Podcasts about My Heart

All horror is psychological. Today we discuss Escaping the Madhouse: the Nellie Bly Story, Burial, Blood Relatives, Velma on HBO Max, and the book My Heart is a Chainsaw, plus our very own trivia game Horror Facts with Cath. Website: https://www.terrortalkpodcast.com Community Membership: https://www.patreon.com/terrortalk Instagram: https://www.instagram.com/terrortalkpodcast/ Twitter: https://twitter.com/TalkTerror/ Music by Mannequin Uprising --- Send in a voice message: https://anchor.fm/terrortalk/message Support this podcast: https://anchor.fm/terrortalk/support

Link from Today’s Show: Song – A Mighty Fortress: https://www.youtube.com/watch?v=8XUYZoguhEQ&list=RD8XUYZoguhEQ&index=2 Song – Open the Eyes of My Heart: https://www.youtube.com/watch?v=x0orH2uloeI Song – Why Me Lord: https://www.youtube.com/watch?v=AZDe-Kix8co 1 john 3: https://www.biblegateway.com/passage/?search=1+John+3&version=KJV Song – Onward […]

How was Ben Lee's second gig as support for Sonic Youth?! Ben Lee's band Noise Addict were loved by Sonic Youth's Thurston Moore and the Beastie Boys Mike D and toured with Sebadoh when he was only 16 years old! How the heck did all that happen? Why did he decide to go solo so soon after finding huge success with Noise Addict?  What do Mike D and Money Mark have to do with Ben working with T-Bone Burnett and how did that song end up on the end credits of the film Best Men? He's recorded with Evan Dando and Mandy Moore, teamed up with Ben Folds and Ben Kweller to form The Bens and won ARIA Single Of The Year for his song Catch My Disease, but how did the idea for that song start. How did Ben's song “How to Survive a Broken Heart" become integral to a scene in the Farrelly Brothers classic film There's Something About Mary? And how happy was Ben to discover what music sync is?    His most recent album I'm Fun was released through Warner Music in June 2022 and to be honest, he is fun! Listen to this episode with Ben Lee and see for yourself. Ben Lee Website Twitter IG YouTube The Sync Report is where you will meet industry experts and top level songwriters as we pull the curtain back on music placement and scores, build vital relationships and provide real opportunities to our listeners. Listen to indie filmmakers present their latest productions and describe specific scenes as they consider music submitted by our audience. Music. Music is the difference between a good film and a great one. Songs included in this episode are... Wish I Was Him by Noise Addict Burn to Shine How to Survive a Broken Heart Catch My Disease We're All in This Together Daughter by Peter Blegvad Two Questions Tell it to My Heart by Juliette Lewis Born for This Bullshit All songs by Ben Lee except where stated. SYNC SESSION FEATURING:  Milfredo Seven - Kevin Sharpley - Vinx De'Jon Parrette - Jodylynn Talevi – Lisa Dunn - Heather Ragnars - Midas Royal - Dante Mazzetti - Gray Bashew Songs "The Journey" by Midas Royal  "Blue and Gold" by Dante Mazzetti  "Anjing" by Gray Bashew feat. Lowhi Please tell your friends about us, and remember to rate, comment, & subscribe to us on Apple Podcasts and across all platforms.  And find us at The Sync Report here TSR Website  Facebook  Instagram Twitter Youtube Linkedin Tik Tok  Hosted By: Colin O'Donoghue - Rose Ganguzza - Jason P. Rothberg Featuring:  Paula Flack and Willow Produced By: Jason P. Rothberg - Paula Flack - Robert Cappadona  Executive Producers: Colin O'Donoghue - Rose Ganguzza - Jason P. Rothberg - Kevin Sharpley - Gianfranco Bianchi - Dean Lyon Writers: Jason P. Rothberg - Lisa Dunn - Paula Flack Editors: Jason P. Rothberg - Milfredo Seven - Paula Flack - Edgar “Edge” Camey - Adam McNamara Marketing Director: Paula Flack Music Supervisors: Phill Mason Music Department: Heather Ragnars - Lisa Dunn Foley: Phill Mason Research: Lisa Dunn Art Director: Gianfranco Bianchi Graphic Design: Jodylynn Talevi College Programs: Dr Stacy Montgomery College interns: Angela Nicastro – Princess Arga – Stephanie Shafir

Megan Rowland of Wayfaring Hind is a deer stalker, land manager, & crofter in the legendary Scottish Highlands. On this long-distance correspondence, we get a taste of Highland tradition, history, flora & fauna, such as: crofting, salt panning, the Picts, black pudding & haggis, peat bogs, working for an estate, red & roe deer, the last wolves & foraging. For her story, Megan describes how a Highland hunt would play out, a first-timer blood ritual, & her own experience from life-long vegetarian to deer stalker. We end on hunting as meditation, tweed, ferreting, & preserving culture.  Check out Megan's Wayfaring Hind & follow along on Instagram.  Music provided by Małgorzata Priebe"My Heart's in the Highlands"Written by Arvo PärtPerformed by Małgorzata Priebe and Błażej MusiałczykCourtesy of Małgorzata PriebeSupport Our Numinous Nature on Patreon.Follow Our Numinous Nature & my naturalist illustrations on InstagramCheck out my shop of shirts, prints, and books featuring my artContact: herbaceoushuman@gmail.com

This is not a drill. The Miami Dolphins are in the playoffs! We're making our pics and it'll leave you saying, " My Heart is an Idiot ". We're also talking about Inter Miami's future plans to take over the MLS!

A Longing in My Heart by Bob Kolm - December 18, 2022

From Sunday 1 January 2023, Pastor Jason Clark Has a Christmas Message from John 1:14-18 titled "I Have Great Sorrow in My Heart"fbcmw.orgOriginally recorded on 01/01/23 at First Baptist Church in Mount Washington, KY.

This sweet collection of sentiments from mother-daughter duo Helen McIntosh and Blythe Daniel is a sincere tribute to moms everywhere. Whether they are still on the parenting journey or enjoying the grandmothering phase of life, moms of all ages will be blessed and encouraged by these inspirational thoughts and special affirmations of love. I Love You, Mom, looks at the character traits that make up moms everywhere. The authors highlight traits that point to moms and their influences on our lives. Any mom who receives this as a gift will be encouraged with thoughtful devotions centered around legacy, confidence, attentiveness, and being a servant. The best part is—and I'm sure your mom will agree—you get to add your own words. What mom doesn't want words of affirmation and love from one of her kids? If you're googling "a good gift to get for my mom," look no further. And if you want to be inspired as to why words of affirmation and love are important, I know you'll enjoy this podcast. Don't forget to subscribe + leave us a rating and review! Be sure to visit the full show notes and listen to other episodes at thetriciagoyershow.com. And check out my newest book Heart Happy at triciagoyer.com/heart-happy! Mentioned in This Episode I love You Mom: Cherished Word Gifts from My Heart to Yours | Blythe Daniel & Helen McIntosh Mended: Restoring the Hearts of Mothers and Daughters | Blythe Daniel & Helen McIntosh Isaiah 59:21 - 60:2 Numbers 6:22-27 Isaiah 58:12 --- Support this podcast: https://anchor.fm/thetriciagoyershow/support

"It's a real inspiring story of what I call the true American dream, pulling yourself up by the bootstraps and saying, 'Hey, I'm not happy with my life the way it is, and I'm the only one that can change it,'"— Stacey Magovern This special episode of Wickedly Smart Women Today is the first of five in which we are introducing our brand new book, WICKEDLY SMART WOMEN: Trusting Intuition, Taking Action, Transforming Worlds, and four of our co-authors, each who have each written a chapter in the book. Linley Baker pursued a successful actuarial career (applied mathematics) in insurance and now helps others do what they really want by assisting them in reaching for their dreams. Her chapter in the book is called "Trust Your Intuition to Reach Your Life Dreams." Stacey Magovern went from outside salesperson to running a multi-million-dollar company overnight when she launched Point Blank Safety Services in 2012. Her chapter in the book is called "From Outside Sales to Multimillion-Dollar Company Owner." Nicole Mendes is a Traveling Chef who's recently stepped away from the restaurant life towards a path of inner work and spirituality. She is now navigating life more gracefully and intentionally while integrating more consciously into her role as a traveling chef & farmer of the world. Her chapter in the book is called "A Transcendent Traveler from My Heart to My Hands." Sally Green is a 6-time International Bestselling Author and the Vice President of Author Development at Action Takers Publishing. Her chapter in the book is called "Dreams Don't Work Unless You Do." On this episode of Wickedly Smart Women, Linley, Stacy, Nicole, and Sally join Anjel to share what inspired them to become a collaborative author in WICKEDLY SMART WOMEN. Listen in as each woman shares in her own words how sharing her story in this book has transformed her life, what they learned as they shared their stories, and what being a part of it means to each of them. WICKEDLY SMART WOMEN, we'd love to have you be a part of making this book a bestseller, share in the gifts from our authors, and join us for our Zoom launch party on January 11, 2023. Click here to learn more. What You Will Learn Sally shares how being a part of collaborative books has helped her grow in her journey as a person (and an entrepreneur) Nicole shares her inspiring story of stepping into her true presence in order to inspire others to live their lives fearlessly Linley shares how you too can reach for your life's dreams Stacey shares how believing in herself helped her go from living paycheck to paycheck to running a multimillion-dollar company. Each woman shares which part of the title each she identifies with the most Resources WICKEDLY SMART WOMEN: Trusting Intuition, Taking Action, Transforming Worlds Introducing: The Life is Good Playmaker Project

Shawna Boren and Dan Kent break down this week's sermon by Shawna titled: "Here's My Heart." Join the MuseCast special reporters as they kick-off 2023 with good vibes, wisdom, and laughter.

Disney author Jim Fanning returns to Notably Disney to discuss with host Brett Nachman their selections for favorite live-action Disney film quotes. It's a varied list of inspired, hilarious, and compelling lines of dialogue that encompasses two parts! On this first part, Brett and Jim highlight quotes from the following films: Saving Mr. Banks (screenplay written by Kelly Marcel and Sue Smith) Darby O'Gill and the Little People (screenplay written by Lawrence Edward Watkin) The Muppets (2011) (screenplay written by Jason Segel and Nicholas Stoller) So Dear to My Heart (screenplay written by Ken Anderson, John Tucker Battle, Marc Davis, Bill Peet, Maurice Rapf, and Ted Sears) National Treasure (screenplay written by Jim Kouf, Cormac Wibberley, and Marianne Wibberley) The Rocketeer (screenplay written by Danny Bilson and Paul De Meo) Freaky Friday (2003) (screenplay written by Heather Hatch and Leslie Dixon) Johnny Tremain (screenplay written by Tom Blackburn) Pirates of the Caribbean: The Curse of the Black Pearl (screenplay written by Ted Elliott and Terry Rossio) The Love Bug (screenplay by Bill Walsh and Don DaGradi) Follow Jim on social media platforms, including Twitter (@EmeliusBrowne) and Instagram, as well as his YouTube channel: Jim Fanning's Tulgey Wood TV. You can also check out his website and blog. Feel free to reach out to Brett via Twitter @bnachmanreports, subscribe to the podcast, and send your feedback at notablydisney@gmail.com  New episodes of Notably Disney debut on the first and third Tuesday of each month.

Join your host, April D. Metzler, as she visits with Janet Harllee - She is a is a #storyteller #broadcaster #speaker & #author, with a passion to share God's truth delivering to her audiences #encouraging #inspirational & #entertaining messages of #faith. Her other experiences include #theatre #radio and #television! Janet is the host of Faith In An Ever-Changing World: Encouragement and Hope Show where she interviews people, including the faith-based film industry, who share their faith story. She will be visiting about the heart behind her digital ministry and broadcasting, maintaining Joy in life circumstances, and simple tips for encouragement! The main scripture for this visit will be Proverbs 3:5-6 & Psalm 92:14. How do you maintain and even increase JOY in different seasons of your life? Did you know there's a difference between happiness & JOY? Let's Visit! Each podcast episode is located on April's website and on Youtube for the video version, as well. See her link below along with Janet's links to stay connected. From the host: Grab your Bible, a study pad, and a pencil or pen. Get ready for some real, candid conversation about what it looks like in action to read, study, and apply the Word of God to our daily lives. - Connect with Janet Harllee - On YouTube: https://www.youtube.com/@janetharllee Facebook Page: Faith In An Ever-Changing World: encouragement and hope - Connect with host, April D. Metzler - www.aprildmetzler.com #interview #livebroadcast #liveinterview #christianliving #heartbehindworship #familyfriendly #Godslove #Godlovesyou #divedeeper #Gospel #Jesussaves #Christian #relationshipwithGod #treasuredwellness #stress #wellness The R.S.V.P. Show is Streaming and broadcasting on April's FB page, YouTube Channel, Twitter, and other FB Groups including: CWBC, WAC, & God's Daughters. Subscribe on April's YouTube Channel at https://www.youtube.com/@aprildmetzler Connect with April on Instagram - Music and Book by the host - Book: Oh My God, My Heart!!! Music Album: Oh My Heart Strings! --- Send in a voice message: https://anchor.fm/aprildmetzler/message Support this podcast: https://anchor.fm/aprildmetzler/support

Join your host, April D. Metzler, as she visits with Michelle McCoy - a #minister #wife #mother a Board-Certified Functional #healthcoach Licensed Ecclesiastical #healthpractitioner, #holistic #lifestyle #advocate and #host of The Treasured Wellness #Christian #podcast Michelle has a deep passion for helping women get to the root cause of dis-ease, before it turns into disease, without the frustration and overwhelm. She will be visiting about the heart behind her digital ministry and health work, relying on God in stressful situations, and lots of tips for wellness! The main scripture for this visit will be Matthew 11:28-30. How do you handle the busy Holiday seasons and the stress that comes? Did you know stress can make us physically sick?!? Let's Visit! Each podcast episode is located on April's website and on Youtube for the video version, as well. See her link below along with Michelle's links to stay connected. From the host: Grab your Bible, a study pad, and a pencil or pen. Get ready for some real, candid conversation about what it looks like in action to read, study, and apply the Word of God to our daily lives. - Connect with Michelle McCoy - Website: www.treasuredwellness.com Facebook Page: https://www.facebook.com/twellness - Connect with host, April D. Metzler - www.aprildmetzler.com #interview #livebroadcast #liveinterview #christianliving #heartbehindworship #familyfriendly #Godslove #Godlovesyou #divedeeper #Gospel #Jesussaves #Christian #relationshipwithGod #treasuredwellness #stress #wellness The R.S.V.P. Show is Streaming and broadcasting on April's FB page, YouTube Channel, Twitter, and other FB Groups including: CWBC, WAC, & God's Daughters. Subscribe on April's YouTube Channel at https://www.youtube.com/@aprildmetzler Connect with April on Instagram - Music and Book by the host - Book: Oh My God, My Heart!!! Music Album: Oh My Heart Strings! --- Send in a voice message: https://anchor.fm/aprildmetzler/message Support this podcast: https://anchor.fm/aprildmetzler/support

Join your host, April D. Metzler, as she visits with Denise Walker - She is a #minister #wife #mother #podcaster #speaker #workshophost #author & the founder of Hope-in-Christ Ministries, Inc. She is also the #CEO & #EditorinChief of Armor of Hope Writing & Publishing Services, LLC. Her ministry's mission is to take the message of the cross to the world and lead others out of their barren places to their true #identityinChrist. Denise will be visiting about the heart behind her ministry work, trusting God's power over our own strength, and her latest book about the grace of God. The main scripture for this visit will be John 11:4. Are you struggling in this season? Has it been challenging or more of an obstacle than you thought at first? Like me, are you looking to glean some wisdom about trusting God as Denise shares her testimony? Let's Visit! Each podcast episode is located on April's website and on Youtube for the video version, as well. See her link below along with Denise's links to stay connected. From the host: Grab your Bible, a study pad, and a pencil or pen. Get ready for some real, candid conversation about what it looks like in action to read, study, and apply the Word of God to our daily lives. - Connect with Denise Walker - Website: www.denisemwalker.com Facebook Page: https://www.facebook.com/AuthorDeniseMWalker - Connect with host, April D. Metzler - www.aprildmetzler.com #interview #livebroadcast #liveinterview #christianliving #Godslove #Godlovesyou #Gospel #Jesussaves #Christian #relationshipwithGod #trustintheLord #rsvpshow #hopeinChrist The R.S.V.P. Show is Streaming and broadcasting on April's FB page, YouTube Channel, Twitter, and other FB Groups including: CWBC, WAC, & God's Daughters. Subscribe on April's YouTube Channel at https://www.youtube.com/@aprildmetzler Connect with April on Instagram - Music and Book by the host - Book: Oh My God, My Heart!!! Music Album: Oh My Heart Strings! --- Send in a voice message: https://anchor.fm/aprildmetzler/message Support this podcast: https://anchor.fm/aprildmetzler/support

Hello and welcome to the long awaited Stress Factor Podcast episode 300 Part 1! We would like to wish you and your family a very Merry Chritmas, Happy Hanukkah and an amazing New Year 2023. Not only is this episode 300, but it's also been 13 years in the making because we celebrate our 13th birthday on January 1, 2023. This is going be a 5 part Best Of episode featuring the entire Stress Factor Crew including DJ B-12, DjR1, Scottie B, Ste-J and Tribo, all to be released between Christmas and New Years. For Part 1, we have DJ B-12 with a blistering 3-Hour long, 106 track best of megamix that is sure to knock your socks off. Brian has dug really deep for this one going back through all this old shows from as far back as our humble begins in 2010. Most of these tracks are from what he likes to call the "Golden Age of New Drum and Bass" 2010-2016. The tracklist can be found anywhere but Soundcloud, they don't provide enough space for text to include it. You can find it anywhere else you find this podcast including Simplecast, Apple Podcast, Google Podcast, Tune-In Radio, iHeartRadio, Amazon and various other places you can find and subscribe to us. We really hope you enjoy this very special episode and all of its parts. Don't forget to keep as eye out for all of them. Links below will take you there. You can also download the full 320k MP3 from Soundcloud hidden under "more". This mix contains tracks by, remixed by and on these labels: Sub Jams, Cozi, Drumsound, Bassline Smith, 3beat Records, Gemini, Beta Recordings, Spectrasoul, DLR, Shogun Audio, Kove, Program, Seba, 31 Records, Unknown Artist, Fokuz Recordings, Six Blade, Viper Recordings, S.P.Y, Diane Charlemagne, Hospital Records, Total Science, Riya, Guru Groove Foundation, Mr. Frenkie, Radio Record, Media Land, Metrik, Friction, Culture Shock, Furlonge, Ram Records, The Erised, Bop, Med School, Bad Robot, Subsonik Sound, Brookes Brothers, Breakbeat Kaos, Calyx, TeeBee, Chords, Metro Recordings, Hamilton , Maverick Sabre, Delta Heavy, Mercury, Monsta, Skrillex, Nero, OWSLA, Phace, Neosignal Recordings, Fono, TC Bootleg, Alix Perez, Noisia, Die, Interface, William Cartwright, Lenzman Remix, Clear Skyz, DC Breaks, Above and Beyond, Richard Bedford, Zardonic, Wilkinson, Cube, Nu Electro, Indivision, Livewire, Have-A-Break Recordings, Rudimental, Foxes, Andy, Nookie, Rowpieces, Phuzion Digital, BCee, Rocky Nti, Spearhead Records, Metalheadz Platinum, Fred V, Grafix, Cyantific , Bladerunner, Dread, Fenech Soler, Trippcore, Delta Heavy, Jem Cooke, Loadstar, Matrix, Futurebound, Tanya Lacey, Koncept, All Around The World Limited, Etherwood, McLean , Asylum Records, Blu Mar Ten, Blu Mar Ten Music, Flit, Liquicity Records, Faithless 2.0, High Contrast, Cheeky Records, Enei, Sam Wills, Critical Music, Technimatic, SGNLTD, Dexcell, Katie's Ambition, Mind Vortex, Rusko, Amber Coffman, Sub Focus, Downtown Records, Alex Clare, EMI], Logistics, NuLogic, Ivy Lab, Hydro, Frank Carter III, Lucy Annika, Let It Roll, Keeno, Subwave, Metalheadz, Julio Bashmore, TC Bootleg, Jupiter Ace, DC Breaks, Big Vision Records, Mediks, Astronaut, Audioporn, Offaiah, 1991, Positiva, Tantrum Desire, The Prototypes, Technique Recordings, 4am, Pilot Records, Unreal, Sign Of The Times Records, Ella Eyre, Virgin Records, Blinkie, Grimm, Jason Burns, Sarah Winters, Love and Other, GMorozov , Ownglow, Bianca, , Sway, Mr Hudson, TC, 3beat Records, John B feat, Ayah Marar, Kiro, Subsonik, Icicle, DJ Fresh, DJ Marky, Ministry of Sound UK, Grades, One More Tune. Tracklist 01. Sub Jams feat. Cozi - Ricochet (Drumsound & Bassline Smith Remix) [3beat Records] [2011] 02. Gemini - Without You [Beta Recordings] [2011] 03. Spectrasoul - Sometimes We Lie... (DLR Remix) [Shogun Audio] [2013] 04. Kove - Gone [Program] [2013] 05. Seba - Keep Me Waiting [31 Records] [2010] 06. Unknown Artist - Bass Controlla [Fokuz Recordings] [2016] 07. Six Blade - Electric [Viper Recordings] [2013] 08. S.P.Y - Hammer in My Heart (feat. Diane Charlemagne)[Hospital Records] [2012] 09. Total Science feat. Riya - See Your Face [Shogun Audio] [2013] 10. Guru Groove Foundation - Golden Love (Mr. Frenkie Remix) [Radio Record, Media Land] [2015] 11. Metrik and Friction - Legacy [Hospital Records] [2014] 12. Culture Shock - Surprise feat. Furlonge [Ram Records] [2010] 13. The Erised - Pray (Bop remix) [Med School] [2016] 14. Bad Robot - Deep End [Subsonik Sound] [2010] 15. Brookes Brothers - Snowman [Breakbeat Kaos] [2011] 16. Calyx and TeeBee - Elevate This Sound [Ram Records] [2012] 17. Chords - Video Soul [Metro Recordings] [2012] 18. Hamilton - Deep In My Heart [Ram Records] [2012] 19. Hamilton - Overdrive [Ram Records] [2013] 20. Hamilton - The Way I Feel [Ram Records] [2013] 21. Maverick Sabre - I Used To Have It All (Delta Heavy Remix) [Mercury] [2012] 22. Monsta - Holdin' On (Skrillex and Nero Remix) [OWSLA] [2012] 23. Phace - Basic Memory [Neosignal Recordings] [2011] 24. Fono - Real Joy (TC Bootleg) [Not On A Label] [2013] 25. Alix Perez - Loose Ends (feat. Noisia) [Shogun Audio] [2010] 26. Die and Interface ft. William Cartwright - Bright Lights (Lenzman Remix) [Clear Skyz] [2010] 27. DC Breaks - Halo [Viper Recordings] [2010] 28. Above and Beyond ft. Richard Bedford - Sun Moon (Zardonic Remix) [NO LABEL] [2011] 29. Wilkinson - Tonight [Ram Records] [2013] 30. Hamilton - Believe in Me [Ram Records] [2018] 31. Cube - Metrolovers [Nu Electro] [2010] 32. Brookes Brothers - Last Night (unreleased version) [Breakbeat Kaos] [2010] 33. Indivision and Livewire - Apologies [Have-A-Break Recordings] [2010] 34. Rudimental - Right Here feat. Foxes (Andy C Remix) [Asylum] [2013] 35. Camo and Krooked feat. Shaz Sparks - Mind Is Drifting Away (VIP Mix Dub) [AEI] [2011] 36. Culture Shock - Raindrops [Ram Records] [2014] 37. Metrik - Drift [Viper Recordings] [2012] 38. Hamilton - Push [Ram Records] [2013] 39. Metrik - Freefall (feat. Reija Lee) [Viper Recordings] [2012] 40. Cube - Night Trip [Nu Electro] [2010] 41. Robin S - Show Me Love (High Contrast Bootleg) [Not On A Label] [2010] 42. Sigma - Baltimore feat. Jenna G [Breakbeat Kaos] [2010?] 43. BMotion and Chords - Discotheque [Viper Recordings] [2014] 44. Frankee - Deep Down Feat. Caan [Ram Records] [2015] 45. Nookie - A Drum, A Bass, and A Piano (Rowpieces Remix) [Phuzion Digital] [2013] 46. BCee - Into The Blue feat. Rocky Nti (Chords Remix) [Spearhead Records] [2014] 47. Lenzman - Masquerade [Metalheadz Platinum] [2011] 48. Fred V and Grafix - Just a Thought (feat. Reija Lee) [Viper Recordings] [2012] 49. Cyantific - Touch Me [Ram Records] [2011] 50. Bladerunner - Feel for You (VIP) [Dread] [2013] 51. Fenech Soler - Demons (TrippcoreRMX) [NOT ON A LABEL] [2011] 52. Camo and Krooked - Climax [Hospital Records] [2010] 53. Delta Heavy x Jem Cooke - Heaven (Extended) [Delta Heavy] [2022] 54. Loadstar - Lancelot [Ram Records] [2013] 55. Matrix and Futurebound - Don't Look Back (feat. Tanya Lacey) (Koncept Remix) [All Around The World Limited] [2014] 56. Etherwood - Begin By Letting Go [Med School] [2013] 57. McLean - Finally In Love (Camo and Krooked Remix) [Asylum Records] [2010] 58. Blu Mar Ten - Overwhelm (Seba Remix) [Blu Mar Ten Music] [2010] 59. Flite - Colorless [Liquicity Records] [2014] 60. Faithless 2.0 - Muhammad Ali 2.0 (High Contrast Remix) [Cheeky Records] [2015] 61. Enei featuring Sam Wills - Circles [Critical Music] [2013] 62. Etherwood - We're Nothing Without Love feat. SPY (Ivy Lab Remix) [Med School] [2013] 63. Technimatic - Frozen Leaves [SGNLTD] [2013] 64. Dexcell - Close Your Eyes (Ft. Katie's Ambition) [Beta Recordings] [2013] 65. Mind Vortex - Alive [Ram Records] [2013] 66. Rusko - Hold On ft. Amber Coffman (Sub Focus Remix) [Downtown Records] [2010] 67. Sub Focus (Feat Alex Clare) - Endorphins (Fred V and Grafix Remix) [EMI] [2013] 68. Logistics - We Are One (NuLogic Remix) [Hospital Records] [2012] 69. Ivy Lab and Hydro - Make It Clear (feat. Frank Carter III and Lucy Annika) [Let It Roll] [2015] 70. Lenzman - Rags To Riches [SGNLTD] [2010] 71. Keeno - Nocturne [Medschool] [2013] 72. Subwave - Ubik [Metalheadz] [2010] 73. Gemini - Destiny [Beta Recordings] [2011] 74. S.P.Y - Dusty Fingers feat. Diane Charlemagne [Hospital Records] [2014] 75. Julio Bashmore - Au Seve (TC Bootleg) [2013] 76. Unknown Artist - The Worst [Fokuz Recordings] [2016] 77. Jupiter Ace - Glowing In The Dark Feat. Geneva Lane (DC Breaks Remix) [Big Vision Records] [2012] 78. Mediks feat. Astronaut - Blown Away [Audioporn] [2012] 79. Offaiah - Trouble (1991 Remix) [Positiva] [2016] 80. Tantrum Desire - Reach (The Prototypes Remix) [Technique Recordings] [2019] 81. 4am - Wanted (Chords Remix) [Pilot Records] [2014] 82. Unreal - Enduro (feat. S.P.Y) [Hospital Records] [2016] 83. Kove - Open Ground [ProgRam] [2012] 84. Lenzman - How Did I Let U Go (feat. Riya) [Metalheadz] [2012] 85. Brookes Brothers - Tear You Down [Breakbeat Kaos] [2008] 86. Foxes - Holding Onto Heaven (Kove Remix) [Sign Of The Times Records] [2014] 87. Ella Eyre - Together (Kove Remix) [Virgin Records] [2015] 88. Blinkie - Don't Give Up (On Love) (Frankee Remix) [Ram Records] [2015] 89. S.P.Y. - Cold Harsh Air feat. Total Science and Grimm [Hospital Records] [2015] 90. Riya - Fear Bites (VIP) [Spearhead Records] [2015] 91. Jason Burns and Sarah Winters - Lightweight (Chords Remix) [Love and Other] [2015] 92. DC Breaks - Shaman VIP [Ram Records] [2013] 93. GMorozov - Internet = Hate [Nu Electro] [2010] 94. Ownglow - Gold [Pilot Records] [2014] 95. Camo and Krooked - Skyline [Beta Recordings] [2010] 96. DC Breaks - Faithless feat Bianca [Ram Records] [2015] 97. Sway feat. Mr Hudson - Charge (TC Remix) [3beat Records] [2012] 98. John B feat Shaz Sparks - Red Sky [Beta Recordings] [2007] 99. Indivision and Livewire feat. Tasha Baxter - Won't You Stay [Have-A-Break] [2011] 100. John B - Send My Love To Mother Russia [Beta Recordings] [2012] 101 Camo and Krooked - Cross the Line (feat. Ayah Marar) (Metrik Remix) [Hospital Records] [2012] 102. Kiro vs Subsonik - Hold On [Subsonik Sound] [2009] 103. John B ft. Shaz Sparks - Shining In The Dark (Extended Mix) [Beta Recordings] [2012] 104. Icicle - Nausea [Shogun Audio] [2011] 105. DJ Fresh Feat. Ella Eyre - Gravity (DJ Marky Remix) [Ministry of Sound UK] [2015] 106. Grades - King (Culture Shock Remix) [One More Tune] [2015]

Merry Christmas friend! Welcome to Permission to Pause and the last day of our Unstuck Christmas Devotional 2022! I invite you to Pause for a few minutes on this very busy day. Together we have taken the sacred journey through the Love Letter found in Luke Chapters 1 and 2. We have intentionally gathered with a few friends and family to share a time of quiet reflection in these timeless scriptures. These short (5 minute) devotions have come straight from my personal prayer journals and are ready to be gently mixed with your own. The season that heightens on Thanksgiving and calms TODAY-Christmas Day-is truly to be treasured. By using this devotional tool together, we have made an INTENTIONAL CHOICE to keep our Christmas UNSTUCK and free, allowing us to BE and RECEIVE some special BLESSINGS! You can still download the entire FREE Unstuck Christmas 25 Day Devotional via my website RESOURCES . You can STILL use the pages provided each day for your personal devotions in the “YOUR HEART” space provided. Every Christmas season is different so be sure to use this FRESH VERSION for a FRESH look into the birth of Jesus.OUR FINAL CHRISTMAS QUEST GIVEAWAY IS TODAY via The Unstuck Woman Club on Facebook for more personal interaction and to share ideas with other women! I hope you will join us there. You can also sign up on my website for my very occasional emails that will keep us connected through the NEW YEAR! I am always excited to hear YOUR Heart as I share MY HEART with you. Today, Christmas Day--lets remember THE REASON FOR THE SEASON and PAUSE  in the book of LUKE together.  I am thankful for you! Pat 

Greetings Friend, It is Christmas Eve!!Welcome to Permission to Pause and an Unstuck Christmas Devotional! I invite you to Pause for a few minutes each day during the holy month of December. Together we will take the sacred journey through the Love Letter found in Luke Chapters 1 and 2. Every year I gather a few close friends and family to share an intentional time of quiet reflection in these timeless scriptures. Since I am always praying and planning reasons for us to get together here on this podcast--I would love to have YOU join me this year. These short (5 minute) devotions came straight from my personal prayer journals and are ready to be gently mixed with your own. The season that heightens on Thanksgiving and calms on Christmas Day is truly to be treasured. By using this devotional tool together, we have made an INTENTIONAL CHOICE to keep our Christmas UNSTUCK and free, allowing us to BE and RECEIVE some special BLESSINGS! My suggestion is that you download the entire FREE Unstuck Christmas 25 Day Devotional via my website RESOURCES . You can use the pages provided each day for your personal devotions in the “YOUR HEART” space provided. Every Christmas season is different so be sure to use this FRESH VERSION for a FRESH look into the birth of Jesus.To enhance our time together we will be meeting as a reading group via The Unstuck Woman Club on Facebook for more personal interaction and to share ideas with other women! I hope you will join us there. I will be giving away TONS of FREE PRIZES and gifts to sparkle up our dialog over Christmas as we go. You can also sign up on my website for my occasional emails that will offer very special Christmas give-sways. I am always excited to hear YOUR Heart as I share MY HEART with you. Let's get started, shall we? Starting today lets PAUSE  in the book of LUKE together.  I am thankful for you! Pat 

Greetings Friend, Welcome to Permission to Pause and an Unstuck Christmas Devotional! I invite you to Pause for a few minutes each day during the holy month of December. Together we will take the sacred journey through the Love Letter found in Luke Chapters 1 and 2. Every year I gather a few close friends and family to share an intentional time of quiet reflection in these timeless scriptures. Since I am always praying and planning reasons for us to get together here on this podcast--I would love to have YOU join me this year. These short (5 minute) devotions came straight from my personal prayer journals and are ready to be gently mixed with your own. The season that heightens on Thanksgiving and calms on Christmas Day is truly to be treasured. By using this devotional tool together, we have made an INTENTIONAL CHOICE to keep our Christmas UNSTUCK and free, allowing us to BE and RECEIVE some special BLESSINGS! My suggestion is that you download the entire FREE Unstuck Christmas 25 Day Devotional via my website RESOURCES . You can use the pages provided each day for your personal devotions in the “YOUR HEART” space provided. Every Christmas season is different so be sure to use this FRESH VERSION for a FRESH look into the birth of Jesus.To enhance our time together we will be meeting as a reading group via The Unstuck Woman Club on Facebook for more personal interaction and to share ideas with other women! I hope you will join us there. I will be giving away TONS of FREE PRIZES and gifts to sparkle up our dialog over Christmas as we go. You can also sign up on my website for my occasional emails that will offer very special Christmas give-sways. I am always excited to hear YOUR Heart as I share MY HEART with you. Let's get started, shall we? Starting today lets PAUSE  in the book of LUKE together.  I am thankful for you! Pat 

Greetings Friend, Welcome to Permission to Pause and an Unstuck Christmas Devotional! I invite you to Pause for a few minutes each day during the holy month of December. Together we will take the sacred journey through the Love Letter found in Luke Chapters 1 and 2. Every year I gather a few close friends and family to share an intentional time of quiet reflection in these timeless scriptures. Since I am always praying and planning reasons for us to get together here on this podcast--I would love to have YOU join me this year. These short (5 minute) devotions came straight from my personal prayer journals and are ready to be gently mixed with your own. The season that heightens on Thanksgiving and calms on Christmas Day is truly to be treasured. By using this devotional tool together, we have made an INTENTIONAL CHOICE to keep our Christmas UNSTUCK and free, allowing us to BE and RECEIVE some special BLESSINGS! My suggestion is that you download the entire FREE Unstuck Christmas 25 Day Devotional via my website RESOURCES . You can use the pages provided each day for your personal devotions in the “YOUR HEART” space provided. Every Christmas season is different so be sure to use this FRESH VERSION for a FRESH look into the birth of Jesus.To enhance our time together we will be meeting as a reading group via The Unstuck Woman Club on Facebook for more personal interaction and to share ideas with other women! I hope you will join us there. I will be giving away TONS of FREE PRIZES and gifts to sparkle up our dialog over Christmas as we go. You can also sign up on my website for my occasional emails that will offer very special Christmas give-sways. I am always excited to hear YOUR Heart as I share MY HEART with you. Let's get started, shall we? Starting today lets PAUSE  in the book of LUKE together.  I am thankful for you! Pat 

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

Greetings Friend, Welcome to Permission to Pause and an Unstuck Christmas Devotional! I invite you to Pause for a few minutes each day during the holy month of December. Together we will take the sacred journey through the Love Letter found in Luke Chapters 1 and 2. Every year I gather a few close friends and family to share an intentional time of quiet reflection in these timeless scriptures. Since I am always praying and planning reasons for us to get together here on this podcast--I would love to have YOU join me this year. These short (5 minute) devotions came straight from my personal prayer journals and are ready to be gently mixed with your own. The season that heightens on Thanksgiving and calms on Christmas Day is truly to be treasured. By using this devotional tool together, we have made an INTENTIONAL CHOICE to keep our Christmas UNSTUCK and free, allowing us to BE and RECEIVE some special BLESSINGS! My suggestion is that you download the entire FREE Unstuck Christmas 25 Day Devotional via my website RESOURCES . You can use the pages provided each day for your personal devotions in the “YOUR HEART” space provided. Every Christmas season is different so be sure to use this FRESH VERSION for a FRESH look into the birth of Jesus.To enhance our time together we will be meeting as a reading group via The Unstuck Woman Club on Facebook for more personal interaction and to share ideas with other women! I hope you will join us there. I will be giving away TONS of FREE PRIZES and gifts to sparkle up our dialog over Christmas as we go. You can also sign up on my website for my occasional emails that will offer very special Christmas give-sways. I am always excited to hear YOUR Heart as I share MY HEART with you. Let's get started, shall we? Starting today lets PAUSE  in the book of LUKE together.  I am thankful for you! Pat 

It takes a lot of courage to face your traumas. Though it's hard to sit in your pain, sometimes that's what you need in order to do the inner work and finally heal. In this episode of From Survivor to Thriver, we sat down with Ulrika Karlsson to talk about her journey with depression and how she learned to do the inner work so that she could raise her vibration and find true healing. Through her work and books, she now inspires people to face their fears and turn them into manure so that they can begin to grow and evolve. For many decades Ulrika Karlsson was depressed, burned out, and eventually suicidal. Her whole life was an inner struggle with low self-esteem manifesting in many things such as stress, severe sleeping disorders, and a deep depression. This ongoing struggle eventually affected all aspects of her life; relationships, health, work, money, and career. Her first book; “2:47 The Journey Home to My Heart” was released in 2019. It is an autobiography where, with a raw authenticity and vulnerability, she writes about her inner journey to free herself from her own internal prison and to come back to her heart. From this long, and life-changing experience she shares her embodied wisdom, knowledge, passion, teachings, and vision across the globe. Today, she works as a Feminine Leadership Coach, International Spiritual Teacher and Author, Yoga Teacher, Yoga Therapist, public speaker and trainer with the entire world as a field of work. With more than 28 years of personal and professional experience in various Holistic disciplines, she helps guide women in senior and leading positions who long for a more authentic, peaceful, and balanced life.  In today's episode we cover: Our ego and how it can get in the way Subconscious programming Raising your vibration Finding answers withinDoing the inner workThe Akashic RecordsEnergetic pollutionThe heart chakra Grounding in our root chakra Living in the present moment Burnout vs. DepressionBreathwork We hope you enjoyed our conversation with Ulrika. If you want to hear more from her, make sure to check out her books and visit her website. Thanks again for tuning in. We are so grateful to each and every one of you. Please remember to leave a rating and review of our show. It helps us grow and reach those who need it. Also, make sure to subscribe so you never miss an episode! Links:  Visit Ulrika's websiteFollow Ulrika on FacebookFollow us on FacebookFollow us on InstagramFollow us on TikTokGet in touch: amgits.reverse@gmail.com“There is no growth in our comfort zone.” -Ulrika “We all, individually and collectively, need to raise our vibration by doing our inner work.” -Ulrika “It takes a lot of courage to face your traumas.” -Ulrika “The answers are within.” -Marc“The only way you can experience true joy and those higher vibrations is by allowing yourself some time to sit with the pain and deal with these really difficult issues.” -Erik

Greetings Friend, Welcome to Permission to Pause and an Unstuck Christmas Devotional! I invite you to Pause for a few minutes each day during the holy month of December. Together we will take the sacred journey through the Love Letter found in Luke Chapters 1 and 2. Every year I gather a few close friends and family to share an intentional time of quiet reflection in these timeless scriptures. Since I am always praying and planning reasons for us to get together here on this podcast--I would love to have YOU join me this year. These short (5 minute) devotions came straight from my personal prayer journals and are ready to be gently mixed with your own. The season that heightens on Thanksgiving and calms on Christmas Day is truly to be treasured. By using this devotional tool together, we have made an INTENTIONAL CHOICE to keep our Christmas UNSTUCK and free, allowing us to BE and RECEIVE some special BLESSINGS! My suggestion is that you download the entire FREE Unstuck Christmas 25 Day Devotional via my website RESOURCES . You can use the pages provided each day for your personal devotions in the “YOUR HEART” space provided. Every Christmas season is different so be sure to use this FRESH VERSION for a FRESH look into the birth of Jesus.To enhance our time together we will be meeting as a reading group via The Unstuck Woman Club on Facebook for more personal interaction and to share ideas with other women! I hope you will join us there. I will be giving away TONS of FREE PRIZES and gifts to sparkle up our dialog over Christmas as we go. You can also sign up on my website for my occasional emails that will offer very special Christmas give-sways. I am always excited to hear YOUR Heart as I share MY HEART with you. Let's get started, shall we? Starting today lets PAUSE  in the book of LUKE together.  I am thankful for you! Pat 

Joined by Matilda of The Zombie Grrlz, Larry hosts a book club to break down My Heart is a Chainsaw by Stephen Graham Jones. Spoilers galore so be wary! Please send your emails to heresjohnnypodcast@gmail.com To join our community, feel free to join our discord! (https://discord.gg/htr6kRB) Check out our past reviews and lists on our show website at https://www.heresjohnnypodcast.com/ If you are able, you can support us on Patreon (patreon.com/heresjohnnypodcast)

Greetings Friend, Welcome to Permission to Pause and an Unstuck Christmas Devotional! I invite you to Pause for a few minutes each day during the holy month of December. Together we will take the sacred journey through the Love Letter found in Luke Chapters 1 and 2. Every year I gather a few close friends and family to share an intentional time of quiet reflection in these timeless scriptures. Since I am always praying and planning reasons for us to get together here on this podcast--I would love to have YOU join me this year. These short (5 minute) devotions came straight from my personal prayer journals and are ready to be gently mixed with your own. The season that heightens on Thanksgiving and calms on Christmas Day is truly to be treasured. By using this devotional tool together, we have made an INTENTIONAL CHOICE to keep our Christmas UNSTUCK and free, allowing us to BE and RECEIVE some special BLESSINGS! My suggestion is that you download the entire FREE Unstuck Christmas 25 Day Devotional via my website RESOURCES . You can use the pages provided each day for your personal devotions in the “YOUR HEART” space provided. Every Christmas season is different so be sure to use this FRESH VERSION for a FRESH look into the birth of Jesus.To enhance our time together we will be meeting as a reading group via The Unstuck Woman Club on Facebook for more personal interaction and to share ideas with other women! I hope you will join us there. I will be giving away TONS of FREE PRIZES and gifts to sparkle up our dialog over Christmas as we go. You can also sign up on my website for my occasional emails that will offer very special Christmas give-sways. I am always excited to hear YOUR Heart as I share MY HEART with you. Let's get started, shall we? Starting today lets PAUSE  in the book of LUKE together.  I am thankful for you! Pat 

It is a pleasure to welcome actor, musician, and podcast host Paul Greene to The Jake's Take with Jacob Elyachar Podcast. Born in Wetaskiwin, Alberta, Canada, Paul was raised on a farm and learned first-hand the importance of faith, hard work, and family. Scouted from college, he started a modeling career when he was 18 years old and immediately became a huge success, having a booked a national Levi's commercial within his first week of modeling. He spent most of his 20s, splitting his time modeling in Japan, London, Milan, New York City, and Paris, walking for Armani, Dolce & Gabbana, Tommy Hilfiger, and hundreds of brands. After his first son was born, Paul Greene's love for acting moved to Los Angeles, where he continued to book commercials and garnered success as a series regular for Bitten (Philip McAdams), Wicked Wicked Games (Benjamin Gray), and When Calls the Heart (Dr. Carson Shepard). He also guest starred on several TV shows such as Girlfriends' Guide to Divorce, Harry's Law, The Client's List, and The Newsroom. He is also a musician who has released two albums: Freedom for Your Soul and Long Way Home. Two of his original songs, “A Place in My Heart” and “Long Way Home,” made it to the Top 10 on a national country music chart, and another original song: “Plea of An Angel,” made it to the number one spot. Also, during the pandemic of 2020, Paul began to live stream his concerts on social media. When he is not preparing for a show or a film, Paul spends time with his family, hosting a wildly popular podcast, The Grass is Greener, and developing transformational education programs with his partner Katie. On this edition of The Jake's Take with Jacob Elyachar Podcast, Paul Greene talked about working with Gladys Knight on I'm Glad It's Christmas and Amanda Kloots on A Fit Christmas. Paul also spoke about his podcast: The Grass is Greener.

Greetings Friend, Welcome to Permission to Pause and an Unstuck Christmas Devotional! I invite you to Pause for a few minutes each day during the holy month of December. Together we will take the sacred journey through the Love Letter found in Luke Chapters 1 and 2. Every year I gather a few close friends and family to share an intentional time of quiet reflection in these timeless scriptures. Since I am always praying and planning reasons for us to get together here on this podcast--I would love to have YOU join me this year. These short (5 minute) devotions came straight from my personal prayer journals and are ready to be gently mixed with your own. The season that heightens on Thanksgiving and calms on Christmas Day is truly to be treasured. By using this devotional tool together, we have made an INTENTIONAL CHOICE to keep our Christmas UNSTUCK and free, allowing us to BE and RECEIVE some special BLESSINGS! My suggestion is that you download the entire FREE Unstuck Christmas 25 Day Devotional via my website RESOURCES . You can use the pages provided each day for your personal devotions in the “YOUR HEART” space provided. Every Christmas season is different so be sure to use this FRESH VERSION for a FRESH look into the birth of Jesus.To enhance our time together we will be meeting as a reading group via The Unstuck Woman Club on Facebook for more personal interaction and to share ideas with other women! I hope you will join us there. I will be giving away TONS of FREE PRIZES and gifts to sparkle up our dialog over Christmas as we go. You can also sign up on my website for my occasional emails that will offer very special Christmas give-sways. I am always excited to hear YOUR Heart as I share MY HEART with you. Let's get started, shall we? Starting today lets PAUSE  in the book of LUKE together.  I am thankful for you! Pat 

Greetings Friend, Welcome to Permission to Pause and an Unstuck Christmas Devotional! I invite you to Pause for a few minutes each day during the holy month of December. Together we will take the sacred journey through the Love Letter found in Luke Chapters 1 and 2. Every year I gather a few close friends and family to share an intentional time of quiet reflection in these timeless scriptures. Since I am always praying and planning reasons for us to get together here on this podcast--I would love to have YOU join me this year. These short (5 minute) devotions came straight from my personal prayer journals and are ready to be gently mixed with your own. The season that heightens on Thanksgiving and calms on Christmas Day is truly to be treasured. By using this devotional tool together, we have made an INTENTIONAL CHOICE to keep our Christmas UNSTUCK and free, allowing us to BE and RECEIVE some special BLESSINGS! My suggestion is that you download the entire FREE Unstuck Christmas 25 Day Devotional via my website RESOURCES . You can use the pages provided each day for your personal devotions in the “YOUR HEART” space provided. Every Christmas season is different so be sure to use this FRESH VERSION for a FRESH look into the birth of Jesus.To enhance our time together we will be meeting as a reading group via The Unstuck Woman Club on Facebook for more personal interaction and to share ideas with other women! I hope you will join us there. I will be giving away TONS of FREE PRIZES and gifts to sparkle up our dialog over Christmas as we go. You can also sign up on my website for my occasional emails that will offer very special Christmas give-sways. I am always excited to hear YOUR Heart as I share MY HEART with you. Let's get started, shall we? Starting today lets PAUSE  in the book of LUKE together.  I am thankful for you! Pat 

The Narrative about why I left (and I am only speaking for myself) has been told by so many others, I have stayed silent publicly as to why I made this decision. As more and more people have been making comments about my departure I just wanted to publicly speak my truth.

Greetings Friend, Welcome to Permission to Pause and an Unstuck Christmas Devotional! I invite you to Pause for a few minutes each day during the holy month of December. Together we will take the sacred journey through the Love Letter found in Luke Chapters 1 and 2. Every year I gather a few close friends and family to share an intentional time of quiet reflection in these timeless scriptures. Since I am always praying and planning reasons for us to get together here on this podcast--I would love to have YOU join me this year. These short (5 minute) devotions came straight from my personal prayer journals and are ready to be gently mixed with your own. The season that heightens on Thanksgiving and calms on Christmas Day is truly to be treasured. By using this devotional tool together, we have made an INTENTIONAL CHOICE to keep our Christmas UNSTUCK and free, allowing us to BE and RECEIVE some special BLESSINGS! My suggestion is that you download the entire FREE Unstuck Christmas 25 Day Devotional via my website RESOURCES . You can use the pages provided each day for your personal devotions in the “YOUR HEART” space provided. Every Christmas season is different so be sure to use this FRESH VERSION for a FRESH look into the birth of Jesus.To enhance our time together we will be meeting as a reading group via The Unstuck Woman Club on Facebook for more personal interaction and to share ideas with other women! I hope you will join us there. I will be giving away TONS of FREE PRIZES and gifts to sparkle up our dialog over Christmas as we go. You can also sign up on my website for my occasional emails that will offer very special Christmas give-sways. I am always excited to hear YOUR Heart as I share MY HEART with you. Let's get started, shall we? Starting today lets PAUSE  in the book of LUKE together.  I am thankful for you! Pat 

Greetings Friend, Welcome to Permission to Pause and an Unstuck Christmas Devotional! I invite you to Pause for a few minutes each day during the holy month of December. Together we will take the sacred journey through the Love Letter found in Luke Chapters 1 and 2. Every year I gather a few close friends and family to share an intentional time of quiet reflection in these timeless scriptures. Since I am always praying and planning reasons for us to get together here on this podcast--I would love to have YOU join me this year. These short (5 minute) devotions came straight from my personal prayer journals and are ready to be gently mixed with your own. The season that heightens on Thanksgiving and calms on Christmas Day is truly to be treasured. By using this devotional tool together, we have made an INTENTIONAL CHOICE to keep our Christmas UNSTUCK and free, allowing us to BE and RECEIVE some special BLESSINGS! My suggestion is that you download the entire FREE Unstuck Christmas 25 Day Devotional via my website RESOURCES . You can use the pages provided each day for your personal devotions in the “YOUR HEART” space provided. Every Christmas season is different so be sure to use this FRESH VERSION for a FRESH look into the birth of Jesus.To enhance our time together we will be meeting as a reading group via The Unstuck Woman Club on Facebook for more personal interaction and to share ideas with other women! I hope you will join us there. I will be giving away TONS of FREE PRIZES and gifts to sparkle up our dialog over Christmas as we go. You can also sign up on my website for my occasional emails that will offer very special Christmas give-sways. I am always excited to hear YOUR Heart as I share MY HEART with you. Let's get started, shall we? Starting today lets PAUSE  in the book of LUKE together.  I am thankful for you! Pat 

Paul Baloche is a multiple Dove Award winner and has written songs like Above All, Open The Eyes of My Heart, Hosanna (Praise is Rising), Our God Saves, Today is the Day. He's been a worship leader, singer/songwriter for almost 30 years. We discuss his journey in the ministry, the movement of the Holy Spirit withing worship sets, and the recent trends of collaboration in the Contemporary Chrisitan Music scene. GUEST: Paul Baloche LeadWorship Youtube Channel www.leadworship.com Theme: Ronald Jenkees - Throwing Fire via Disorganized Fun   The Press Play Podcast Network Follow us on Twitter: @thechasesmith / @presspalypods For Sponsorship plans and more information, please email: admin@pressplaypodcasts.com To listen to all our shows and learn more about our network, please visit www.pressplaypodcasts.com    

Greetings Friend, Welcome to Permission to Pause and an Unstuck Christmas Devotional! I invite you to Pause for a few minutes each day during the holy month of December. Together we will take the sacred journey through the Love Letter found in Luke Chapters 1 and 2. Every year I gather a few close friends and family to share an intentional time of quiet reflection in these timeless scriptures. Since I am always praying and planning reasons for us to get together here on this podcast--I would love to have YOU join me this year. These short (5 minute) devotions came straight from my personal prayer journals and are ready to be gently mixed with your own. The season that heightens on Thanksgiving and calms on Christmas Day is truly to be treasured. By using this devotional tool together, we have made an INTENTIONAL CHOICE to keep our Christmas UNSTUCK and free, allowing us to BE and RECEIVE some special BLESSINGS! My suggestion is that you download the entire FREE Unstuck Christmas 25 Day Devotional via my website RESOURCES . You can use the pages provided each day for your personal devotions in the “YOUR HEART” space provided. Every Christmas season is different so be sure to use this FRESH VERSION for a FRESH look into the birth of Jesus.To enhance our time together we will be meeting as a reading group via The Unstuck Woman Club on Facebook for more personal interaction and to share ideas with other women! I hope you will join us there. I will be giving away TONS of FREE PRIZES and gifts to sparkle up our dialog over Christmas as we go. You can also sign up on my website for my occasional emails that will offer very special Christmas give-sways. I am always excited to hear YOUR Heart as I share MY HEART with you. Let's get started, shall we? Starting today lets PAUSE  in the book of LUKE together.  I am thankful for you! Pat 

Greetings Friend, Welcome to Permission to Pause and an Unstuck Christmas Devotional! I invite you to Pause for a few minutes each day during the holy month of December. Together we will take the sacred journey through the Love Letter found in Luke Chapters 1 and 2. Every year I gather a few close friends and family to share an intentional time of quiet reflection in these timeless scriptures. Since I am always praying and planning reasons for us to get together here on this podcast--I would love to have YOU join me this year. These short (5 minute) devotions came straight from my personal prayer journals and are ready to be gently mixed with your own. The season that heightens on Thanksgiving and calms on Christmas Day is truly to be treasured. By using this devotional tool together, we have made an INTENTIONAL CHOICE to keep our Christmas UNSTUCK and free, allowing us to BE and RECEIVE some special BLESSINGS! My suggestion is that you download the entire FREE Unstuck Christmas 25 Day Devotional via my website RESOURCES . You can use the pages provided each day for your personal devotions in the “YOUR HEART” space provided. Every Christmas season is different so be sure to use this FRESH VERSION for a FRESH look into the birth of Jesus.To enhance our time together we will be meeting as a reading group via The Unstuck Woman Club on Facebook for more personal interaction and to share ideas with other women! I hope you will join us there. I will be giving away TONS of FREE PRIZES and gifts to sparkle up our dialog over Christmas as we go. You can also sign up on my website for my occasional emails that will offer very special Christmas give-sways. I am always excited to hear YOUR Heart as I share MY HEART with you. Let's get started, shall we? Starting today lets PAUSE  in the book of LUKE together.  I am thankful for you! Pat