusk and other things. When oh, this is awful. This is side note, but when they would go to hotels in like the early 80s, they'd have them like bring in a grand piano. And if they couldn't get it through the doors, I don't know how you get through a hotel door, they have to like break open windows to get it in. They'd force them to repaint the walls white. so that they'd have white rooms like they were just the excess was ridiculous. That's crazy. But they didn't put any of that into this music video. No. No. No. No. How dare they? Okay. Frank: [27:08] No, no, no, no, no. How dare they? I mean, you know me, it's the chorus, right? But it's the opening of the chorus, the oh, like, I love that sustained. I right. I love that. And then I want to be with you everywhere. It's just so fun. I love it. Bill: [27:13] What's your favorite part of the song? [27:34] So that's what you're singing to in the car. Oh yeah. And you know me, I like doing backing vocals to the song so I'm doing whatever's going on in the background and trying to make those vocalizations. Frank: [27:36] Oh yeah, absolutely. [27:46] Well at the end of the chorus where it's like, I want to be with you everywhere. And then there's the sort of follow up, want to be with you everywhere. Bill: [27:53] Want to be with you everywhere. Yeah. Oh my goodness. Even thinking about that. Frank: [27:55] Yeah, yeah, yeah. Bill: [28:00] How could I pick a favorite part? Everything's perfect. Everything's great. Bulletproof. And the ending of the sort of vocals going back and forth. It's bubbly. It literally sounds like they're making bubbles to me. And it's just like, oh my goodness. Yeah. This is where. Frank: [28:02] Oh, I know. Proof Pop song. [28:14] Yeah, magical bubbles. Bill: [28:19] You go to dreamland. There's a picture of some sort of heaven where you have like grass just blowing in the wind, bubbles in the air, fairies dancing. Frank: [28:30] Yeah, people dancing with ribbons. Bill: [28:32] Yeah. [28:33] Yes. This is it. That leads us to a category pretty naturally. So for the talent show, you're going to be doing a floor routine. Frank: [28:41] Yeah. [28:41] Gymnastics floor routine with ribbons. Bill: [28:42] Yeah, gymnastics floor. Yeah, with the ribbons. Yeah. Yeah, that's that. This is easy. Frank: [28:44] Yeah. Yeah. Bill: [28:46] So there you go. Category check. Frank: [28:48] Check. Would you sing this at karaoke? Bill: [28:52] No, I don't think I could do it. It's so good that it demands this sort of perfection that I don't think I could even come near it. Frank: [28:57] I think the only way it could be done is if there's got to be someone taking the lead, but you need someone to harmonize on those choruses. Bill: [29:08] You better have someone incredible. Frank: [29:09] Yeah. I think Stevie Nicks would do karaoke with me, right? Bill: [29:14] Maybe but she might only show up for a few minutes like she did for this album. Frank: [29:19] Yeah. She showed up for enough for this album. Bill: [29:21] Oh, yeah. Okay. Hallmark movie. I have written here, no way. This needs to be a mainstream movie, not something on Hallmark TV, but this is a song that should. Frank: [29:28] Yeah? [29:28] Well, it has that, well, the opening magical like sort of dreamy sequence, right? Bill: [29:32] Be sort of like this heads in a mixtape territory. Remember when they'd play Dreams by Cranberries all the time to sort of set the stage? Forget Dreams. Play everywhere. Frank: [29:48] Well, Dreams had it too and it kind of had to because it was in the name, But also linger same same sort of a feel so I'm sure we'll do a cranberry song at some point too, but. Bill: [29:56] Our usual category, we, it keeps altering in different ways. Can Michael Bolton sing this song? Frank: [30:08] I think he can but I don't want to hear it. Bill: [30:10] No. What would Mariah Carey do to it? She would Mariah Carey it it would suck. Frank: [30:13] She would destroy this, Yeah, yeah, she I don't think she has the self-control not to go full Mariah on it. Bill: [30:23] Yeah, Celine Dion also I can't think of of anyone who could do it off the top of my head. Frank: [30:31] Also yeah. [30:32] There's a subtlety about the way that Christine McVie sings the vocals. Like she doesn't go over the top. She's a little bit reserved, like as much as it is like a fun happy song about being in love, she's reserved and conservative with it. Bill: [30:49] She does have a very British way of being, if I could say that. Yeah. She did also the song. Do you remember song, Songbird from Rumors? Frank: [30:52] Yeah. Stiff upper lip. Bill: [31:01] They closed every concert with it. So Eva Cassidy, if you remember Eva Cassidy. Frank: [31:03] Uh, yes. Yeah. Bill: [31:06] She did a version of Songbird, which is near perfect. It probably is perfect. I still don't know if Eva Cassidy could have done everywhere because there needs to be a bounciness that I, I never pictured with her, but maybe she could have done it. But there is something special about Christine McVie is both unassuming, but also is in these grand songs because she can go along with Buckingham. They always got along. So Buckingham, notoriously difficult to get along with, but he never had a bad thing to say about McVie and vice versa. They could do albums together. They understood each other. And she wasn't into all the drama. I mean, she partied hard, but compared to the rest of Fleetwood Mac, I think she's a girl guide. Frank: [31:45] Yeah, the rest of them. Yeah, she was... Yeah. Bill: [31:48] And she was also with Dennis Wilson from, um, the beach boys for a while. Yeah. There's a whole, she's got her own backstory and sadness too, right? Frank: [31:52] Oh, really? Okay. Bill: [31:56] About all that stuff. Mix tape. Frank: [31:59] You're just going to name Ashley's album? Bill: [32:01] You want me to go first? So I decided in honor of the person who was the catalyst for this song, kind of coming back to my life and then defining my 2011. Frank: [32:16] You're just gonna name Ashley's album? Bill: [32:18] You're just. Oh yeah. Well, we love you too, Ashley. But I'm thinking of Chris Newkirk. I'm dedicating this to Chris Newkirk. Frank: [32:20] Oh, that's fantastic. Bill: [32:26] Sorry, Ashley. So. She'll never listen to this. She'll never listen to this. So these are songs that I heard while hanging out with Chris Newkirk in 2011. Frank: [32:31] She'll never listen to it. Bill: [32:40] Not all of them actually, but they made me think about Chris Newkirk and his love of this sort of big dreamy sort of pop song. Okay, so everywhere we'll open it of course. Frank: [32:52] I'm sorry. Bill: [32:56] There's a song called I L U by the school of seven bells. It is insane. And the woman who sings lead also passed away few years ago, but in her 30s, I think. Frank: [33:08] Okay, oh. [33:09] Yeah, so Bill just played the song for me and it'll be in the show notes, but my goodness they gave me goosebumps bumps it's it's ethereal and and and dreamy and oh man that's good. Bill: [33:21] I heard that also on that same drive. Chris Newkirk. Wow. Great taste in music. And so also on the drive, we heard cloud busting by Kate Bush. I'm pretty sure that's like just so good. So hands of love from Kate Bush also inspired the production of Tango in the Night. So Kate Bush's style and her relentless drive was where Lindsay Buckingham was was looking towards for making this. Also, I don't think I'll ever be able to pronounce this right, but one more Chris Newkirk, number three. Hoppipolla, Hoppipolla. Frank: [34:02] Happy pool! That doesn't sound at all at least. Bill: [34:05] Yeah, that doesn't sound at all like Sigur Ross, but it is. And it's a Sigur Ross, like the major song, which played when Chris and Jade, I think we're walking down the aisle after their wedding. Frank: [34:09] That's like a new song. [34:15] Oh really? Oh nice. Bill: [34:16] So incredible song. So we were just discussing this as I was playing it, but cinematic in scope as is all these songs, as as is everywhere. Okay, and then I threw a couple more in, Fleet Fox's Can I Believe You? And one more song, Everywhere by Brandvan 3000, which I love. Frank: [34:42] Was that on that trip too or no? Bill: [34:45] No, but I just think I should have played it on the trip. I don't know if he would have liked it. Do you remember everywhere? Yes. Oh, I don't know if it fits. However, you know, those first three were something else. Frank: [34:51] Yeah, yeah, yeah, yeah. [34:57] Mix tapes are allowed to have an outlier, right? Bill: [35:01] Yeah, and maybe it transitions into yours. Frank: [35:03] All right. So my mixtape is, I tried to keep it like happy songs, like giddy songs, fun songs about falling in love. So Walking on Sunshine by Katrina and the Waves. Butterflies by Kacey Musgraves. Bill: [35:13] Okay, oh good. [35:20] Okay not crazy town. Frank: [35:22] No, surprisingly not. Bill: [35:25] No, okay, great. Frank: [35:26] He just threw me right off there. Bill: [35:31] Yeah, sorry about that. Frank: [35:33] The way you are by Bruno Mars. Love is in the Air by John Paul Young and then we finish it off with Sunshine Lollipops and Rainbows by Leslie Gore. Sunshine lollipops and rainbows everywhere that's how I feel when I feel that we're, together that's a and then finishing it off with the sunshine lollipops and. Bill: [36:00] Got it okay perfect well this mixtape just good thing i put in brandman 3000 it's just a transition straight to walking on sunshine oh good. Frank: [36:14] Rainbows. Bill: [36:15] Yeah, yeah. future I'm sure it's a future episode. Frank: [36:18] Well I'm sure yes so I before we before we came to record this song I was talking to my friend Becca and saying, oh, we got to go. I got to go and record this podcast. And he's asking, what song are you doing? I said, Everywhere by Fleetwood Mac. And she said, I love that song. When her and her partner were in New Zealand, they had this this, crappy garbage car and that had a tape deck. So her and Blake went to a thrift store to buy tapes just to play. and they bought Tango in the Night and just listened to that on repeat and this was far and away their favorite song on the album. I told Becca just like, all right I'm gonna tell that story if you're okay with it and well here it is it might actually make the cut. Bill: [37:06] I will and you know what? We don't often do these call-outs. I try to listen to other podcasts because often they're like, hey here's the name of our show which we... do we even say what we're called? Yes you did once but you have to be an astute listener but of course you also have been. Frank: [37:18] Great. Bill: [37:22] An astute enough person that if you're listening to our podcast you're looking at it and the name of our podcast is right in front of you. So we really are glad you're listening to Bill and Frank's. Frank: [37:28] Yeah, exactly. Bill: [37:31] Skill-free pleasures we don't have patreon right now for you to give us money or anything like that but what we would like is to hear your story about Fleetwood Max everywhere tell us how this song, has made your life brighter. Frank: [37:48] And also you can just mail cash to us to our addresses. Bill: [37:51] It's right. Frank: [37:52] We'll put those in the show notes. Bill: [37:53] That's right. Frank: [37:56] It's been a fun and fantastic experience putting this podcast out every week. And this song is coming out at the beginning of 2023. And we just want to thank everyone for listening to us and being with us and downloading and taking this on your drives, on your walks, wherever you listen to it. I listen to podcasts at work all the time instead of working. Bill and I would like to say we want to be with you everywhere. Bill: [38:25] Boop-a-doo-doo-doo.

Fleetwood Mac zal nooit meer in de beroemdste bezetting kunnen optreden, want toetsenist Christine McVie (tevens de componist van Mac-hits als Don't Stop, You Make Loving Fun, Little Lies en Everywhere) is op 30 november dit jaar overleden. Leo Blokhuis luisterde als tiener al graag naar McVie en brengt in deze podcast het oeuvre in kaart dat zij in de jaren voor Rumours maakte. Getrouwd met Mac-bassist John McVie is Christine al vanaf 1968 betrokken bij de muziek van de groep om twee jaar later definitief toe te treden tot Fleetwood Mac. En passant komen zo ook de vele gitaristen die de groep in de eerste helft van de jaren 70 verslijt ter sprake.  

In this week's episode, Wyndham and Jeremy sit down to pay tribute to the late Christine McVie—Fleetwood Mac's Queen of Hits. The brothers discuss McVie's constant presence as a gifted songwriter, her unique ability to craft huge hits for the band, and her quiet persistence through the roller-coaster history of Fleetwood Mac. Then, Wyndham and Jeremy break down the recent Showtime documentary adaptation of Elizabeth Goodman's book Meet Me in the Bathroom, and how the film managed to deflate the fun of the scene.

Hailing from Scotland! Dean comes on and joins the discussion. Coming off a big finish from WSM80kg, he chats about his struggles and successes in the sport as well as answers my questions. The former Royal Marine is not done yet, and plans to compete again in 10 days. Tune In! Check out his instagram, if you are interested in his coaching: Instagram - https://www.instagram.com/deanmcviestrength/ Check out a mini - doc of Dean - https://www.youtube.com/watch?v=xu8XDyH33ts Accolades: 4 times Scotland's Strongest Man - Winning 80 and 90kg titles 2 time Europe Strongest Man Runner Up 80kg In 2022 - Bronze Medalist at World Strongest Man 80kg Scottish Record Holder in the Log and Dumbbell Please Like, Share and Subscribe for more Strongman Excellence. Follow me on Social Media: IG: Cambidude - https://www.instagram.com/cambidude/ Tik Tok: https://www.tiktok.com/@cambidudecambi?lang=en Get the best supports, clothing and accessories for strength and fitness. https://us.sbdapparel.com/cambi Tsunami Bars! - Learn more! http://Www.tsunamibarsportsaffiliate.com Find your right flavor of smelling salts https://www.zonesmellingsalts.com/?ref=bNl8xFhfPfER3 Thank you to my Sponsors: Total Performance Sports in Malden Massachusetts Tsunami Bar Sports SBD Apparel Zone Smelling Salts #Strongman #WorldStrongestman #Strength #Strong #gym #fitness Learn more about your ad choices. Visit megaphone.fm/adchoices

Truly, I struggle with editions of the Coast Highway Shuffle where we must pay tribute to an artist who has passed. This week, we celebrate the career of the amazing singer/songwriter Christine McVie of Fleetwood Mac, who passed just 5 days ago, with 2 'headsets' of songs she wrote and performed. Of course, we also have many other songs to share, by artists like moe., Bret McKenzie, Cake, M&E, Yes, Sting, Neal Francis, Midnight Oil, Los Espiritus, JD Souther and many more. I hope you enjoy this edition, as we mourn the loss of Ms. McVie.......

durée : 00:53:50 - Very Good Trip - par : Michka Assayas - Ce soir, Very Good Trip vous emmène toute cette semaine dans une Californie ensoleillée. Un voyage un peu teinté de mélancolie.

This vinyl mix Danny pays tribute to the late singer songwriter Christine McVie with music by Stevie Nicks, Cocteau Twins, Modern English, and more. Christine Anne McVie (/məkˈviː/;[1] née Perfect; 12 July 1943 – 30 November 2022) was an English musician and songwriter. She was principally known as a vocalist and keyboardist with the band Fleetwood Mac.A member of several bands on the mid-1960s British Blues scene, notably Chicken Shack, she began playing with Fleetwood Mac in 1968, initially as a contract session player, before formally joining the band in 1970. She started to emerge as a songwriter by 1971, with her first compositions appearing on her fourth album with the group, Future Games. She would remain with the band through many lineup changes for the next several decades, generally writing and performing lead vocals on about half of the tracks on all of their subsequent studio albums (though she had partially retired in 1998, and only appeared as a session musician on the band's last studio album, Say You Will. She also released three solo studio albums. Steve Leggett of AllMusic described her as an "unabashedly easy-on-the-ears singer/songwriter, and the prime mover behind some of Fleetwood Mac's biggest hits". Eight songs written or co-written by her, including "Don't Stop", "Everywhere", and "Little Lies", appeared on Fleetwood Mac's 1988 Greatest Hits album.As a member of Fleetwood Mac, McVie was inducted into the Rock and Roll Hall of Fame and received the Brit Award for Outstanding Contribution to Music in 1998. The same year, after almost 30 years with the band, she opted to leave and lived in semi-retirement for nearly 15 years. She released a solo album in 2004. She appeared on stage with Fleetwood Mac at the O2 Arena in London in September 2013, before rejoining the band in 2014 prior to their On with the Show tour.McVie received a Gold Badge of Merit Award from BASCA, now The Ivors Academy, in 2006.[9] She received the Ivor Novello Award for Lifetime Achievement from the British Academy of Songwriters, Composers and Authors in 2014 and was honoured with the Trailblazer Award at the UK Americana Awards in 2021. She was also the recipient of two Grammy Awards.

In honor of the passing of one of the great voices and songwriters in Fleetwood Mac, the guys revisit their early 2022 foray into the sex, drugs and rock n roll that defined that band and one of the greatest albums ever made. SHOW NOTES: Songs in this episode: "Long Grey Mare" by Fleetwood Mac, "Say You Love Me" by Fleetwood Mac, "Everywhere" by Fleetwood Mac https://www.rollingstone.com/music/music-lists/best-christine-mcvie-songs-1234638906/say-you-love-me-2-1234638915/ https://www.mamamia.com.au/fleetwood-mac-affairs/ https://en.wikipedia.org/wiki/Fleetwood_Mac https://en.wikipedia.org/wiki/Rumours_(album) https://en.wikipedia.org/wiki/Christine_McVie https://en.wikipedia.org/wiki/Buckingham_Nicks https://www.biography.com/news/fleetwood-mac-rumours-album https://www.loudersound.com/features/stevie-nicks-all-of-us-were-drug-addicts-but-i-was-the-worst https://www.nme.com/news/music/fleetwood-macs-mick-fleetwood-says-cocaine-use-left-him-with-two-year-memory-gap-2873541 https://www.theguardian.com/music/2020/mar/30/jenny-boyd-mick-fleetwood-jennifer-juniper-its-not-what-you-think-behind-the-star-studded-life-of-a-rock-stars-wife https://genius.com/Fleetwood-mac-the-chain-lyrics The 1977 Rolling Stone piece: https://www.rollingstone.com/feature/the-true-life-confessions-of-fleetwood-mac-120867/ https://stevienicks.info/2006/01/cameron-crowe-reflects-on-fleetwood-mac-piece/ https://www.rollingstone.com/feature/the-100-best-covers-fleetwood-in-flagrante-232585/

Minneapolis City Councilmember Michael Rainville joins Chad to talk about policing, the health of the city and his support for measures that would bring accountability of police to a new level in Minneapolis. Plus, we discuss the passing of Christine McVie and the musicians that touch our lives in a way that McVie clearly did for so many.

We clariify which Christine died / The most popular names of 2022 / Popular songs we don't care for / Loads of listener e-mail / Sports update / Dan Duran the anchorman / Mike Boon updates the Dean McDermott situation and tees up next week Humble and Fred is proudly brought to you by Bodog, GoDaddy, The Chambers Plan, The Retirement Sherpa Tim Niblett, Electric Vehicle Network, and Kelseys Original Roadhouse.

Mary Jane Alm and Jana  Anderson.on passing of Christine McVie, who died Wednesday at the age of 79.  Mary Jane Alm sings the Christine McVie Parts in Rumours and Dreams , A Fleetwood Mac tribute show.   Jana toured with Fleetwood Mac as a backup singer for 7 years, but after McVie left the band.

Mary Jane Alm and Jana  Anderson.on passing of Christine McVie, who died Wednesday at the age of 79.  Mary Jane Alm sings the Christine McVie Parts in Rumours and Dreams , A Fleetwood Mac tribute show.   Jana toured with Fleetwood Mac as a backup singer for 7 years, but after McVie left the band.

Big Lead @ Noon // Western State hires man despite lengthy criminal record, steals from patients // Cap Gains tax okayed for collection despite being an income tax while courts decide constitutionality // GUEST: Collin Hathaway, President, Opportunity for All Coalition, on the Capital Gains lawsuit they filed // Fleetwood Mac's Christie McVie diedSee omnystudio.com/listener for privacy information.

Christine McVie, the English singer and musician who joined Fleetwood Mac in 1970, died Wednesday. She was 79. Her family said in a statement shared on Facebook that McVie died in hospital following a short but undisclosed illness. Original Article by John R. Kennedy: https://www.iheartradio.ca/news/fleetwood-mac-s-christine-mcvie-dies-at-79-1.18865389

Bonus Episode - Erin Davis and Doug Robinson are joined in this special episode with the Ontario Association of Residents' Councils, Melissa McVie, Director of Education and Communications, and Devora Greenspon, LTC Resident and REAL Group Co-Chair. Barry Hickling was our guest in Episode #5 speaking about ageism, living in long-term care, and his role with the OARC. We encourage you to revisit this conversation. Devora was encouraged by the staff at her Long-Term Care home to participate in the Residents' Council.  Feeling of chaos in the meeting and not being shy, stepped in.  Before she knew it she was the president of their residents' council. "There was absolute chaos during the meeting.  I'm not shy so I just took over.  Next thing I knew I was president of the Residents' Council." - Devora Greenspon Devora's Residents' Council has adopted a Shared Leadership team model with residents from different parts of her home comprising a team that leads the work of Council based on individual strengths. She uses this inclusive team model in place of the traditional Executive model with a President, Secretary etc. "Residents' Council is a great place for residents to express their hopes, their goals, their concerns with no fear of retribution." - Devora Greenspon Residents' Councils are mandated to exist in every long-term care home.  A vehicle through which residents can speak about the good, the bad, the ugly, and collaborate with the leadership in their home. "Residents' Councils welcome an open dialogue with the leadership team in their long-term care home." - Melissa McVie "Council is a place for residents to meet one another and develop relationships.  So important when you live in long-term care." - Devora Greenspon Learn more about OARC and access their newsletter, Season's Magazine: https://www.ontarc.com/  "Everyone has a story, we cannot paint all residents with the same brush.  Take a little extra time to get to know one's story." - Melissa McVie Doug learns how to say 'good morning' in different languages to be able to greet each resident. "I did not go into long-term care to die, but to live.  To have a fruitful, happy, quality of life." - Devora Greenspon What are your hopes for the future of long-term care? Devora - To make quality of life better and better for each resident. Erin Davis hears in our conversation, 'I'm still me, I will be heard, I want to be part of my community, and I want to help plan for the future.' What is REAL “Resident Expert Advisors and Leaders”? Is comprised of members who are resident leaders living in LTC homes across Ontario. It is an advisory group; REAL members bring their own lived experiences and perspectives as residents helping to inform and guide OARC's work   *An OARC legacy program is in the works to award a long-term care home in Ontario a green #ElderWisdom bench each year in memory of Sharron Cooke.   Subscribe, rate, and review our podcast on any network and share your thoughts on social media using the #ElderWisdom tag to help others find us. ----more---- The Green Bench is a symbol of elder wisdom. Physically or virtually, the bench invites us all to sit alongside a senior, share a conversation, or give and offer advice. It challenges the stigma seniors face; the ageism still so prevalent in society. It reminds us of the wealth of wisdom our elders offer and in doing so, helps restore them to a place of reverence. "The greatest untapped resource in Canada, if not the world, is the collective wisdom of our elders." -Ron Schlegel This podcast is brought to you by Schlegel Villages, retirement & long-term care homes in Ontario, Canada. #ElderWisdom | Stories from the Green Bench is produced by Memory Tree Productions Learn more about our host, Erin Davis, at erindavis.com Learn more about #ElderWisdom at elderwisdom.ca

Christine McVie, figura histórica del blues y el rock británicos como parte fundamental del grupo Fleetwood Mac, acaba de publicar “Songbird”, una colección de temas en solitario. Ella empezó a grabar como Christine Perfect antes de integrarse en la banda del entonces su marido John McVie. Incluso antes estaba en el grupo Chicken Shack. Disfrutemos de sus composiciones, de sus teclados, de su voz dulce y enérgica a la vez. DISCO 1 FLEETWOOD MAC Everywhere (TANGO IN THE NIGHT) DISCO 2 CHICKEN SHACK One Step Beyond (CLO CANCIONES DE HOY) DISCO 3 CHRISTINE McVIE Friend (SONGBIRD) DISCO 4 FLEETWOOD MAC Hold Me (MIRAGE) DISCO 5 FLEETWOOD MAC Say You Love Me (THE DANCE) DISCO 6 CHRISTINE McVIE Got A Hold On Me  DISCO 7 FLEETWOOD MAC Don’t Stop (LIVE) DISCO 8 FLEETWOOD MAC Spare Me A little Of Your Love (BARE TREES) DISCO 9 CHRISTINE McVIE & ERIC CLAPTON The Challenge (SONGBIRD) DISCO 10 CHRISTINE McVIE & STEVE WINWOOD One In A Million  DISCO 11 FLEETWOOD MAC Littles Lies (TANGO IN THE NIGHT) DISCO 12 LINDSEY BUCKINGHAM CHRISTINE McVIE Feel About You  DISCO 13 TODD SHARP & CHRISTINE McVIE We Were Lonely  DISCO 14 CHRISTINE McVIE Songbird Orchestral (SONGBIRD) Escuchar audio

Shortly after Lindsay Buckingham and Stevie Nicks Join Fleetwood Mac in 1975, they and the McVie's (the other couple in the group) find themselves having affairs with a bunch of other people and Stevie Nicks hooking up with drummer, Mick Fleetwood, during the recording of this album. We do our best to sort it out, and it is fodder for us on this podcast, leaving us with more questions than answers. We go off the rails frequently, and we give you our top non hits at the end. As badly as they screwed their lives up with the affairs and the cheating, they made what we and many rock critics believe is one of the best albums ever made. We did this podcast by request from “Fast Eddie", a friend of the show. Enjoy!!Support the show

Shortly after Lindsay Buckingham and Stevie Nicks Join Fleetwood Mac in 1975, they and the McVie's (the other couple in the group) find themselves having affairs with a bunch of other people and Stevie Nicks hooking up with drummer, Mick Fleetwood, during the recording of this album. We do our best to sort it out, and it is fodder for us on this podcast, leaving us with more questions than answers. We go off the rails frequently, and we give you our top non hits at the end. As badly as they screwed their lives up with the affairs and the cheating, they made what we and many rock critics believe is one of the best albums ever made. We did this podcast by request from “Fast Eddie", a friend of the show. Enjoy!!Support the show

In this episode, Jeff Buck, CEO, Robling and Graeme McVie, Managing Director of Data Science and Analytics, Logic Information Systems, discuss how to bridge industry silos, the future of data and retail, their take on current technology trends, and much more.---------Join The World of Data Collaboration at Snowflake Summit this June in Las Vegas. At Snowflake Summit, you can learn from hundreds of technical, data, and business experts about what's possible in the Data Cloud. Learn more and register for Snowflake Summit at www.snowflake.com/summit.

20. Aerosmith / I'm Ready21. John Mellencamp / Down in the Bottom22. Otis Rush /Double Trouble (Cobra, SRV) 23. John Mayall / Long Distance Call (Clapton, Taylor, McVie, Fleetwood, Green) 24. Rolling Stones (feat: Buddy Guy) / Champagne & Reefer25. Humble Pie / Rollin' Stone (Steve Marriott & Peter Frampton)26. Rory Gallagher / Got My Mojo Working27. Gary Moore / Walking Through the Park 28. Johnny Winter / Iodine in My Coffee29. George Thorogood / Two Trains Running30. Led Zeppelin / You Shook Me 31. Jeff Beck Group (feat Rod Stewart) / I Ain't Superstitious 32. Joe Bonamassa / Tiger in My Tank 

"Workin' Moms" star Sarah McVie discusses decking out your Airbnb with free goodies, romantic encounters, and getting shot in the face by a surprise bidet. Make sure you watch WORKIN' MOMS - Seasons 1 - 5 on Netflix, and Season 6 is airing now on CBC! Order a Cameo from Sarah! Follow Sarah on Instagram! -- Follow the show on... Instagram: www.instagram.com/make_that_paper_podcast/ Facebook: www.facebook.com/makethatpaperpodcast/ Twitter: twitter.com/makethatpaperpc/ Follow Jaime on... Instagram: www.instagram.com/jaimeparkerstickle/ Twitter: twitter.com/JaimeStickle Follow Jason on... Instagram: www.instagram.com/jjbeebstagram/ Twitter: twitter.com/jasonjackbeeber --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/makethatpaperpodcast/message Support this podcast: https://anchor.fm/makethatpaperpodcast/support

Jessica McPhee is a survivor of CSA. She has turned her pain into power and is educating parents around the world on childhood sexual assault prevention. 

How to build a full time online fitness business with Robert Mcvie

My guest for this episode is an industry leader who's full of insightful knowledge and advice, Sue McVie. Sue is a purpose-led growth leader and entrepreneur who unlocks the potential in both people and ideas. Having worked with United Biscuits, her career progressed through the likes of Coca Cola, Pepsico and Vodafone before joining Kerry Foods in 2012 as Shopper Marketing Director and then as Managing Director for Oakhouse Foods in 2017. She is now a vital part of the Kerry Foods Leadership Team leading a portfolio of fast-growth DTC and Accelerator businesses. In this episode, Sue and I discuss her stellar career in the food and drink arena. We discuss what it means to lead a business with real purpose - achieving business goals while doing good along the way. By assessing, testing and optimising along with the right leadership, Sue and her team were able to reinvent Oakhouse Foods and successfully double the business in a matter of 3 years! Sue explains the importance of continually referring to customer feedback, treating it as a gift and taking on board suggestions to better improve the products and service. We also talk about what it was like to go through a pandemic while running a successful business. We discuss how leaders had to adapt and make big decisions extremely quickly, and how she used effective communication to combat uncertainty to support team members. Lastly, we talk about what Sue believes makes a great leader - which she says requires a level of authenticity and ability to unlock people's full potential every day. Enjoy! As ever, if you'd like to get in touch you can reach me at Jonathan.ohagan@leaderexecutivesearch.com

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

Industrial Design, Creative Inspiration & Personal Projects! We chat about the ingenuity of industrial designers, professional vs personal success and recreational trespassing. On today's episode of “The Process” we discuss: Politics Rekindling design interest Ingenuity of industrial design First year experiences First job stories Learnings from General Dynamics Meeting James Personal vs professional success Composite manufacturing Recreational trespassing Rolex's and pocket knives NFT's & art What are we interested in? Sustainability All the links, all the time! Industrial Design, Creativity & Inspiration! Follow us on Instagram! @theprocess__podcast https://www.instagram.com/theprocess__podcast/ Zak Watson // LinkedIn: https://www.linkedin.com/in/zak-watson-48618517a/ Behance: https://www.behance.net/zakwatson Website: https://www.zakwatson.com/ Dylan Torraville // LinkedIn: https://www.linkedin.com/in/dylantorraville/ Website: https://dylantorraville.com Portfolio: https://dylanjtorraville.myportfolio.com/ Behance: https://www.behance.net/dylantorraville Send us an email to hi.theprocesspodcast@gmail.com if you have any questions or want to reach out! The Process is a podcast created by industrial designers Dylan Torraville and Zak Watson. Dyl and Zak are picking up microphones to chat about their experiences in design school, personal projects and navigating the creative process. Oh yeah, and there will be some sweet interviews with other designers and friends too.

In this episode:We chat to Dean McVie about his time as a Royal Marine and the gruelling training he went through. We also chat to him about his transition into bodybuilding, powerlifting and then strong man. Dean is a 3 times Scotland Strongest Man winner, twice in under 80kg and once in under 90kg. He holds the current Scottish log press and deadlift record for under 80kg.  Dean tells us about the days of sleep deprivation, and physical and mental he had to go through to become a Marine, and almost dying from heat exhaustion. Then how the mental resilience he built carried him through into a successful strong man career.

Fjallað um bresku söngkonuna, píanistann og lagasmiðinn Christine Anne Perfect sem byrjaði í blúsrokksveitinni Chicken Shack árið 1967 og gekk í Fleetwood Mac árið 1971. Þá hafði hún verið gift bassaleikara sveitarinnar, John McVie, í þrjú ár og tekið upp ættarnafn hans. Leikin eru lög sem hún samdi meðan hún var í Chicken Shack og á fyrstu árunum eftir að hún gekk í Fleetwood Mac. Umsjón: Jónatan Garðarsson.

Fjallað um bresku söngkonuna, píanistann og lagasmiðinn Christine Anne Perfect sem byrjaði í blúsrokksveitinni Chicken Shack árið 1967 og gekk í Fleetwood Mac árið 1971. Þá hafði hún verið gift bassaleikara sveitarinnar John McVie í þrjú ár og tekið upp ættarnafn hans.

Fjallað um bresku söngkonuna, píanistann og lagasmiðinn Christine Anne Perfect sem byrjaði í blúsrokksveitinni Chicken Shack árið 1967 og gekk í Fleetwood Mac árið 1971. Þá hafði hún verið gift bassaleikara sveitarinnar, John McVie, í þrjú ár og tekið upp ættarnafn hans. Leikin eru lög sem hún samdi meðan hún var í Chicken Shack og á fyrstu árunum eftir að hún gekk í Fleetwood Mac. Umsjón: Jónatan Garðarsson.

Fjallað um bresku söngkonuna, píanistann og lagasmiðinn Christine Anne Perfect sem byrjaði í blúsrokksveitinni Chicken Shack árið 1967 og gekk í Fleetwood Mac árið 1971. Þá hafði hún verið gift bassaleikara sveitarinnar John McVie í þrjú ár og tekið upp ættarnafn hans.

Every first Sunday of the month, I talk to a past guest about what’s going on with them now, and we release it as a bonus episode on the pod! For the April Spark Chat, I caught up with actor SARAH MCVIE, from Workin’ Moms, The Handmaid’s Tale, Odd Squad, and Detention Adventure! This was actually our first spark chat during the pandemic! I was in LA and Sarah was just back from a vacation and in the first few weeks of Quar in Ontario. Get some pens and paper out for this one! Look out for May’s Spark Chat with Jess Salomon and Eman El-Husseini, aka The El-Salomons to be released as a podcast episode NEXT month!    Sarah's IG/Twitter: @sarahmcvie Coco's IG: @coco_chiennelleDog Lady concept trailer: LINKSarah's website: www.sarahmcvie.com

- Can you reach the top of the sport without using PED's?- Bodybuilding, The Marines and Charlie (Dean's dog)- Learn about Dean's tough upbringing and how he manages his mental health!- What's next for Dean?

Der har nærmest været flere medlemmer i Fleetwood Mac gennem årene end i bands som Whitesnake og Deep Purple - men et par stykker har holdt fast - og danner den dag i dag stadig kernen i bandet. Blandt de er blandt andre fakkelbærerne Stevie Nicks, John McVie og Mick Fleetwood. I denne episode af myROCK myWAY tager Mike Tramp dig med hele vejen gennem den brogede historie om Fleetwood Mac. Vært: Mike Tramp

Catch up with our firecracker core team members Naomi @snieckus Emily @emchurchill AJ @atotheje and Veronica Martin @veronicaannemartin as we talk about the Sarah McVie episode! Let us know what resonated with you too! Reach out anytime @firecrackerdept, and find this awesome Aftershow in video form over on our Youtube channel! Come say hey!  Find Sarah on social media @sarahmcvie.

Our guest this week is brilliant human, actor, writer, dog mom, SARAH MCVIE! You know Sarah from her hilarious role as Val on Workin' Moms and in the latest season of The Handmaid's Tale. She's also an award-winning theatre actor and writer! For this chat, she stopped by my place while she was in LA, but we're actually neighbours in Toronto! She has a beautiful Bichon Frise Shih Tzu named Coco, and we see each other at the dog park all the time. My dog Rufus wasn’t having the best time, so he’s only around at the beginning, but I think he adds some cute ambient kinda sound, right?  Let us know either way @firecrackerdept! *** Sarah McVie's IG/Twitter: @sarahmcvie Coco's IG: @coco_chiennelle Dog Lady concept trailer: LINK Sarah's website: www.sarahmcvie.com Stream Workin' Moms on Netflix & CBC Gem. Stream The Handmaid's Tale on Hulu.

Former Devils head coach Tom Vie chats with Matt Loughlin.

Ce n'est toujours pas évident d'effectuer une résiliaiton @jside_fr

Ce n'est toujours pas évident d'effectuer une résiliaiton @jside_fr

Another week, another episode! Today, Ben McVie and Chris Brown discuss restaurant annoyances, parenting, Danny DeVito, Game of Thrones, and Hamilton, Ontario's Red Hill construction project.

Ernie K-Doe [00:26] a side: "Real Man" b side: "Te-Ta-Te-Ta-Ta" Minit Records 627 1961 The genuine article and the man we can thank for "Mother in Law". Half Japanese [05:19] a side: "Refreshing" b side: "Do It Now" Joyful Noise Recordings JNR138 2014 A fine return to form with this 2014 release on Joyful Noise. Little River Band [11:25] a side: "Reminiscing" b side: "So Many Paths" Harvest Records 4605 1978 De rigeur on late 70s FM Gold programming, and revivified by Biz Markie (https://youtu.be/38vXZcuMZmU). The Album Leaf a side: "Reso" [19:20] Her Space Holiday b side: "Callinblue" [23:54] Better Looking Records BLR055-7 2004 Picked this up at the Moog Fest in San Francisco. Jesus + Mary Chain [29:56] a side: "Reverence" b side: "Heat" Blanco y Negro NEG 55 1992 Solidly J+MC. The lead single from Honey's Dead. Fleetwood Mac [36:42] a side: "Rhiannon (Will You Ever Win)" b side: "Sugar Daddy" Reprise Records RPS 1345 1976 Witchy goodness backed with McVie-an goodness. I used to have a crush on a girl in high school who drove a Camaro that had a license plate spelling Rhiannon. T. Rex [45:07] a side: "Ride a White Swan" b side: "Is It Love/Summertime Blues" Fly Records BUG-1 1970 Well, is this your new favorite T Rex song or what? Parliament [52:46] a side: "Ride On" b side: "Good Footin'" Casablanca Records NB 843 1975 Don't worry about being right, just be real. "Happiness Is..." by Perry Botkin Jr. and his Orchestra

Christine McVie enjoyed huge success with Fleetwood Mac, penning many of their signature songs including You Make Loving Fun, Oh Daddy, Little Lies, Everywhere and Songbird. The band has sold more than 100 million records and the album Rumours remains one of the most popular discs of all time, with sales of more than 40 million copies. The album was recorded during 1976 whilst the band members were going through relationship break-ups and the stories of excess and drug taking during the 1970s and 1980s are well documented. In 1998 McVie was inducted into the Rock and Roll Hall of Fame as a member of Fleetwood Mac and received the Brit Award for Outstanding Contribution to Music. The same year, after almost 30 years with the band, and having a developed a fear of flying, she opted to leave and lived in semi-retirement for the next 15 years, releasing only one solo album in 2004. She bought a Jacobean house in Kent and spent the next four years restoring it.Christine rejoined the band officially in January 2014, and that year she received the British Academy's Ivor Novello Award for Lifetime Achievement.Presenter: Kirsty Young Producer: Cathy Drysdale.

Christine McVie enjoyed huge success with Fleetwood Mac, penning many of their signature songs including You Make Loving Fun, Oh Daddy, Little Lies, Everywhere and Songbird. The band has sold more than 100 million records and the album Rumours remains one of the most popular discs of all time, with sales of more than 40 million copies. The album was recorded during 1976 whilst the band members were going through relationship break-ups and the stories of excess and drug taking during the 1970s and 1980s are well documented. In 1998 McVie was inducted into the Rock and Roll Hall of Fame as a member of Fleetwood Mac and received the Brit Award for Outstanding Contribution to Music. The same year, after almost 30 years with the band, and having a developed a fear of flying, she opted to leave and lived in semi-retirement for the next 15 years, releasing only one solo album in 2004. She bought a Jacobean house in Kent and spent the next four years restoring it. Christine rejoined the band officially in January 2014, and that year she received the British Academy's Ivor Novello Award for Lifetime Achievement. Presenter: Kirsty Young Producer: Cathy Drysdale.

In der heutigen Folge von #zweimalzwanzig schlüpfen Yvi und Emich in ihre nicht vorhandenen weißen Arztkittel und stellen per Ferndiagnose einen Influencer fest. Wird es die Berufssparte auch noch in 10 Jahren geben? Sitzen Influencer am Ende ihrer Karriere an der Supermarkt-Kassa? Was kann man von den neuen Medien-Hipstern lernen? Diese Fragen und noch viel mehr versuchen die beiden high-professional Podcaster Yvi und Emich für euch humoristisch und mit einem Feuerwerk an Sarkasmus zu beantworten. Wer jetzt noch nicht glaubt, es handelt sich dabei um Medizin, der hat wohl zu lange mit Globulis gearbeitet.

Close your eyes and make a wish, for there's much to celebrate! Today's VERY SPECIAL episode Jam Sandwich marks two wonderful occasions. I'm joined once again by my lovely wife Claire, but there's a bit of a twist. This was recorded at the Palace of Sin on Valentine's Day 2017 and as a romantic gesture, I promised my love that I wouldn't be overly pervy this time around as that's usually the case when she makes an appearance. Secondly, today is her birthday so I figured I'd drop a deuce on all y'all with two episodes this week. I feel kinda bad for taking last week off, so now you've got double the jam to double your fun. The queen was at the controls and she selected Fleetwood Mac's self titled album from 1975. I actually go into length about some of the band's history, while we also recount our personal take on the band and what they've meant to our relationship. Towards the end I kind of slip up and it get's a tad dirty. Oopsie! Be sure to share this episode with someone you love. Or just share it. Spreading your love of the show is like the fourth most fun thing you can do with your mouth. Subscribe and give us a good rating on itunes while you're at it. It would make my heart go a flutter. Thank you, my sweet lickers. Jam Sandwiches can also be found at: jamsandwichpodcast.com || manontop69.com || Twitter: @jamsandwichpod || Instagram: @jamsandwichpodcast  

Fresh off their second win in as many games, the guys continue to ride their Rocky Mountain High as they recap the Rapids game, look at the difficult schedule ahead in June, and discuss some insane potential DP signings.The Timbers Field Report (@TAFieldReport) is hosted by Kyle Carvalho (@Carvalhok1222) and Drew Olsen (@drewjolsen). They talk about PTFC fandom from afar, Timbers news, away-day travel, and whatever else crosses their mind. Please leave review and give us a five star rating on your favorite podcasting app! You can email us at timbersfieldreport@gmail.com.

Chuck Morse is joined by investigative journalist Russ Baker, host of the news and issues website WhoWhatWhy.org, in a talk about information his group has uncovered regarding the Boston Marathon bombing. Link: http://whowhatwhy.org/

Susan McVie, Professor of Quantitative Criminology, presents her inaugural lecture titled "Painting by Numbers: The Changing Landscape of Crime in Scotland". In this lecture, Professor McVie considers the dramatic change in patterns of crime that have been observed in Scotland in recent years and explore whether it represents real cultural and behavioural change. Recorded on 18 March 2014 at the University of Edinburgh's Appleton Tower.

Professor J Gordon McVie, the first NHS Consultant Medical Oncologist in Scotland in 1976 and Clinical Research Director of the Netherlands Cancer Institute in Amsterdam and the Scientific Director of the United Kingdom Cancer Research Campaign, of which he was the Director General. Professor McVie’s main areas of interest concern the discovery of new anti-cancer drugs, clinical pharmacology in relation to drug targeting, and clinical trials. He has also written five books and published over 200 research papers. Professor McVie’s talk was entitled “The future therapeutic jigsaw of cancer care”