Podcasts about Mike Sheridan

On today's episode, Jillian and Kyle sit down with Union II's Goalkeeper, Mike Sheridan to discuss his high school and college playing days and what lessons he learned from those experiences. They then dive into his time with the Union II and what his future goals are post playing career.Make sure to subscribe or follow, and please interact with us; we love to hear from you!• Twitter: @totwag• Facebook/Instagram: theoneteamweagreeon (all one word)• We are now on Apple Podcasts, Spotify, and YouTube.• Check out our website: www.theoneteamweagreeon.com#DOOP #SOCCER #MLS #MLSOCCER #PHILLY #PHILADELPHIAUNION

Mike Sheridan, Filmmaker, Journalist and Director joined Pat on the show to chat about his new documentary called Amplified: The Exportation of the Culture Wars which will be premiered at the Irish Film Institute Documentary Festival on September 28th. The film observes the crossover of American culture and politics over Ireland via political figures. The documentary draws attention to the United States' impact on the Dublin riots in November 2023.

'Amplified: The Exportation of the Culture Wars' - a new Irish documentary - examines the transfer of American culture and politics to Ireland, the impact of misinformation in the modern age, and the people responsible. Documentary director Mike Sheridan tells us more.

It's good to be back! Join Jack, Brad and special guest Mike Sheridan for an evening of alcohol and other intoxicant fueled hijinx! We debate Termite Baiting vs. Conventional barrier treatments, WDO vs. WDIR and whatever the heck the form number is... brushes with fame and some fucked up jobs!  And tonight we premiere the song "Baseboard MF'er" brought to you by Brad Harvey and Bobby Baseboard! So stick around after the show ends for that amazing musical artwork!Thanks to Tony Spangler for the artwork AND the amazing tumblers!Don't forget to subscribe for new episode notifications! Find us on instagram @tftcpodcast and Twitter @crawlspacetalesSupport the showPest Control Humor Depot on FacebookInsta: @tftcpodcastTikTok: @tftc2.0Our Website

CRIME NATION, The CW Network's first true-crime and justice anthology series, is set to thrust viewers into the gripping world of real-life mysteries, cold cases and heart-stopping investigations. Set to launch Tuesday February 20th and executive produced by head of Candle True Stories and former ABC News President James Goldston, each two-hour episode features ripped-from-the-headlines stories, shocking new details and exclusive on-camera interviews with those at the center of each of these cases.CRIME NATION is set to redefine the true crime genre, as each thrilling two-hour episode will delve deep into a riveting true crime sensation that has captured the attention of the nation. Each episode will reveal new details about these stories through expert analysis, exclusive reporting and never-before-seen interviews. CRIME NATION will also dive into the world of social media by talking to crime enthusiasts, social media sleuths, podcasters and digital detectives who in some instances have used their network to help solve cases. CRIME NATION is produced by Candle True Stories. CRIME NATION is executive produced by James Goldston, Steven Baker and Mike Sheridan. John X. Kim and Kyle McCabe serve as co-executive producers.

ABOUT CRIME NATION, TUESDAYS AT 8/7 CT ON THE CW CRIME NATION, The CW Network's first true-crime and justice anthology series, is set to thrust viewers into the gripping world of real-life mysteries, cold cases and heart-stopping investigations. Set to launch Tuesday February 20th and executive produced by head of Candle True Stories and former ABC News President James Goldston, each two-hour episode features ripped-from-the-headlines stories, shocking new details and exclusive on-camera interviews with those at the center of each of these cases.CRIME NATION is set to redefine the true crime genre, as each thrilling two-hour episode will delve deep into a riveting true crime sensation that has captured the attention of the nation. Each episode will reveal new details about these stories through expert analysis, exclusive reporting and never-before-seen interviews. CRIME NATION will also dive into the world of social media by talking to crime enthusiasts, social media sleuths, podcasters and digital detectives who in some instances have used their network to help solve cases. CRIME NATION is produced by Candle True Stories.CRIME NATION is executive produced by James Goldston, Steven Baker and Mike Sheridan. John X. Kim and Kyle McCabe serve as co-executive producers. ASHLEIGH BANFIELD BIO Ashleigh Banfield is an award-winning journalist and is a contributor on The CW's "Crime Nation." With over 35 years in the television business, Ashleigh Banfield has worked at nearly every cable news network, including CNN, HLN, MSNBC, and now NewsNation. The Canadian reporter started her television career as a producer at CJBN-TV in Kenora, Ontario in 1988. Since 2005, Ms. Banfield has almost exclusively reported on crime and justice. She believes the crime genre is something that resonates with Americans because it can happen to anyone. During her 30-year television career, Ms. Banfield has worked in various on-air roles across the industry. Before joining NewsNation, she served as a legal analyst and host for Court TV, as well as a regular contributor to Investigation Discovery's ID series, Murder Mystery. Prior to Court TV, she hosted Primetime Justice with Ashleigh Banfield on HLN. Previously, Ms. Banfield anchored Legal View with Ashleigh Banfield on CNN, and co-anchored the CNN morning news show, Early Start. She has also served as host of the A+E prime-time series, Live Rescue, and a correspondent for ABC News Good Morning America, 20/20, ABC World News Tonight, and Nightline. Prior to ABC, Banfield anchored and hosted three programs on TruTV including the daily legal news program, Banfield and Ford: Courtside, the weekly evening show, Hollywood Heat, and the prime-time special series that she created and co-produced, Disorder in the Court. Previously, she served as a correspondent for NBC News, where she reported for The Today Show, NBC Nightly News, and Dateline. During this time, she also anchored several prime-time series on MSNBC, including A Region in Conflict and Ashleigh Banfield: On Location. Ms. Banfield is an Emmy, Telly, Iris, Gracie, and National Headliner Award winning journalist.https://www.cwtv.com/shows/crime-nation/

CRIME NATION, The CW Network's first true-crime and justice anthology series, is set to thrust viewers into the gripping world of real-life mysteries, cold cases and heart-stopping investigations. Set to launch Tuesday February 20th and executive produced by head of Candle True Stories and former ABC News President James Goldston, each two-hour episode features ripped-from-the-headlines stories, shocking new details and exclusive on-camera interviews with those at the center of each of these cases.CRIME NATION is set to redefine the true crime genre, as each thrilling two-hour episode will delve deep into a riveting true crime sensation that has captured the attention of the nation. Each episode will reveal new details about these stories through expert analysis, exclusive reporting and never-before-seen interviews. CRIME NATION will also dive into the world of social media by talking to crime enthusiasts, social media sleuths, podcasters and digital detectives who in some instances have used their network to help solve cases. CRIME NATION is produced by Candle True Stories. CRIME NATION is executive produced by James Goldston, Steven Baker and Mike Sheridan. John X. Kim and Kyle McCabe serve as co-executive producers.

Show Notes It's the 500th episode of the Stone Age Gamer Podcast! Dan and Kris celebrate this milestone by joining up with previous co-hosts Mike Sheridan and Dean DeFalco as well as special guest Intrepid Editor Evan to talk about, well, 5 hours of nonsense really. The main event though was a series of Top 5 lists. Each person selected a different video game platform and created their personal lists of the top games on each. The audience also got in on the fun by sending in audio submissions, questions, and their very own top 5 lists. Strap yourselves in, because this is a looooooooong one. There was also a ceremonial passing of the torch regarding the show's content warning, and Kris re-recorded the show's theme song with a kazoo. Enjoy! Useful Links Enter to win one of 5 $100 Gift Cards with the special code word Support us on Patreon StoneAgeGamer.com Safe at Home Rescue theGEEKwriter Shoot the Moon Stitches Art of Angela SAG's theme Song “Squared Roots” by Banjo Guy Ollie Social Stuff Join us on Discord! Stone Age Gamer YouTube Twitch Geekade Facebook Stone Age Gamer Facebook Geekade Twitter Stone Age Gamer Twitter Geekade Instagram Stone Age Gamer Instagram YouTube Geekade Contact Us Break Music Chubby Chubby Chip Chip - Mark TDK Knight Freaking Viking - =RoccoW

Show Notes It's the 500th episode of the Stone Age Gamer Podcast! Dan and Kris celebrate this milestone by joining up with previous co-hosts Mike Sheridan and Dean DeFalco as well as special guest Intrepid Editor Evan to talk about, well, 5 hours of nonsense really. The main event though was a series of Top 5 lists. Each person selected a different video game platform and created their personal lists of the top games on each. The audience also got in on the fun by sending in audio submissions, questions, and their very own top 5 lists. Strap yourselves in, because this is a looooooooong one. There was also a ceremonial passing of the torch regarding the show's content warning, and Kris re-recorded the show's theme song with a kazoo. Enjoy! Useful Links Enter to win one of 5 $100 Gift Cards with the special code word Support us on Patreon StoneAgeGamer.com Safe at Home Rescue theGEEKwriter Shoot the Moon Stitches Art of Angela SAG's theme Song “Squared Roots” by Banjo Guy Ollie Social Stuff Join us on Discord! Stone Age Gamer YouTube Twitch Geekade Facebook Stone Age Gamer Facebook Geekade Twitter Stone Age Gamer Twitter Geekade Instagram Stone Age Gamer Instagram YouTube Geekade Contact Us Break Music Chubby Chubby Chip Chip - Mark TDK Knight Freaking Viking - =RoccoW

Ciara Doherty speaks to Robert Troy TD, Ged Nash TD, Colin O'Gara, Rory O'Connor, Paul Hosford, Seamus Boland, John Gibbons, and Mike Sheridan. Hosted on Acast. See acast.com/privacy for more information.

Do you push yourself enough and work on your mindset regularly? In this episode,Kieran invites Mike Sheridan onto the podcast and he goes into detail about how he overcame challenges such as the Ironman challenge and business challenges. Please give Mike a follow on social media @immikesheridan …He's got some brilliant content on there.

The "Baba Yaga" himself Mike Sheridan joins Extra-Vision as we review John Wick Chapter 4, talk about the series, The Rock and killing people with a pencil Hosted on Acast. See acast.com/privacy for more information.

Mike Sheridan's Lot hit gold!!! And nobody hears it. (Song Facts music, "Secret Passages" from Hooksounds.) (Cover art by Elijah Olson) https://www.patreon.com/ELOPod Or check or money order with your email address to P.O. Box 1932 Superior, AZ 85173.

Copying The Beatles didn't work, so Mike Sheridan and the band try a new gimmick to sell records: Amputation! (Song Facts music, "Secret Passages" from Hooksounds.) (Cover art by Elijah Olson) https://www.patreon.com/ELOPod Or check or money order with your email address to P.O. Box 1932 Superior, AZ 85173.

It's The Beatles! No, it's Mike Sheridan and The Nightriders! No, it's...I'm not sure. But it is "Fabulous." (Song Facts music, "Secret Passages" from Hooksounds.) Donate to the podcast through Patreon. Patreon...https://www.patreon.com/ELOPod Or PayPal eloftmpodcast@gmail.com P.O. Box 1932 Superior, AZ 85173.

On this episode of Simon speaks to broadcaster Mike Sheridan.Simon and Mike speak about his career so far,meeting top international actors and celebrities from TV,movies and the political spectrum.He also talks about his start in the industry and how he gambled on himself to create his own show and his personal goals and achievements in sport and making documentaries.Mike Sheridan is a broadcaster, producer, and journalist with 16 years experience in the Irish media industry. He has edited some of the biggest publications in the country, JOE.ie and Entertainment.ie, as well as most recently overseeing the relaunch of Reach Ireland outlet Buzz.ie as editor.Mike has featured in many national newspapers and magazines - including the cover of FIT Magazine and another cover for Tatler Man - most recently being interviewed about the success of The Delve in The Sunday World newspaper.In a freelance capacity Mike has written extensively for Brown Thomas Men's Magazine, The Irish Independent. The Irish Times and Unilad on everything from politics to culture and styleAs a broadcaster, Mike has hosted live radio shows on numerous stations and presented live television on the national broadcaster, RTE. In 2011 Mike produced and featured in the ultramarathon documentary Challenge 126 - raising almost €50k for charity. The following year he produced and starred in the MMA doc Barbaric Gentlemen, which also featured Conor McGregor and Dana White. One of the most in-demand facilitators working today, Mike has interviewed the likes of Al Gore, Leonardo DiCaprio, Sean Spicer, Reese Witherspoon, Amanda Knox, Jordan Peterson, Jake Tapper, Keanu Reeves and countless others from the world of sports, current affairs and entertainment. His interviews have been viewed well over 50 million times online.As an event host, Mike has interviewed Netflix stars on sold out nationwide tours in the likes of iconic Dublin venue Vicar Street, and has worked with brands such as Budweiser, Carlsberg, Arnotts, Jameson, Nivea Men, Paramount Pictures, Bestseller and more.Web:https://www.immikesheridan.com/homeTwitter: https://twitter.com/ImmikesheridanYoutube: https://www.youtube.com/c/TheDelve/featuredInstagram:https://www.instagram.com/immikesheridan/

Like Star Wars, this is the first episode! (But it's not.) Anyway, Roy Wood joins Mike Sheridan and The Nightriders. Donate to the podcast through Patreon: https://www.patreon.com/ELOPod PayPal: eloftmpodcast@gmail.com And there's old timey postal mail: PO Box 28490 Tempe, AZ 85285

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

Mike Sheridan delves into the lives and careers of some of the most notable people in Irish and global popular culture. Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

I'm delighted to welcome back the brilliant journalist and editor Mike Sheridan. One of the most authentic blokes you'll meet in a world where it's very easy to be the total opposite. Mike is the editor of buzz.ie and host of the outstanding show The Delve.To support the show and access todays video and a rake more Patreon exclusive content why not follow this link: https://www.patreon.com/tomomahonybuckshot

Throughout November the show is sponsored by Runderwear, a small brand in Dorset, who make seamless, moisture-wicking, technical performance underwear to prevent chafing. Plus, Martin speaks to V70 British marathon record holder Mike Sheridan, there's a new men's half marathon world record, US runner Julia Hawkins crushes the vet 100 metre world record, and The Night of the 10,000m PBs returns.

TICKETS AVAILABLE: bloodred.ieJoin the panel of your favourite Liverpool FC podcast in Dublin on Wednesday, November 24th for Blood Red LIVE, followed by the Champions League match against Porto. We're looking forward to welcoming you to Dublin's premier sports bar, The Camden, for an exclusive podcast recording with the team behind the biggest Liverpool FC podcast in the world. The panel includes Blood Red's Paul Gorst and Josh Williams, and the evening will be hosted by Buzz.ie's very own Mike Sheridan.

This week All in on High School Sports welcomes Mt. Olive Football Coach, Brian O'Connor and Clifton Football Coach, Ralph Cinque. Both coaches will discuss their first round state tournament victories and look ahead to their semi-final match-ups. Former St. Mary (Rutherford) football coach, Mike Sheridan, joins us as this week's guest picker. Be sure to drop a comment to join the discussion! November 9, 2021

Cathie van Rooyen chats with Peter Darroll about the events in the running community of the past week. Mike Sheridan, Ed Whitlock are record making runners of a later age. Our own Louis Massyn completes the Boston Marathon. The Spar Ladies Series, Parkruns, The Mutter Trail and the Chicago marathon are all events we look at.

Talking Wood-Ridge Football with HC Joe Cutrona and DePaul Football with HC Nick Campanile. Week 3 picks with special guest picker Mike Sheridan

Mike Sheridan is a broadcaster, producer, and journalist with vast experience in the Irish media industry. Mike also has a couple of deliciously brutal gigs he was delighted to share with us in his 'Worst Gig Ever'

Brady and Dennis were live from Cros-Lex football practice, where they talked to coaches Mike LeGrow and Mike Sheridan, along with players Jake Townsend, Saige Slanac, and Kirk Wilson! They also preview what the 2021 Cros-Lex season could look like!

Shlomo McPeake, "My First Time in the Ring." Mike Sheridan, "Glory Days." Maia Brundage, "Gravol Mistake."

Some Actors have perfected the art of the cameo, so much so, that cameos can sometimes be more memorable than full length roles. Mike Sheridan of The Delve podcast chats to Dave about some of the most memorable cameo appearances!

This week on Screentime John Fardy sifts through the remnants of Line of Duty and asks is it really all that with Mike Sheridan of The Delve?  Mark Ryall is here with the week’s new releases and explains why movies shouldn’t ever been made from video games. Plus Conductor and Composer Eimear Noone who was the first lady to lead the orchestra at the Oscars chats to John about her favourite movie and what a score brings to a movie.

LISTEN/SUBSCRIBE ON YOUTUBE, SPOTIFY, APPLE MUSIC, SOUNDCLOUD & BEATPORT here: https://hypeddit.com/link/idl7hn RSS FEED: stevenredantdj.podomatic.com/rss2.xml TRACKLIST: 1. Mike Sheridan & Kolsch - Cisterner 2. Bross - Trubadour Du Puentes 3. Evelynka – Pure Gold (Jean-Vayat Remix) 4. The Advocate – Ekata (feat. Toshi) 5. GMJ – Oranai (Nicholas Van Orton Summer Remix) 6. Ed Ed – Riding To Mercury 7. Joris Voorn – Dark (Soul Button Extended Mix) 8. Darin Epsilon & Marc DePulse – Aerodyne 9. Forniva – Walking On Thin Ice (Rausschaus Remix) 10. Gaidukova & Goom Gum – Freedom 11. Dabeat & Kamilo Sanclemente – Canis (Jerome Isma-Ae Remix) 12. Fred Lenix – Turbine (Olivier Gioacomotto Remix) 13. BT – Dreaming (Kamilo Sanclemente Bootleg)

LISTEN/SUBSCRIBE ON YOUTUBE, SPOTIFY, APPLE MUSIC, SOUNDCLOUD & BEATPORT here: hypeddit.com/link/idl7hn RSS FEED: stevenredantdj.podomatic.com/rss2.xml TRACKLIST: 1. Mike Sheridan & Kolsch - Cisterner 2. Bross - Trubadour Du Puentes 3. Evelynka – Pure Gold (Jean-Vayat Remix) 4. The Advocate – Ekata (feat. Toshi) 5. GMJ – Oranai (Nicholas Van Orton Summer Remix) 6. Ed Ed – Riding To Mercury 7. Joris Voorn – Dark (Soul Button Extended Mix) 8. Darin Epsilon & Marc DePulse – Aerodyne 9. Forniva – Walking On Thin Ice (Rausschaus Remix) 10. Gaidukova & Goom Gum – Freedom 11. Dabeat & Kamilo Sanclemente – Canis (Jerome Isma-Ae Remix) 12. Fred Lenix – Turbine (Olivier Gioacomotto Remix) 13. BT – Dreaming (Kamilo Sanclemente Bootleg)

Dave chats to Mike Sheridan of The Delve podcast about the best and most infamous TV walkouts and strops.

Mike Sheridan of The Delve podcast joins Cormac Battle to chat through some of the best movies to give us a lift and kickstart our New Year!

Mike Sheridan is an East Coast BMX bike rider and Host of the Yo Man BMX jams based in Florida. Show Notes: https://www.instagram.com/scarecrow256/?hl=en https://www.instagram.com/yo_man_bmx/?hl=en https://twitter.com/mattheyea Outro Jam: Dead Coast - Just Don't Give Yourself This podcast is brought to you by: https://www.instagram.com/215berks/?hl=en https://meserollshop.com/ Support your local shop. http://www.diffrentspokes.com

Many people know Mike from years of press junkets for entertainment.ie. But now he is freelance and yet he is getting the biggest celebs and most controversial name and for his podcast. Bill Burr, Amanda Knox and Anthony Scaramucci are just some of the people he has released on The Delve with Mike Sheridan. Now Nicola interviews him. See acast.com/privacy for privacy and opt-out information.

Today our guest is Mike Sheridan, COO of Comparably. In this conversation we discuss how healthcare recruiting has been impacted by COVID-19, why messaging is so important in the recruiting process, and how Comparably works with healthcare companies to present an authentic message that resonates with potential employees. If you enjoy the podcast please leave a rating and review. For more information visit: https://checkingthevitals.com/

The new, first fully independent season of The Delve with Mike Sheridan launches with, in our opinion, the best stand-up comedian working today, Bill Burr. Bill and Mike chat dark humour as a coping mechanism, how a writer's room is nothing like professional sports, the Irish crowd's reactions to American tragedies and so much more. Bill has both the hilarious new season of F is for Family (Netflix) and his biggest role in a Hollywood movie to date The King of Staten Island (VOD) dropping on June 12th. Remember to check out our sponsor SpotlightOralCare.com and use the code DELVE25 for 25% ANYTHING on site.  Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Lyt til alle afsnit af Kvinde kend din historie på Podimo. Opret dig her og prøv Podimo gratis: https://applink.podimo.com/KKHD Else Marie Pade var elektronisk musikpioner i 1950'erne, og blev siden næsten glemt, indtil hun i 2001 fik hun en uventet genopdagelse. I dette afsnit fortæller vi historien om den unge, syge pige, der via det århusianske jazzmiljø ender i modstandsbevægelsen under Anden Verdenskrig, og senere i Frøslevlejren. Efter krigen optages hun på Det Kongelige Musikkonservatorium, men da hun opdager den elektroniske musik og konkretmusikken, går hun helt nye veje i sin musik. Det møder dog enorm modstand i samtiden, fordi en konservativ musikelite nægtede at anerkende de nye lyde. Først mange år senere bliver hendes musik for første gang udgivet, og en ung generation af danske elektroniske musikere giver hende genoprejsning. En af dem var musiker Mike Sheridan, som vi i dette afsnit har inviteret i studiet sammen med forfatter til bogen 'Klangen af en stjerne' om Else Marie Pade, Troels Donnerborg. Gæster: Mike Sheridan og Troels Donnerborg. Vært og tilrettelægger: Gry Nielsen-Jexen. Tilrettelæggelse, klip og produktion: Cecilie Wortziger Musik: Frej Levin Grafik: Sofie Nørgaard Kampmark

Susan Cormier, "A Certain Spice." Mike Sheridan, "Gummy Bear." Katlyn Townson, "Sticky Fingers."

We are excited to announce our special guest on the Positive Phil Show. It gives us great pleasure to announce Jason Nazar, CEO and Founder of Comparably to the Positive Phil Podcast.Jason Nazar is one of the most influential tech entrepreneurs and investors in California. Currently co-founder/CEO of Comparably, the job monitoring & transparent salary/culture site, he also serves as Entrepreneur in Residence for the City of Los Angeles.He’s a popular Fortune, BusinessInsider, INC, Forbes & WSJ contributor who sold his last company Docstoc to Intuit (INTU) in 2013 for a reported $50M. He’s also hosts southern California’s longest and largest running monthly tech gatherings, Startups Uncensored.About Comparablywww.comparably.comComparably, the online platform that makes workplace compensation and culture dramatically more transparent, enables employees to see what their peers are getting paid and publicly rate their employers.The company launched in March 2016 and has quickly become one of the most popular go-to resources for employees to monitor the job market for compensation and culture data.Co-founded by Los Angeles serial entrepreneurs Jason Nazar, Mike Sheridan, Yadid Ramot, and George Ishii – who collectively have started six tech companies with five exits – the company is backed by Crosslink Capital Partners, Upfront Ventures, Priztker Venture Capital, and Lowercase VC.Follow and support Jason’s work:Bio: www.jasonnazar.comInspire Life Business. Sharing Inspirational Motivations to People Everywhere as a Contribution toward Promoting Positive Values.Join Positive Phil “live” every day as he cuts through the Negatives. The program primarily consists of interviews with positive people and thought leaders, as well as others in the social, business and entertainment community.Positive Phil Show is a daily show hosted by Positive Phil.Strategies, Advice and Stories to Inspire Life and Business.The program primarily consists of interviews with positive people and thought leaders, as well as others in the social, business and entertainment community.This Podcast Episode isAVAILABLE NOW!https://www.positivephil.com

We are excited to announce our special guest on the Positive Phil Show. It gives us great pleasure to announce Jason Nazar, CEO and Founder of Comparably to the Positive Phil Podcast.Jason Nazar is one of the most influential tech entrepreneurs and investors in California. Currently co-founder/CEO of Comparably, the job monitoring & transparent salary/culture site, he also serves as Entrepreneur in Residence for the City of Los Angeles.He’s a popular Fortune, BusinessInsider, INC, Forbes & WSJ contributor who sold his last company Docstoc to Intuit (INTU) in 2013 for a reported $50M. He’s also hosts southern California’s longest and largest running monthly tech gatherings, Startups Uncensored.About Comparablywww.comparably.comComparably, the online platform that makes workplace compensation and culture dramatically more transparent, enables employees to see what their peers are getting paid and publicly rate their employers.The company launched in March 2016 and has quickly become one of the most popular go-to resources for employees to monitor the job market for compensation and culture data.Co-founded by Los Angeles serial entrepreneurs Jason Nazar, Mike Sheridan, Yadid Ramot, and George Ishii – who collectively have started six tech companies with five exits – the company is backed by Crosslink Capital Partners, Upfront Ventures, Priztker Venture Capital, and Lowercase VC.Follow and support Jason’s work:Bio: www.jasonnazar.comInspire Life Business. Sharing Inspirational Motivations to People Everywhere as a Contribution toward Promoting Positive Values.Join Positive Phil “live” every day as he cuts through the Negatives. The program primarily consists of interviews with positive people and thought leaders, as well as others in the social, business and entertainment community.Positive Phil Show is a daily show hosted by Positive Phil.Strategies, Advice and Stories to Inspire Life and Business.The program primarily consists of interviews with positive people and thought leaders, as well as others in the social, business and entertainment community.This Podcast Episode isAVAILABLE NOW!https://www.positivephil.com

Sure we're back aren't we, not like us. Lots of lovely reviews in this one, I'm not evening going to tell you what. They might be in the episode title though. They definitely are. We're all excited for Avengers: Endgame coming out too. Except Mike, who only wants to see John Wick 3.See omnystudio.com/listener for privacy information.

You want some Dumbo reviews? Get them here while they're piping hot. Hungry for more? Alright then you greedy guts, we'll review The Dirt for you as well while we're at it. Brian is enjoying his current status as Mayor of Entertainment.ie following the delicious Reddit meme swirl surrounding his Paul Rudd Thanos/Antman interview. Next week is an Avengers special. If you don't come listen I'll bash you. Producer Dave xxSee omnystudio.com/listener for privacy information.

It's been a banner week for the gang. Brian has returned from his self-imposed exile and all is well with the world again. 'Cold Pursuit' is first up on the discussion block followed by Ruth Bader Ginsburg biopic 'On The Basis Of Sex'. We fill you up with useless Office Space info and chat about Netflix's latest offerings - specifically High Flying Bird - which Dave is sure to eventually watch. Mike also doesn't like Armie Hammer for some reason.See omnystudio.com/listener for privacy information.

As we say farewell to a wonderful 2018, Mike, Dee, Brian, and handsome Producer Dave break down the big hits and misses of the year. Brian forgets his own favourite films (as is tradition), Dee takes no prisoners (named Brian) and we look ahead at what's to come in 2019! Merry New Year everyone from all the team at The Filum Show and Entertainment.ieSee omnystudio.com/listener for privacy information.

This week the gang review the Taron Egerton-led 'Robin Hood' and 'The Girl In The Spider's Web'. Dee has news from 'Once Upon A Deadpool' and box office numbers from 'Fantastic Beasts: The Crimes of Grindelwald'. On The Revisit this week, we look back at Kevin Costner's 'Robin Hood: Prince Of Thieves'. Also Brian doesn't like 'Love Actually'. What a philistine.See omnystudio.com/listener for privacy information.

This week the gang review horror flick 'Suspiria' and 'Fantastic Beasts: The Crimes Of Grindelwald', the latest offering from JK Rowling's Wizarding World. Given the week that's in it, the team talk about Stan Lee's influence on the movie industry (and entertainment in general), Armie Hammer courting controversy, and on The Revisit, we return to Carlito's Way.See omnystudio.com/listener for privacy information.

On this week's episode, Mike, Dee, & Brian review 'Widows', World War 2 Zombie flick 'Overlord', and the reimagined and updated 'The Grinch'.In movie news, Dee has the scoop on the progress of 'Paddington 3', 'Bohemian Rhapsody', and 'Once Upon A Deadpool'. George Clooney's 'Up In The Air' also features this week on The Revisit.See omnystudio.com/listener for privacy information.

This week the gang embrace the season and discuss their favourite scares, scenes, and characters from scary movies throughout the years. We also discuss the latest news from 'Boba Fett' and 'IT:Chapter Two'. Happy Halloween!See omnystudio.com/listener for privacy information.

This week the gang review Rami Malek as the ubiquitous Freddie Mercury in 'Bohemian Rhapsody', 'Katie' the documentary of Irish boxer Katie Taylor's career (so far), and 'The Hate You Give'. In movie news we debate the need for a 'Pirates of the Caribbean' reboot, and chat about the delay to 'Wonder Woman 1984'. On this week's Revisit, we return to Joaquin Phoenix's amazing portrayal of Johnny Cash in 'Walk The Line'. We also talk about Brian's facial hair (or lack thereof).See omnystudio.com/listener for privacy information.

The gang review the brand new 'Halloween' and for the week that's in it, we go back to 1978 to revisit John Carpenter's original horror classic. We also have news from the DC Cinematic Universe, Viggo Mortenson's latest production, and talk about Venom's success.See omnystudio.com/listener for privacy information.

This week on The Filum Show we review First Man, Bad Times at the El Royale and new Irish movie Rosie. In movie news, we look at James Gunn’s switch from Marvel to DC, the trailer for the Eminem-produced flick ‘Bodied’, and upcoming projects from the deceased king of zombie movies, George A. Romero. For the Revisit, we look back at a 90s classic, A League of Their Own.See omnystudio.com/listener for privacy information.

This week on The Filum Show, Dee returns from holidays and the guys review some of the movies they missed last week; The Little Stranger and A Simple Favour. They also wax lyrical on the latest Bumblebee trailer, more movie news and Revisit comedy classic, The Hangover.See omnystudio.com/listener for privacy information.

On this week's show, Mike and Brian talk about Peter Berg and Mark Wahlberg's latest collaboration, 'Mile 22', which is Brian's worst movie of 2018. Not only that, Mike finally gets to see 'The Predator' and shares his thoughts whilst the gang revisit 'From Dusk 'Til Dawn'.See omnystudio.com/listener for privacy information.

This week on The Filum Show we review 'American Animals', 'Black 47', and Dave Bautista's action flick 'Final Score'. Dee brings us news from 'First Man' and 'A Star Is Born' and this week on The Revisit we look back at Sam Rockwell in Duncan Jones' 'Moon'.See omnystudio.com/listener for privacy information.

This week on The Filum Show, Mike, Dee and Producer Dave talk about the James Bond merry-go-round, review 'Searching' and Revisit the classic animated flick, 'Shrek'. They also remind (an on holiday Brian) on a twitter promise he made a couple of years agoSee omnystudio.com/listener for privacy information.

This week the gang review Spike Lee's 'BLACKkKLANSMAN' and 'The Spy Who Dumped Me' starring Mila Kunis & Kate McKinnon. We take a look at the negative effect of social media on movies today and on The Revisit we return to David Fincher's classic 'Se7en'.See omnystudio.com/listener for privacy information.

The gang have their say on Marvel's latest blockbuster 'Ant-Man and The Wasp', discuss the recent developments on the controversy surrounding 'Guardians Of The Galaxy 3', and this week on The Revisit we look back on the original 'Mission: Impossible'.See omnystudio.com/listener for privacy information.

Mike, Dee, and Brian are all in a fluster following a call from Patrick Wilson but they manage to compose themselves enough to review 'Mission: Impossible - Fallout' and discuss the latest news from 'Mid90s', 'Final Score' and 'Stoned Alone'. This week on The Revisit the gang watch 'Mission: Impossible - Fallout' director Chris McQaurrie's cult hit 'The Way Of The Gun'.See omnystudio.com/listener for privacy information.

On this week's show, the gang talk about the long-awaited sequel to The Incredibles - the imaginatively-titled Incredibles 2 - and discuss Dwayne Johnson channeling Bruce Willis in the late '80s with Skyscraper. On The Revisit, Brian talks about The Dark Knight ahead of its ten-year anniversary this weekend. Dee, meanwhile, takes us through her ten most-anticipated films of the year, including the sort-of-sequel Halloween, Damien Chazelle's Oscar-friendly biopic First Man, and The Predator - which has a genetically-engineered Predator.See omnystudio.com/listener for privacy information.

This week we review 'The First Purge', the prequel/fourth instalment in The Purge movie franchise and the 'Mary Shelley' biopic starring Elle Fanning & Douglas Booth. The gang rank our Top 5 Best & Worst Movies of 2018 (so far!), we have news from the next Avengers Movie, and on The Revisit we rewatch Clint Eastwood's psychological thriller 'Mystic River'.See omnystudio.com/listener for privacy information.

On this week's show, Dee and Brian discuss and dissect 'Jurassic World: Fallen Kingdom' whilst Mike talks to Jeff Goldblum about jazz, Imelda May and being famous forever. The gang also talk about new trailers out this week, including 'Suspiria', 'Widows' and 'Bumblebee', and '80s action-monster-comedy 'Monster Squad' is revisited.See omnystudio.com/listener for privacy information.

From the basement of The International Comedy Club I finally snag a chance to get chatting to the all conquering Mike Sheridan. Mike has transformed himself from an ultra marathon runner to mma fighter while juggling with his job as editor for Entertainment.ie and being a gas bastard.We get talking about his chats with John Favro and the late Paul Walker to lessons for life on how not to be a bollix.Mike is the co-founder of TheFourthWall.ie where his alter ego comes to the fore.Follow Mike on Twitter: @immikesheridanInstagram: @immikesheridanTickets to my upcoming shows (as promised): Tallaght Nov 17th: http://www.peachtreeeast.com/contact.htmlLondon Nov 25th: https://leicestersquaretheatre.ticketsolve.com/shows/873570964

Mike Sheridan plays classical and Gypsy Jazz guitar at a master level. He spent years practicing for 9 hours a day and studied with the best. Mike also surf heavy winter slabs in Jersey. Mike Sheridan shares some of his tales and plays live in studio. Music Credits: “Bonehead”, “Felicidade”

Gordon and Mike Sheridan take a look at A Dog's Purpose, hear from its star Dennis Quaid. Plus Mike reviews Sleepless starring Jamie Foxx.

Gordon & Rory review Park Chan Wook's The Handmaiden and Mike Sheridan gives his thoughts on the teaser trailer to The Last Jedi.

Here it is. The 100th episode of The Stone Age Gamer Podcast! Kris Dan, and Dean are joined by Ryan Cross from stoneagegamer.com, and former SAG co-hosts Mike Sheridan and Tiff Ryan to celebrate this momentous occasion. The group runs down the gamut of video game developers/publishers of yore and decided who's still got it, and who needs to retire. Then, they spend some time discussing their favorite SAG moments. Thanks for listening!Show NotesUseful LinksActivisionCapcomKonamiSquareRareSNKwww.stoneagegamer.comSAG's theme song "Chubby Chubby Chip Chip" by Mark 'TDK' KnightSocial StuffFacebookTwitterInstagramYouTubeTumblrTwitchWebsiteContact UsShare

Should cardio have a place in your training? In today's episode Grant and Heavey are joined by guest coach and author Mike Sheridan to discuss the place of cardio within training. Mike offers his expertise on how much cardio should be in your training, and the reasons why strength training should be the #1 priority for both health and body composition. The gentlemen enjoy Forty Creek Canadian Whisky while debating cardio. [3:05] Eat meat and stop jogging [6:45] Young jock football player [7:21] Getting through to your parents [8:50] Low carb paleo+ high fat dairy [10:40] Flavor with fat [12:18] Strength Sensei [12:40] Is cardio making you skinny fat? [15:37] Does cardio have a place? [16:25] The importance of muscle mass for health [17:05] Building cardio without cardio [19:26] Forty Creek Canadian Whisky [22:00] Mike's cocktail: The Buff Russian

Janesville Community Radio is excited to bring to you the final debate of the 2014 primary season.  Featuring the three candidates for the Democratic nomination for the 15th Wisconsin State Senate District: Janis Ringhand, Austin Scieszinski and Mike Sheridan.  Live at 9 am CST on Monday, August 11th.   Follow JCR on Facebook by following Janesville Community Radio, and find JCR online at www.JanesvilleCommunityRadio.com.   

Mike Sheridan has deep roots in Rock County’s labor history, has risen to leadership roles in the Wisconsin Legislature and is seeking to put his experience and dedication to bringing jobs to Rock County as senator of Wisconsin’s 15th Senate District. To learn more visit SheridanForSenate.com.

On this episode of Discover Janesville with Yuri Rashkin: Executive Director of Rock County Historical Society Mike Reuter speaking about the new Tallman Technologies tour starting at the Tallman House, as well as other upcoming opportunities, offered by RCHS, to experience and learn about history of Rock County. State Senator Tim Cullen spoke about his experience serving the public, his thoughts on Act 10, and ways to reverse it.  Senator Cullen spoke about leaving the state with the other Democratic State Senators in 2011 and explained his reasons for doing so.   Speaking about the August 12th Democratic primary, Senator Cullen criticized two of the candidates running for State Senate.  Senator levied particularly harsh criticisms against Mike Sheridan whom he accused of not accurately explaining the process of reapportionment to the public, and not being ready to be Speaker of Assembly when elected to the post in 2008, following a short time in the Assembly.  At the same time, Senator Cullen  offered a strong endorsement of his former aid Austin Scieszinski. President of Blackhawk Technical College Dr. Eckert explained that passing the referendum on August 12th, is the only way for BTC to raise its budget. Dr. Eckert made it clear that the $4 million increase sought in the referendum is a permanent raise to the base, meaning that money will be collected on property taxes year after year.  For the last 20 minutes of the program, 3 of the more than a hundred Chinese students - Bryan, Andrew and Chris - spending the summer in Janesville, discussed being in Janesville and going to Craig High School.   Be in the know.  Discover Janesville!

Civil Discourse is a local podcast hosted by former State Senator Peter Bear and Eric Brant. Peter and Eric connect the dots from historical events to current issues in an effort to correctly predict the outcomes. They lay out current events, expand on the issues, and blend facts with their own take on the subject matter. This show aims to easily and accurately break down complex political situations for working America. Tune in to hear from state senators, representatives, and local polticians. A great show this week! We are joined by former Wisconsin Assembly Speaker and current candidate for the 15th State Senate District, Mike Sheridan. Scott Walker has been pinpointed as the center of a criminal scheme.

JANESVILLE COMMUNITY RADIO PROUDLY PRESENTS:                CIVIL DISCOURSE   Civil Discourse is a local podcast hosted by former State Senator Peter Bear and Eric Brant. Peter and Eric connect the dots from historical events to current issues in an effort to correctly predict the outcomes. They lay out current events, expand on the issues, and blend facts with their own take on the subject matter. This show aims to easily and accurately break down complex political situations for working America.  Tune in to hear from state senators, representatives, and local polticians. A great show this week! We are joined by former Wisconsin Assembly Speaker and current candidate for the 15th State Senate District, Mike Sheridan. Scott Walker has been pinpointed as the center of a criminal scheme.

Feat: Choir Of Young Believers, Lulu Rouge, Melojuice, Versa, MANDY, Booka Shade, Kollektiv Turmstrasse, K15, Kaidi Tatham, Naruan Stranger, Akkord, Broods, Lone, Ficci, LaMeduza, Bruva, Mr Roque, Trolle Siebenhaar, Mike Sheridan and Flip.

On this episode of Discover Janesville with Yuri Rashkin... Candidate for State Senate and former Assembly Speaker Mike Sheridan in a no holds-barred conversation about the reasons behind his decision to run for State Senate, issues in the campaign, what he learned from the past, and much more.  Don't miss! AFS representative Alaric Wimer and Carol, Jody and Paul - host parents - shared their experiences of hosting foreign exchange students, as well as discussed what is involved in becoming a host parent, and ways to insure a positive experience for all involved. Also on the program: song from Charlie Pettit, which did not make it on last week's show, part two of conversation with Ron Ragotzy, MD, author of Raising Abel, the Life of Faith, Spanish and French lesson podcasts from Parker High School students, and Yuri's take on the latest events in Russia and Ukraine. Today's program is brought to you by Ron Ragotzy's "Raising Abel, the Life of Faith", and Basics Co-op and their SuperTuesday sale: next one is coming up on May 6th.  

17/02/14 Has New York peaked? In today's show Fionn discusses New York with Murph from the Second Captains, Mike Sheridan from entertainment.ie and the ever sceptical Sinead O'Shea. He also hears from Quentin Fottrell and Maeve Higgins who both live in NYC.