Podcast appearances and mentions of Neil Sedaka

Many mark the start of the singer-songwriter genre to have begun when Carole King released her second studio album, the iconic Tapestry. As would be expected from a singer-songwriter, all of the songs on the album were either written or co-written by King.  Tapestry is considered one of the greatest albums of all time in the soft rock genre.Born Carol Joan Klein in Manhattan, King began piano lessons at four years of age.  Her upbringing included friendship with Paul Simon and dating Neil Sedaka.  In the 50's at the age of 17 she met and married Jerry Goffin with whom she would team up on songwriting through the 60's - King writing the music and Goffin writing the lyrics.  They had several successful songs during the 60's including "Pleasant Valley Sunday" (The Monkees), "I'm Into Something Good" (Herman's Hermits), and "Up On the Roof" (the Drifters).  King and Goffin divorced by 1968, and King moved to Laurel Canyon in Los Angeles to re-start her recording career.Tapestry features both new and old songs of Carole King's catalog.  Several new friends from the Laurel Canyon area appear on the album, including James Taylor and Joni Mitchell.  Fellow songwriter Toni Stern co-wrote two of the songs, including the hit "It's Too Late."The album was a hit, spending 313 weeks on the Billboard Charts (second only to "Dark Side of the Moon" in time on the chart).  It also was a critical success, taking the Grammy for Album of the Year at the 1972 Grammy awards.  King announced her retirement from music in May 2012, but has done a few things since then, including a live performance of Tapestry in Hyde Park in 2016.  Friend of the show Greg Lyon sits in for Wayne while Bruce presents this soft rock album for this week's podcast.TapestryThe title track to the album is a look back on life as a colorful combination of threads woven into a picture or pattern, but not one intended to last.  This is a deeper cut which was not released as a single.Where You LeadSeveral songs became hits for other artists while the album was still on the charts, including this one.  Barbara Streisand recorded this song for her 1971 album, and it reached number 40.  The song takes its inspiration from the book of Ruth in the Bible.  It was also the theme song for the television series "Gilmore Girls."  Toni Stern collaborated with King to write this song.  You've Got a FriendThis is another song which became a hit for another artist.  James Taylor did this on his 1971 album, "Mud Slide Slim and the Blue Horizon," making it to number 1 on the US charts.  The two albums were being produced concurrently, and Taylor, Joni Mitchell, and Danny Kortchmar perform on both King's version and on Taylor's version.  King has said the song is a response to the line in James Taylor's "Fire and Rain" which says "I've seen lonely times when I could not find a friend."  So Far AwayJames Taylor is on acoustic guitar for this piece, and King is on piano.  It went to number 14 on the Billboard Hot 100 and was on the charts in September 1971.  It starts with a focus on the physical distance between lovers, then moves on to emotional distance.  ENTERTAINMENT TRACK:Main theme from the serial Danger Island (from the television series “The Banana Splits Adventure Hour”) This live action 10-minute adventure short appeared as a part of "The Banana Splits Adventure Hour," which concluded this month. STAFF PICKS:Ain't No Sunshine by Bill WithersLynch leads off the staff picks with Withers' breakthrough single from his debut album, "Just As I Am."  The inspiration for this song was the 1962 film "Days of Wine and Roses," which portrays two characters who were alcoholics.  The idea is that someone may not be right for you, but you miss them regardless.  Signs by Five Man Electrical Band"And the sign said 'long haired freaky people need not apply!"  Rob brings us a signature song from a Canadian band.  The song originally appeared as a B-side to a less successful song called "Hello Melinda Goodbye," but became successful on its own.  Frontman Les Emerson wrote this song after seeing so many billboards in Los Angeles which obscured the natural scenery.Whatcha See Is Whatcha Get by The DramaticsGreg features the title song from the debut album of R&B group The Dramatics.  This song contrasting the fakeness of people with the authenticity of the singer went to number 9 on the Billboard Hot 100 and number 3 on the R&B chart.  It fuses a Motown feel with a Latin undertone.Thin Line Between Love and Hate by The PersuadersBruce brings us a cautionary tale about a guy who comes home late at night, finding his girl smiling and ready to cook him some dinner.  He learns his lesson when he wakes up in the hospital, beaten to within an inch of his life.  This song by a New York R&B group made it to number 15 on the US charts.  INSTRUMENTAL TRACK:The Rock by Atomic RoosterWe close out with an instrumental from a British rock band originally co-formed by prog rock organist Vincent Crane and percussionist Carl Palmer. Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

Repasando algunas de sus producciones históricas volvemos a los cimientos de Panart, la etiqueta pionera que con carácter independiente, sentó las bases de la industria discográfica nacional. En 1944, con una producción discográfica regular, el ingeniero de sonido Ramón Sabat marcó un antes y un después en el panorama de producción, edición y difusión de la música en la isla. Hasta la aparición de Panart, todo lo atractivo y apetecible que acontecía artística y musicalmente lo registraban emporios norteamericanos. Entre ellos los de mayor presencia Columbia y Victor, esta última fusionada ya en los primeros años 40 con la Radio Corporation of América (RCA). Aún latente la segunda guerra mundial, Sabat comenzó a instalarse en la habanera calle San Miguel no.410. Con el equipamiento técnico mínimo e indispensable, listo para comenzar a grabar y prensar sus producciones, echaba a andar una maquinaria de difusión exitosa que, en un país esencialmente musical, trazó un camino señero para otros emprendedores de la época. Nacía entonces la industria fonográfica independiente cubana. Hacia 1960 la representaban poco más de 30 sellos con unos volúmenes de producción estable y con una presencia importante en el extranjero. La política cultural en función del control absoluto y la estatalización de los medios de difusión, entronizada por el régimen militar instaurado en 1959 (a través de las llamadas "intervenciones") comenzó a poner punto final al flujo de promoción musical sustentado por una eficiente maquinaria de producción, edición y difusión de música popular cubana que funcionaba maravillosamente dentro y fuera de la Isla. El 30 de mayo de 1961 la Panart fue "nacionalizada". Ramón Sabat, su fundador, forzado al exilio murió en los Estados Unidos el 15 de marzo de 1986 completamente olvidado. Los históricos estudios que fundó hace más de ocho décadas en La Habana los ocupa EGREM. Las memorias de la industria discográfica nacional que, en la frontera de los años 50 a los 60, gozaba de maravillosa salud, nos sirve de pretexto para reverenciar el arte del pianista Frank Emilio Flynn. Así retomamos las ediciones del sello independiente "Tropicana". El productor radial Adolfo Seeman quien desempeñaba sus labores en la emisora habanera CMOX con un perfil dedicado al jazz, propició en dos álbumes el debut discografico del llamado "Quinteto de Música Moderna". Junto a Frank Emilio: Papito Hernández en contrabajo, Tata Güines en las tumbadoras, Guillermo Barreto alternando drums y pilas, y Gustavo Tamayo en güiro. Producciones "Tropicana" afianzando en el mercado discografico independiente, la categoría del jazz cubano. Seguimos repasando la banda sonora de los primeros años 60. El argentino Luis Aguilé, precedido por sus grabaciones para la etiqueta Odeon, a la par de conquistar un público netamente adolescente, encontró en Cuba una fenomenal plaza que impulsó su carrera. Aparte de la mega influencia de ídolos norteamericanos como Elvis, Paul Anka o Neil Sedaka, también por esas fechas las grabaciones de "Los Cinco Latinos" y las del mexicano Manolo Muñoz fueron conformando un sedimento estético y sonoro donde estrellas nacientes como el rockero de Palma Soriano: Luisito Bravo se dieron a conocer. Seguimos conectados con la industria del disco independiente cubano. Hacia 1961, en pleno auge el formato de los combos, las grabaciones de Luisito Bravo con los arreglos y acompañamientos del imprescindible Eddy Gaytán, producidas por la etiqueta Velvet, esbozaban la categoría del pop rock cubano, abriendo un camino que muy pronto seguirían otros exponentes. Algunos de los abuelos del pop rock cubano se apoyaron en estilos como el twist, el wawá, el gogó, el yeyé y el shake. Sobrevivieron en un ambiente sonoro marcado por la estatalización del sistema de difusión donde sus canciones no tenían mucho qué hacer. Luisito Bravo, Lita del Real, Raul Gómez con Los Bucaneros, Danny Puga y Luisa María Güell despiden el programa.

We're giving Alex and the guys the week off for the first time since restarting the BaT podcast in January 2024. This week, we serve you a reheated and much-better-sounding version of Alex's February 2024 interview with the one-and-only, the legendary, the beloved, Peter Egan—he of Side Glances in Road & Track, of countless harebrained-slash-inspirational road trips, of April Fools road tests, and of so much more. This is the man that so many of us at BaT and beyond like to think we've fashioned ourselves after; a modest and humble writer who, perhaps unknowingly, has played a formative role in our addictions to the great machinery of the world, the call of the open road, and the treasures to be found when these things are combined.Peter sat down with Alex over a year ago in his erstwhile stomping grounds of coastal Orange County, California, to discuss his career and the cars, bikes, planes, people, and places it was formed around. They cover his entry into journalism via Cycle World; the power of an interesting car, or a Piper Cub, to make friends out of strangers in faraway lands; the social advantages of touring the country in someone else's Ferrari; a memorable hometown show with Chuck Berry and Billy Peek, caught on happenstance; getting a glimpse of the Old Man at Fiorano; the art of (somewhat) feigning ignorance; getting locked into the Morgan factory at Malvern; sharing the last Everest flight of the season with Neil Sedaka, and only Neil Sedaka; whether Egan's next project will be a 76-year-old British sports car or a 27-year-old Italian superbike; and how Barb has stuck with him come fire and come rain (yes, Barb really is that great).Links for titles/listings discussed in this episode:The Ex-Peter Egan 1967 Jaguar XKE Coupe that was auctioned in 2019 with 335 comments—including one from the man himself, which gathered quite possibly the most thumbs-up a single comment has ever received on BaTTom Cotter's Cobra storyEgan's archive at the Road & Track website (may require a membership subscription)A variety of Egan's writing collections available for purchase (we highly recommend picking up every last one of them)Got suggestions for our next guest from the BaT community or One Year Garage episode? Let us know at podcast@bringatrailer.com!

National Good Samaritan day.  Entertainment from 2009.  Uranus discovered, Ear muffs invented, Army killed 6,000 sheep, Pope Francis takes over.  Todays birthdays - Neil Sedaka, Donald York, William H. Macy, Charo, Dna Delany.  JP Morgan died.Intro - God did good - Dianna Corcoran    https://www.diannacorcoran.com/Angels among us - AlabamaRight round - Flo RidaSweet thing - Keith UrbanBirthdays - In da club - 50 Cent   https://www.50cent.com/ Breaking up is hard to do - Neal SedakaRomeo & Juliet - Sha Na NaOle ole - CharoExit - One last look around - Blacktop Rodeo    https://www.blacktoprodeo.com/countryundergroundradio.comhttps://coolcasts.cooolmedia.com/

Cousin Brucie kicks off the show with energetic introductions and lively rock and roll. The episode honors International Women's Day, with Brucie expressing his admiration for women, and engages listeners about the onset of Daylight Savings Time. Brucie shares nostalgic rock and roll hits from the 50s, 60s, and 70s, featuring artists like The Beach Boys, Little Anthony, The Drifters, Neil Sedaka, and more. Listeners from across the country call in with song requests and dedications, contributing to the show's vibrant atmosphere. Special guest Little Anthony joins to discuss his upcoming projects, including crossover ventures into different musical genres. The show wraps up with an hour dedicated to love songs, creating a romantic ambiance for the audience.

**Smiffy's A To Z Of Soul Music Replay On www.traxfm.org. This Week Smiffy Featured Trax From Charles Wigg Walker, Michelle Gayle, Claire Davis, The Pointer sisters, Disco Sparks, Leslie Lello, Neil Sedaka, Charles Walker & The Dafodils & More. #originalpirates #boogie #contemporarysoul #70ssoul #80ssoul #danceclassics #raregrooves #disco Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/profile.php?id=100092342916738 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: http://radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**

Dave and Milt jump back to February 21, 1976, to explore the Billboard Top 10 hits. The duo analyzes songs ranging from ELO's 'Evil Woman' and the Eagles' 'Take It to the Limit' to disco classics like Donna Summer's 'Love to Love You Baby' and Hot Chocolate's 'You Sexy Thing.' They introduce a playful segment featuring AI-generated Milt as a quizmaster. Songs are substituted, moments from TV and film are highlighted, and nostalgic stories are shared, all culminating in Paul Simon's classic '50 Ways to Leave Your Lover' being crowned the top hit of the week.   Topics   01:14 Listener Shoutouts and Feedback 06:48 Spotify Troubles and Legal Issues 08:33 Time Travel to February 21st, 1976 21:08 Top 10 Songs Countdown Begins 41:51 Neil Sedaka's Unique Chart History 42:55 Debating the Song's Intro 43:19 Neil Sedaka's Career Resurgence 44:29 Exploring Other Chart Oddities 45:07 Nirvana's Unplugged and Other Remakes 47:03 Neil Sedaka's Kids Songs 48:10 Parody Songs and Phone Industry 50:50 Eric Carmen's All By Myself 58:26 Barry Manilow's I Write the Songs 01:04:53 AI and Music Trivia Challenge 01:16:07 The Miracles' Disco Hit 01:22:46 The Groove and Horniness Vibes Continue 01:23:34 Germany and TV Show Recommendations 01:24:29 Donna Summer's Breakthrough 01:24:59 The Extended Dance Remix Revolution 01:25:38 The Controversy and Impact of 'Love to Love You Baby' 01:31:35 Hot Chocolate's 'You Sexy Thing' 01:38:38 Rhythm Heritage and TV Theme Songs 01:44:00 Paul Simon's '50 Ways to Leave Your Lover' 01:53:07 Recap and Reflections

Send us a textOn this Episode, Tom and Bert review and discuss the Inspiration behind some of the Greatest Recordings by Singer/Songwriters ever recorded.What inspires Songwriters and how they create, write and compose their hits is truly a calling. Like writing a novel, writing music is a skill that requires a vision, imagination and creativity!These are some of those songs and the backstory that brought us these masterpieces.Chapter Highlights:(6:22) "Athena" by the Who(8:18) "Sweet Caroline" by Neil Diamond(13:25) "Jersey Girl" by Tom Waits(19:34) "I Will Always Love You" by Dolly Parton(25:16) "Oh, Carol" by Neil Sedaka(32:27) "Jennifer Juniper" by Donovan(37:57) "You're So Vain" by Carly SImon(41:07) "I'm Your Boogie Man" by KC & The Sunshine Band(44:39) "A Day in the Life" by The Beatles(47:10) "Philadelphia Freedom" by Elton JohnEnjoy the show!You can email us at reeldealzmoviesandmusic@gmail.com or visit our Facebook page, Reel Dealz Podcast: Movies & Music Thru The Decades to leave comments and/or TEXT us at 843-855-1704 as well.

Dean Richards, entertainment reporter for WGN, joins Bob Sirott to provide the latest news in entertainment. Bob and Dean talk about donations that are coming in for L.A. wildfire victims, Alec Baldwin’s lawsuit, and Chris Stapleton’s tour announcement. They also share details about a social media post from Neil Sedaka and his grandson, as well […]

This week Devo is getting into the spirit of the season! With eggnog?! Ughh. Meanwhile, Neil Sedaka is having a pretty crummy Christmas, Tim Cavanagh's dog isn't doing much better, and Fountains of Wayne have some Christmas wishes that might prove to be a little tricky to come by. It truly is the most wonderful time of the year. 1. "What a Lousy Rotten Christmas" by Neil Sedaka 2. "My Dog Don't Like Christmas" by Tim Cavanagh 3. News of the Stupid! 4. "Alien for Christmas" by Fountains of Wayne Neil Sedaka is on Instagram @NeilSedakaMusic Tim Cavanagh is at TimCav.com Fountains of Wayne are on your favorite streaming platform Thank you to our Patreon backers for making this show possible!!!

Allison Applebaum stood by her dad Stanley as his caregiving partner, respecting his wishes and maintaining his quality of life through the very end of his life. Allison was previously the Founding Director of the Caregivers Clinic at Memorial Sloan Kettering Cancer Center, the first program of its kind in the United States to provide comprehensive psychosocial care to family members and friends of patients who are in the caregiving role. Her father Stanley, a talented and prolific composer and musician, worked with many great artists for the 50's and 60's, including Neil Sedaka, Ben E. King, and Connie Francis. Allison took a lead role as her dad's caregiver after the death of her mother, helping him deal with Lewy Body Disease (Lewy Body Dementia). After her mother died, Allison and Stan went forward, dealing with intense and traumatic grief. Allison's caregiving story is a beautiful tribute to her dad, and there are many caregivers across the U.S. doing the same job for someone they care about. LBD carries an unusual set of caregiving challenges. Stan defined quality of life as the ability to be creative, grow, and continue to compose his music. As a caregiver, Allison respected his wishes and ensured he lived fully until his death at 96. Some highlights from Allison's unique caregiving story include: Her dad retained his creativity and this contributed greatly to his quality of life Stan never had a DNR (Do Not Rescucitate) document, and Allison respected that wish through his death Intermittent hallucinations were part of his disease, a great source of pain for both Stan and his daughter. Allison considered them partners in caregiving, and worked to build a caregiving village customized to her dad's needs. Connect with Dr. Allison Applebaum: Website: allisonapplebaum.com Book: Stand By Me: A Guide to Navigating Modern, Meaningful Caregiving Socials: Twitter Instagram Interested in purchasing a GrandPad to stay connected with a senior loved one? Get more information at https://www.grandpad.net/thoh. GrandPad website: https://www.grandpad.net/ Social Media for GrandPad https://facebook.com/grandpad https://instagram.com/grandpad_social/ https://www.linkedin.com/company/grandpad https://www.youtube.com/channel/UCuFAJCb7_tTneM_ikABq08Q Hospice Navigation Services is here for you. If you have questions about hospice care or need to troubleshoot the care you're already receiving, book a session with an expert Hospice Navigator at theheartofhospice.com. Connect with The Heart of Hospice Podcast and host Helen Bauer Website: theheartofhospice.com Email: helen@theheartofhospice.com More podcast episodes: The Heart of Hospice Podcast

This episode of The Other Side of the Bell, featuring trumpeter, Scott Belck, is brought to you by Bob Reeves Brass. You can also watch this interview on Youtube. About Scott: Dr. Scott Belck currently serves as the Director of Jazz Studies and Professor of Music at the University of Cincinnati's College-Conservatory of Music (CCM) where he directs the CCM Jazz Orchestra and teaches applied Jazz Trumpet. He is a founding member of critically acclaimed Tromba Mundi contemporary trumpet ensemble and has toured as a member of Grammy Award winning funk legend Bootsy Collins' Funk Unity Band as lead trumpet. He has served as trumpet and cornet soloist with the Air Force Band of Flight in Dayton, Ohio where he also held the post of musical director for the Air Force Night Flight Jazz Ensemble. He is the Founding Artistic Director Emeritus of the Cincinnati Contemporary Jazz Orchestra.   His playing credits include recordings lead trumpet/guest soloist with the Cincinnati Pops featuring the Manhattan Transfer and John Pizzarelli, the Glenn Miller Orchestra, the Van Dells, and jazz soloist with the University of North Texas One O'clock Lab Band with whom he recorded four CDs as jazz soloist and section trumpet. He has performed as principal/lead trumpet with the St. Louis Symphony, Indianapolis Symphony, Cincinnati Symphony, the National Symphony Orchestra of the Dominican Republic, the Columbus Symphony Orchestra, the Dayton Philharmonic Orchestra, the Lexington Philharmonic, the Richmond Symphony Orchestra, and as section trumpet with the Duluth-Superior Symphony Orchestra and the Duluth Festival Opera. He has performed as lead trumpet for shows/concerts of Christian McBride, Jimmy Heath, Aretha Franklin, Gerald Wilson, the Detroit Jazz Festival Orchestra, Linda Ronstadt, John Lithgow, Donna Summer, Maureen McGovern, Michael Feinstein, Lalo Rodriguez, Sandy Patti, Tito Puente Jr., Tommy Tune, Manhattan Transfer, Lou Rawls, Patti Austen, The Coasters, Yes, Ben Vereen, Doc Severinsen, the Temptations, Olivia Newton-John, Neil Sedaka, the Blue Wisp Big Band, the Columbus Jazz Orchestra, the Dayton Jazz Orchestra, the Ink Spots, the Four Freshmen, The Frankie Avalon, Fabian, Bobby Riddell, Little Anthony and the Imperials, Frankie Valli, The Maritime Jazz Orchestra of Canada as well as touring Broadway shows and regional and national recording sessions. He has performed as a leader, musical director, or sideman with many top jazz players on the scene today including: Fred Hersch, Rich Perry, Adam Nussbaum, Lew Soloff, Randy Brecker, Slide Hampton, Jim McNeely, Claudio Roditi, John Riley, Rick Margitza, Bob Belden, Jimmy Heath, Bobby Watson, Tom Harrell, Tim Hagans, Regina Carter, Wes Anderson, John Hollenbeck, Steve Turre, Conrad Herwig, Gordon Brisker, Hank Marr, Marvin Stamm, Gerry Mulligan, Kenny Garrett, John Fedchock, Phil Woods, Ed Soph, John LaBarbera and Diane Schuur. He has also served as the Artistic Director of the Dayton Jazz Orchestra, the Jazz Central Big Band, and the Miami Valley Jazz Camp in Ohio. He is the author of the text “Modern Flexibilities for Brass”, published by Meredith Music and distributed by Hal Leonard. In his spare time, he is the CEO and founder of Lip Slur World Headquarters. Belck's new book “Progressive Lip Flexibilities for Brass” is quickly becoming one of the most popular sarcastic lip slur books in the lower South-Central Ohio River valley region. Scott Belck is a Powell Signature Trumpet Artist.

If cuddling with a cow is on your agenda, then today is a must listen. Mark is apparently having trouble shaking Reba McIntyre, not that he wants to. Mark reveals one of the best films he's seen in a long time and we dive into the world of Cool Stories in Music with a little-known fact about Neil Sedaka. Mark also speaks with his youngest listener who cusses like a sailor apparently. Not a bad way to start November…but you won't know that if you don't push play…so push it!

Guest Host Steve Reading fills in for me and presents the 42nd edition of Variety Hits! In addition to the usual random playlist there is also a Halloween themed portion of the show. Artists include The Beatles, Stevie Nicks, The Thompson Twins, Neil Sedaka,, Queen, Clarence Clemons, Boston, John Carpenter, The Temptations, Styx, Yes, Zone Tripper, Switchfoot, Our Lady Peace, Julian Lennon and more! Steve Reading is our special guest host for this show and is a presenter from Rock Island Radio UK where he hosts the popular Jukebox Heroes series. Steve and I traded shows this past April Fools Day and had a lot of fun. Thank you to Steve for coming back to the show filling in for me! 

Send us a textBob and Lisa the driving force behind The BellRays stop by to talk about their musical journey, touring, and their latest album, Heavy Steady Go.***Bob and Lisa Kekaula made The BellRays happen in 1990 in Riverside, California but they weren't really thinking about any of this then. They wanted to play music and they wanted it to feel good. They wanted people to WANT to get up, to NEED to get up and check out what was going on. Form an opinion. React.So they took everything they knew about; the Beatles, Stevie Wonder, the Who, the Ramones Billie Holiday, Lou Rawls, Hank Williams, the DB's, Jimmy Reed, and Led Zeppelin (to name a very few to whom “BLUES IS THE TEACHER”) and pressed it into service.Those bands and artists have since become “buzz words”, things to imitate and sound like. That was never The BellRays intention. The BellRays were never about coming up with a “sound”, or fitting in with a scene. It was about the energy that made all that music so irresistible. The BellRays' influences learned from the Blues and then learned how to make it their own. The Beatles wanted to play R&B, converted that energy, and invented “Rubber Soul”. The Ramones were trying to be Del Shannon or Neil Sedaka and out came “Rocket to Russia”.It's an organic trail that flows through Bob and Lisa and the current rhythm section of Pablo Rodas (Lisa and the Lips, Alber Solo) on bass and Craig Waters (Countdowns, Andre Williams, Cody Chestnut) on drums, and comes out honest and urgent. You will learn and you will feel. Blues is always teaching and Punk is always preaching.For more information go to their website: https://thebellrays.com/****If you would like to contact the show about being a guest please email us at Dauna@bettertopodcast.comThis episode is on YouTube:https://youtu.be/19BYiRDY42E Follow us on Social MediaInstagram: https://www.instagram.com/author_d.m.needom/Facebook: https://www.facebook.com/bettertopodcastwithdmneedomHave a question or want to be a guest on the podcast email: dauna@bettertopodcast.comAudio production by Rich Zei of Third Ear AudioIntro and Outro music compliments of Fast SuziUpcoming guests: https://www.dmneedom.com/better-topodcast©2024 Better To...Podcast with D. M.NeedomSupport the showSupport the show

Episode 66: One of the biggest problems online business owners face is that nobody knows that they exist.You might have an amazing product or service that you offer, but if you can't get exposure and traffic to your offer, then you really don't have a business.In this episode, Frank King reveals his secrets for getting on one of the biggest stages in the world to get the word out about you and your business, AND he teaches us how to leverage those stages to build your email list, generate leads, and get paying customers and clients.About Frank King: Frank was a writer for The Tonight Show for 20 years and has been a speaker and comedian for 38 years, and now is a “Mental Health and Wellness in the Workplace” Speaker and Comedian.He's fought a lifetime battle with Depression and Suicidality, turning that long dark journey of the soul into 12 TEDx Talks, sharing his lifesaving insights on mental health and wellness with colleges, corporations and associations.He holds the record for the longest non-stop comedy club road trip (2,629 nights in a row), and has shared the stage with Jerry Seinfeld, Adam Sandler, Kevin James, Dr. Ken Jung, and Jeff Foxworthy, among others.He was the opening act for The Beach Boys, Randy Travis, Nancy Wilson, Neil Sedaka, The Four Tops, and Lou Rawls (two New Years Eve shows at the Hotel Del Coronado).Frank has also survived 2 aortic valve replacements, double bypass, heart attack, and losing to a puppet on Star Search and lived to joke about all of it.Download Frank's “5-Star Speaker Toolkit” - https://getpaid4speaking1.com/speaker-branding-kit-downloadConnect with Frank:https://howtomakemoneyspeaking.com http://www.facebook.com/thementalhealthcomedian http://www.instagram.com/mentalhealthcomedian http://www.twitter.com/theMHcomedian https://www.youtube.com/thementalhealthcomedian https://www.linkedin.com/in/frankkingthemhcomedianWant to learn more about how to build a successful online business from the ground up? Grab your FREE copy of our online course, "Zero to $20k Blueprint" where you'll learn how to build a simple, scalable online marketing system that will quickly generate paying customers & clients for your online business.Get it NOW, by visiting our website at https://DigitalTrailblazer.com✅ Connect With Us:Website - https://DigitalTrailblazer.comFacebook - https://www.facebook.com/digitaltrailblazer/TikTok: https://www.tiktok.com/@digitaltrailblazerTwitter: https://twitter.com/DgtlTrailblazerInstagram: https://www.instagram.com/DigitalTrailblazer

Jay Siegel is the original lead singer of The Tokens, the ‘60s band that had a massive worldwide hit with “The Lion Sleeps Tonight” and a follow up hit with “Portrait Of My Love”. The group formed in Brooklyn, New York and Neil Sedaka was an original member. Jay also had a parallel career producing hits for other artists including Tony Orlando and Dawn, The Chiffons and The Happenings.My featured song is my reimagined cover of Dobie Gray's hit “The ‘In' Crowd” from the album PGS 7 by my band Project Grand Slam. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------“LOU'S BLUES” is Robert's new single. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------“THE RICH ONES”. Robert's recent single. With guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. Click HERE for all links.—---------------------------------------“MILES BEHIND”, Robert's debut album, recorded in 1994, was “lost” for the last 30 years. It's now been released for streaming. Featuring Randy Brecker (Blood Sweat & Tears), Anton Fig (The David Letterman Show), Al Foster (Miles Davis), Tim Ries (The Rolling Stones), Jon Lucien and many more. Called “Hip, Tight and Edgy!” Click here for all links.—--------------------------------------“IT'S ALIVE!” is Robert's latest Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at festivals in Pennsylvania and Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.Click here for song videos—-----------------------------------------Intro/Outro Voiceovers courtesy of:Jodi Krangle - Professional Voiceover Artisthttps://voiceoversandvocals.com Audio production:Jimmy RavenscroftKymera Films Connect with Jay at:www.jaysiegelstokens.com Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

When it came to how popular a band's music was, it was the charts that told you. It was the charts that determined radio station song lists and how often they changed.  While maybe not quite all of the songs on this record made the charts, even though that's what the album title hints at, all of the artists were on the charts at one time or another.  So, get ready to hear music makers that were high up in a specific list at one time or another in Volume 180: Hit Makers. More information about this album, see the Discogs webpage for it.  Credits and copyrights Various – The Original Top Hits By The Hit Makers Label: Columbia – CL 1485 Format: Vinyl, LP, Compilation, Mono Released: 1960 Genre: Pop Style: Light Music Johnny Mathis– Starbright  written by Lee Pockriss, Paul Vance Doris Day– Please Don't Eat The Daisies written by Joe Lubin Jerry Vale– Solitaire written by Neil Sedaka, Phil Cody Mitch Miller– Pink Polemoniums  Written-By – Al Hoffman and Dick Manning Greenfields written by Frank Miller, Richard Dehr, and Terry Gilkyson (also known as The Easy Riders) Kitty Kallen– Got A Date With An Angel written by Clifford Grey, Jack Waller, Joseph Tunbridge, Sonny Miller Marty Robbins – Big Iron  He wrote and was the first to record it on April 7, 1959. Johnny Horton - Sink The Bismarck written by Tillman Franks I do not own the rights to this music. ASCAP, BMI licenses provided by third-party platforms for music that is not under Public Domain.

Meg uncovers Karen Carpenter's musical genius and fatal battle with anorexia nervosa. Jessica hangs out at Bond's International Casino with The Clash as they do battle with promoters and right by their fans.Please check out our website, follow us on Instagram, on Facebook, and...WRITE US A REVIEW HEREWe'd LOVE to hear from you! Let us know if you have any ideas for stories HEREThank you for listening!Love,Meg and Jessica

Sedaka says he has "balls and substance" and that Manilow doesn't. You decide! 

Spicy, fun little segment featuring Stormy Daniels.

Don't worry - the drop dead chord is paradoxically not lethal; it actually brings to mind all the joy that is found in the best parts of life. Our story begins with an American pop star who falls victim to the British Invasion, only to climb back to the top by conquering Britain himself. Neil Sedaka's “Laughter In The Rain” is a triumphant comeback. You can find us on Instagram, Facebook, and our website. You can email us at BandFGuiltFree@gmail.com, too. Feel free to rate and review us wherever you listen! Here is our Spotify playlist featuring every song we've featured. Our theme music is by the incredibly talented Ian McGlynn.

ICYMI: Hour One of ‘Later, with Mo'Kelly' Presents – Thoughts on the city of Anaheim's approval of Disney's $1.9 billion ‘DisneylandForward' expansion plan AND the search for man who launched a violent, unprovoked attacked on an LA Metro bus driver…PLUS – A look at the Primary Wave deal to acquire a stake in songwriter Neil Sedaka's Grammy Nominated music catalog - on KFI AM 640…Live everywhere on the iHeartRadio app

Los primeros minutos del programa los acompaña la música de Evaristo Aparicio, un percusionista y rumbero del barrio de Jesús María que, en el ambiente musical de su tiempo, fue bien conocido como "El Pícaro". Músico natural, su inclinación a la composición nos legó piezas que vale la pena recordar. El Conjunto "Estrellas de Chocolate" de finales de los 50s, nos trajo el son montuno de Evaristo Aparicio: "El kikirikí". A continuación otro conjunto emblemático y otra de las creaciones de "El Pícaro". Con la "Sonora Matancera" y el coro de Rogelio Martinez y Caito, llega Laito Sureda con la exitosa guaracha: "Cañonazos". En la memoria: Evaristo Aparicio. Cantante, percusionista y rumbero. Fundador del grupo "Los Papa Cun Cun". Eran "Los Papines" con "La china linda". A continuación: El Léle, vocalista estrella de "Los Van Van", que nos trae otra de las piezas de Evaristo Aparicio: "La bola de humo". Siguiendo el rastro de la radio independiente cubana recordamos las pruebas que solía efectuar la antigua CMQ RadioCentro a jóvenes aficionados. Así descubrimos a un juvenil Juan Formell, bien influenciado ya en 1958 por la balada y figuras contemporáneas como Neil Sedaka, Paul Anka, Luis Aguilé y, por supuesto, el italiano Domenico Modugno quien por esas fechas triunfaba en el festival de San Remo con su canción "Volare". Sólo una breve introducción a aquel bisoño músico que de cancionero se transformó en el prolífico compositor y timonel de una de las agrupaciones más importantes de la música popular cubana: Los Van Van. Sin dudas el mundo creativo del Juan Formell de los años 60 nos dejó además del llamado changüí 68 (antesala del songo) piezas verdaderamente entrañables que hoy nos devuelven a Elena Burke y Omara Portuondo. "Ya lo sé", "Y tal vez" y "De mis recuerdos". El Conjunto "Rumbavana" nos trae otro de los clásicos de Juan Formell: "Así quiero corazón". En tres tiempos el legado sonoro y estilístico del Conjunto Casino, y muy a propósito unas declaraciones de Roberto Espí, quién fuera cantante y director de la emblemática agrupación, sobre el fenómeno comercial de "la salsa". Mientras en la actualidad se efectúan en la isla "Festivales de la Salsa", y muchos cantantes de música cubana se autodenominan salseros (antes que soneros) los veteranos músicos que desarrollaron sus carreras durante los decisivos años 40 y 50, hacían franco rechazo a dicha etiqueta comercial. La recordada actriz y presentadora Aseneth Rodríguez es quien le pide al director del Conjunto Casino su opinión al respecto. Sucedió en mayo de 1983, en el programa "Rítmicas" de Radio Liberación, producido por José Lino Gallo. Y gracias al desarrollo de la industria del disco independiente, a finales de los 50s la categoría del jazz cubano comenzaba a tener una presencia más sólida en los catálogos. Además del pionero sello Panart vale destacar los esfuerzos de la disquera regenteada por los hermanos Álvarez Guedes. Por primera vez en una edición de 78 revoluciones por minuto aparecían los créditos de los músicos. "Descarga número uno", pieza original de Chico O'Farrill. All Stars Cubano: Emilio Peñalver (sax tenor) Osvaldo Peñalver (sax alto) Peruchín en piano, Tata Güines en tumbadoras y Richard Egües en flauta. El Álbum "Cuban Jazz", es otra de las joyas editadas por la etiqueta Gema de los Hermanos Álvarez Guedes. Luis Escalante en trompeta, Julio Guerrero en flauta, Jesús Caunedo en saxo alto, Paquito Echevarría en piano, Luis Rodríguez y Cachao López en los contrabajos, y Los Papines en las tumbadoras.

Stephanopoulos vs Mace, Biden vs Trump 2024, Catholic Church and immigration, Happy # 85 Neil Sedaka and other stories.....   ...Check our blog....and follow our friend Carlos Guedes......          

TVC 639.1: Ed welcomes Harvey Lisberg, the legendary music manager who not only shaped the careers of such iconic artists as Herman's Hermits, 10cc, and Tony Christie, but paved the way for Neil Sedaka's comeback as a songwriter and recording artist in the mid 1970s, and was one of the first people in the music industry to recognize the talent and potential of the songwriting duo of Tim Rice and Andrew Lloyd Webber. Harvey's memoir, I'm Into Something Good, a captivating journey through the golden era of music, is available wherever books are sold. Want to advertise/sponsor our show? TV Confidential has partnered with AdvertiseCast to handle advertising/sponsorship requests for the podcast edition of our program. They're great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started: https://www.advertisecast.com/TVConfidentialAradiotalkshowabout Learn more about your ad choices. Visit podcastchoices.com/adchoices

# Neil Sedeka breaking up is hard to do # singer songwriter musician # one of the most important artists ever# respect appreciate --- Support this podcast: https://podcasters.spotify.com/pod/show/mr-maxxx/support

Here he is, folks—the one-and-only, the legendary, the beloved Peter Egan. He of Side Glances in Road & Track, of countless harebrained but inspirational road trips, of mock road tests, and so much more. This is the man so many of us at BaT and beyond like to think we've fashioned ourselves after; a modest and humble writer who, perhaps unknowingly, has played a formative role in our addictions to the great machinery of the world, the call of the open road, and the treasures to be found when they are combined.  Peter sits down with Alex in his erstwhile stomping grounds of coastal Orange County, California, to discuss his career and the cars, bikes, planes, people, and places he formed it around. They cover his entry into journalism via Cycle World; the power of an interesting car (or a Piper Cub) to make friends out of strangers in faraway lands; the social advantage of touring in someone else's Ferrari; a memorable show with Chuck Berry and Billy Peek; catching a glimpse of the Old Man at Fiorano; the art of (somewhat) feigning ignorance; getting locked into the Morgan factory at Malvern, England; sharing the last Everest flight of the season with a lone co-passenger who happens to be Neil Sedaka; whether Egan's next project will be a 76-year-old British sports car or a 27-year-old Italian superbike; and how Barb stuck with him come fire and come rain (yes, Barb really is that great).

Meet Frank KingI am a Suicide Prevention Speaker and Comedian, was a writer for The Tonight Show for 20 years, a full-time speaker and comedian for 37. I've worked with Jeff Foxworthy, Jerry Seinfeld, Jon Stewart, Steve Harvey, Rosie, Ellen, The Beach Boys, Neil Sedaka, Randy Travis, and Lou Rawls. I've fought a lifetime battle with Depression and Chronic Suicidality, turning that long dark journey of the soul into 11 TEDx Talks, one SPEAK Event, and sharing my lifesaving insights on Mental Health with colleges, corporations and associations. I've survived 2 aortic valve replacements, a double bypass, a heart attack, 3 stents, losing to a puppet on the Original Star Search and lived to joke about all of it.A comedian who speaks on depression and suicide. How does that work? Well, depression and suicide run in my family. It's called generational depression and suicide. My grandmother died by suicide. My mom found her. Nine years later, my great aunt died by suicide. My mom and I found her. I was four years old. I screamed for days. In 2010, after filing a Chapter Seven bankruptcy in April, I came very close to suicide. Close enough, I can tell you what the barrel of my gun tastes like. Spoiler alert. I did not pull the trigger. A friend of mine came up at a keynote recently. He goes, “Hey man, how come you didn't pull the trigger?”I go, “Hey, man, could you try to sound slightly less disappointed?” So that's where the humor is in the topic. It's not jokes. It's just funny, personal anecdotes. That's why. And I myself live with two mental illnesses, major depressive disorder and chronic suicidal ideation, major depressive disorder, relatively common. Chronic suicidal ideation, far more rare. It means for people in my tribe, the option of suicide's always on the menu as a solution for problems large and small. And when I say small, my car broke down a couple years ago. I had three thoughts unbidden. One, get it fixed, two buy new, and three, I could just kill myself.That's chronic suicidal ideation. You have 11 Tedx Talks. How did you land all of those? Well, the only person who had five was the guy in England. He passed away. That's the most I've been able to find anybody else has gotten. In 2014, I applied. It was a Tedx in British Columbia. And I got it on my first try, which is unusual. And then two TEDx events reached out to me after that said, do you have any more mental health ideas to talk about? And I did. So I did two more at their request. The next seven I applied for and got. And I've got a really big social media footprint on LinkedIn. And an event in India, in the state of Assam, reached out and said, we like your take on mental health. Would you be willing to do a TEDx force virtually? I said, absolutely. So I got invited to as well. So, it's just a matter of applying, it's a bit of a numbers game. I got my first one on the first try, but the other ones took 20, 30, 40 applications before I got the audition and got asked to do it.Connect with Frank!LinkedInXthementalhealthcomedian.com

About Laura Inserra:LinkedIn profile: linkedin.com/in/laurainserraWebsites:laurainserra.com (Company)chambersofawe.com (Company)metamusic.teachable.com (Company)Email:info@laurainserra.comLaura Inserra Laura's Bio:Laura Inserra is a world-renowned leader in sound healing - a sound alchemist, multi-instrumentalist, educator, and multimedia producer. She lives and creates at the confluence of global music, ancient wisdom traditions, and cutting-edge technology.She grew up on the volcanic island of Sicily and has been exploring the power of sound since her youth. Her work is rooted in 30+ years of global cross-cultural studies and initiations in ancient traditions and modern schools of wisdom, as well as the direct observation of nature.A world-renowned Hang musician, Laura plays hundreds of ancient and modern instruments from around the world, including many made by her. She utilizes cutting-edge technology to augment the natural sources of her instruments, creating Chambers of AWE - multimedia productions featuring ceremonial instruments and field-recordings, enhanced with 360o visuals andAI-generated content rooted in ancient wisdom.In these settings music becomes experiential - the body and the mind merge with the sound, traveling beyond the fields of cognitive perceptions, to enhance profound shifts of consciousness, deepen our relationship with nature, and facilitate inner transformation and healing.SHOW INTROWelcome to the NXTLVL Experience Design podcast.These dynamic dialogues based on our acronym DATA - design, architecture, technology, and the arts crosses over disciplines but maintains a common thread of people who are passionate about the world we live in and human's influence on it, the ways we craft the built environment to maximize human experience, increasing our understanding of human behavior and searching for the New Possible.The NXTLVL Experience Design podcast is presented by VMSD magazine. VMSD is the publisher of VMSD magazine and brings us, in the brand experience world, the International Retail Design Conference. The IRDC is one of the best retail design conferences that there is bringing together the world of retailers, brands and experience placemakers every year for two days of engaging conversations and pushing the discourse forward on what makes retailing relevant.You will find the archive of the NXTLVL Experience Design podcast on VMSD.com.Thanks also goes to Shop Association the only global retail trade association dedicated to elevating the in-store experience. SHOP Association represents companies and affiliates from 25 countries and brings value to their members through research, networking, education, events and awards. Check then out on SHOPAssociation.orgIn this episode, I talk with “Sound Alchemist” Laura Inserra about the deep effect that music has on our sense of well-being, sound journeys and energy we share with each other and ancient musical instruments and shamanic practices. And, make sure you listen right through for a special treat… But first a few thoughts.****************I am increasingly convinced that I am moving away from the idea that ‘there are no accidents' as simply a quaint phrase to it being a foundational principle in the nature of things. In previous episodes I've probably described that most of the major life changes that have reshaped my career and life path on the planet have emerged through what I used to simply think was serendipity. A career change that led me halfway around the world to live in Singapore, to a meeting at a conference that took me from 20 years designing retail stores to working in the hospitality industry and many other occurrences that seem to be unexplainable but nevertheless happen, it seems, purposefully. And so, it also was with meeting my guest in this episode Laura Inserra whose path I crossed at the Intentional Spaces Summit in Washington DC in the fall of 2023.  I'll get to talking about Laura in a moment.But first I just gotta say, I love music.I remember as a youngster being enthralled with musicians and watching variety shows on television where I imagined myself being one of the band. I have a clear memory of rewriting lyrics for a song to the 1968 tune of “Spinning Wheel” by the bandBlood, Sweat & Tears, written by Canadian lead vocalist David Clayton. I think my parents humored me at the time with ‘that's nice sweetheart.'In high school my best friend Jeff and I bought guitars, strummed our way through James Taylor and Eagles tunes. I bought a harmonica and thought I might be a Blues harp player. But Jeff became the better musician playing piano and performing at a piano bar in a local Italian restaurant.In my early days of college when I met my now wife of 35 years, we were both interested in sports and being in the great outdoors, but it was music that brought us closer together. She was a Toronto Royal Conservatory of Music graduate and piano teacher in her late teens and early 20s and when she sang she sounded like Karen Carpenter.When we played Neil Sedaka's “Laughter in The Rain” I fell hopelessly in love and I waited for the lyric “…after a while we run under a tree, I turned to her and she kisses me…” Because ya know, if the lyric says it, well…Music was everywhere in our relationship. She introduced me to jazz a genre where she really found her tempo (yes pun intended) as a musician in the high school jazz band. Where she incidentally always won awards for being a stand out pianist. Through her, I learned about Chic Corea, Coltrane, and the Canadian flutist Moe Kaufman's “Jungle Woman” became signature tune of our relationship. My wife wrote the music for our wedding ceremony that was sung by the FACE Highschool choir and “How do You keep the music playing” by James ingram and Patti Austin was our first dance as husband and wife. Oh and when James and Patti modulate about three quarters the way in…still today my chest fills with pleasure, pain, longing, hope, inspiration, love and the mysterious power of music taking me to another plain all together.When our first son was born we listened to Debussey in the delivery room and then through his first few years turned to big band and danced around the column in the basement of our condo. When son number two was born his older brother came into the hospital room and exclaimed “hi baby brother! I'm going to teach you how to dance to jazz music!”Our first son grew up to play with the inaugural National Youth Jazz orchestra as the drummer, opening a European tour by playing first at Carnegie Hall. Our second son was indeed taught by his big brother to love music and he has evolved into an exceptional jazz pianist, composer and he actually wrote, performed and engineered the theme music for this podcast.They are both deeply connected to the music, composing, and playing every day. I hear music at home until 11pm most nights.When I think back to it, almost every significant life event has been connected to music. During the pandemic when uncertainty was all around us and I hadn't picked up my guitar in years, I instead picked up paintbrushes and began to do portraits of jazz musicians and other musical icons. Listening to hours of music while painting has become a profound influence on my sense of well-being and managing the unknown but more than that, it simply gives me a deep sense of peace. There is a palpable joy that comes to me while painting and listening to hours of the music of the musician I am working on.Music energizes, soothes, and transports us back to significant moments of our lives. Music releases energy locked in our bodies and unearths emotions - joy, sadness, fear, longing, anticipation…Music has healing power in our own bodies and joins us together in sympathetic resonance between our collective bodies. Rudolph Steiner was quoted as saying “the science of the future will be based on sympathetic vibrations” and since all things vibrate, it seems like music is both art and science.To prove the point about music being both art and science, there is a somewhat niche field within physics and acoustics call “cymatics.” Cymatics explores the visualization of sound through the patterns and shapes created by vibrations in different mediums like salt or sand. But it also works on heart cells. Certain sound frequencies played through these mediums cause them to arrange into complex geometric patterns which as far as I am concerned are equally beautiful pieces of art.Study of cymatics suggests that these patterns exist in us when we pay or listen to music. As Einstein once said, “everything in life is vibration” or as the more recent physicist Michio Kaku put it “everything is music.”Our bodies are resonance chambers that oscillate to frequencies right down to our very cells. It is not surprising to me that we are so deeply connected to music since “all things are part of real and rhythmic whole…” as Tesla suggested in 1926 when describing wireless technology.We are almost 100 years from time that Tesla was quoted in Harpers Bazar magazine. The wireless technology he was referring to in telecommunication is now also deeply influencing the music we create. But digital music is different than the tones played on ancient instruments. Digital music filters out tones that may not be perceptible by the human ear but nevertheless may be felt by the body. And so, we have a different connection to the sounds of an ancient Mayan flute or ancestral aboriginal drum than we do to the top 40 hits we play through our wireless Apple Airpods that we insert into our ears. The music goes in our bodies differently. And this is where my guest Laura Inserra comes into our story about music and its weaving into the history of us.Laura Inserra is a world-renowned leader in sound healing. She describes herself as a sound alchemist and a multi-instrumentalist, educator, and multimedia producer. She lives and creates at the confluence of global music, ancient wisdom traditions, and cutting-edge technology.Laura grew up on the volcanic island of Sicily and has been exploring the power of sound since her youth. Her work is rooted in 30+ years of global cross-cultural studies and initiations in ancient traditions and modern schools of wisdom, as well as the direct observation of nature.A world-renowned Hang musician, Laura plays hundreds of ancient and modern instruments from around the world, including many made by her. She utilizes cutting-edge technology to augment the natural sources of her instruments, creating Chambers of AWE which are multimedia productions featuring ceremonial instruments and field-recordings, enhanced with  visuals and AI-generated content rooted in ancient wisdom.In these settings her music becomes experiential - the body and the mind merge with the sound, traveling beyond the fields of cognitive perceptions, to enhance profound shifts of consciousness, deepen our relationship with nature, and facilitate inner transformation and healing.So… now going back to my lead-in to this episode about serendipity…I attended the Intentional Spaces Summit in Washington DC last fall in 2023. To start this two-day journey into the power of our built environment to influence human health and well being, a woman comes on the stage, places herself among a number of musical instruments and within minutes the audience is transported to another plain of being. We collectively experienced a Laura Inserra Sound Journey.I leave the auditorium after her performance, call home and describe what I just experienced to my wife, who exclaims that about 4 years earlier she had come across Chambers of Awe by Laura Inserra and had sent me the link to her website saying that this was something I had to listen to. The universe had its own timing in mind when placing Laura and I in the same conference. We connected at a reception, and there was a sympathetic resonance leading to my invitation to be a guest. I am grateful that she said yes.Laura Inserra refers to her work as “sound alchemy”… things coming together to make other things more precious than the original constituents and she describes her compositions as “structured improvisations.”This conversation felt very much like that – we followed a structured baseline that allowed for the musical and mystical to create magical improvisational moments.  ABOUT DAVID KEPRON:LinkedIn Profile: linkedin.com/in/david-kepron-9a1582bWebsites:  https://www.davidkepron.com    (personal website)vmsd.com/taxonomy/term/8645  (Blog)Email: david.kepron@NXTLVLexperiencedesign.comTwitter: DavidKepronPersonal Instagram: https://www.instagram.com/davidkepron/NXTLVL Instagram: https://www.instagram.com/nxtlvl_experience_design/Bio:David Kepron is a multifaceted creative professional with a deep curiosity to understand ‘why', ‘what's now' and ‘what's next'. He brings together his background as an architect, artist, educator, author, podcast host and builder to the making of meaningful and empathically-focused, community-centric customer connections at brand experience places around the globe. David is a former VP - Global Design Strategies at Marriott International. While at Marriott, his focus was on the creation of compelling customer experiences within Marriott's “Premium Distinctive” segment which included: Westin, Renaissance, Le Meridien, Autograph Collection, Tribute Portfolio, Design Hotels and Gaylord hotels. In 2020 Kepron founded NXTLVL Experience Design, a strategy and design consultancy, where he combines his multidisciplinary approach to the creation of relevant brand engagements with his passion for social and cultural anthropology, neuroscience and emerging digital technologies. As a frequently requested international speaker at corporate events and international conferences focusing on CX, digital transformation, retail, hospitality, emerging technology, David shares his expertise on subjects ranging from consumer behaviors and trends, brain science and buying behavior, store design and visual merchandising, hotel design and strategy as well as creativity and innovation. In his talks, David shares visionary ideas on how brand strategy, brain science and emerging technologies are changing guest expectations about relationships they want to have with brands and how companies can remain relevant in a digitally enabled marketplace. David currently shares his experience and insight on various industry boards including: VMSD magazine's Editorial Advisory Board, the Interactive Customer Experience Association, Sign Research Foundation's Program Committee as well as the Center For Retail Transformation at George Mason University.He has held teaching positions at New York's Fashion Institute of Technology (F.I.T.), the Department of Architecture & Interior Design of Drexel University in Philadelphia, the Laboratory Institute of Merchandising (L.I.M.) in New York, the International Academy of Merchandising and Design in Montreal and he served as the Director of the Visual Merchandising Department at LaSalle International Fashion School (L.I.F.S.) in Singapore.  In 2014 Kepron published his first book titled: “Retail (r)Evolution: Why Creating Right-Brain Stores Will Shape the Future of Shopping in a Digitally Driven World” and he is currently working on his second book to be published soon. David also writes a popular blog called “Brain Food” which is published monthly on vmsd.com.  The next level experience design podcast is presented by VMSD magazine and Smartwork Media. It is hosted and executive produced by David Kepron. Our original music and audio production by Kano Sound. The content of this podcast is copywrite to David Kepron and NXTLVL Experience Design. Any publication or rebroadcast of the content is prohibited without the expressed written consent of David Kepron and NXTLVL Experience Design.Make sure to tune in for more NXTLVL “Dialogues on DATA: Design Architecture Technology and the Arts” wherever you find your favorite podcasts and make sure to visit vmsd.com and look for the tab for the NXTLVL Experience Design podcast there too.

The Electric Light Orchestra, also known as E.L.O., was formed in Birmingham in 1970 by multi-instrumentalists Jeff Lynne and Roy Wood, and by percussionist Bev Bevan.  Wood was in a band called the Move in 1968 and had the idea of a new band which would feature classical instruments more prominently than the guitars, hoping to "pick up where the Beatles left off."  He recruited Lynne to the cause in 1970.  Wood would leave the band in 1972 at which point Lynne would be the leader of the band, producing and arranging all the albums and writing most of the songs.Face the Music was ELO's fifth studio album, and the one which would be their real worldwide breakthrough.  The album moved away from the large-scale orchestral pieces and contained more single-friendly material.  It would be the first ELO album to go Platinum.   The band at the time consisted of multi-instrumentalist and creative heart Jeff Lynne, Bev Bevan on percussion, Richard Tandy on keyboard, Kelly Groucutt on bass and vocals, Mik Kaminski on violin, Hugh McDowell on cello, and Melvyn Gale on cello.  Louis Clark was the conductor of the orchestra and did some of the orchestral and choral arrangements along with Lynne and Tandy.We're catching ELO on their way up with this album.  The band would hit the pinnacle of their success with 1977's double album "Out of the Blue."  In 1986 Lynne would leave the group to pursue other projects, while Bevan would form the group "ELO, part II," eventually renamed "The Orchestra."  Lynne would reform the group as Jeff Lynne's ELO  along with Richard Tandy in 2014.Bruce presents this symphonic rock album in this week's podcast. Fire On HighThe opening track is a largely instrumental piece.  Drummer Bev Bevan is vocalizing the backward lyrics, "The music is reversible but time is not.  Turn back, turn back, turn back, turn back!"  Lynne had received criticism from some fundamentalist groups about backward masking on the El Dorado album, and this is his joking response.  The song's mix of symphony with rock and roll was played at home games for the Atlanta Thrashers hockey team.Strange MagicThis was the second single from the album and features keyboardist Richard Tandy playing the guitar part while Lynne plays a 12-string acoustic fed through a phase shifter.  It went to number 14 on the Billboard Hot 100.NightriderWhile this is a deeper cut, it actually was released as a single and just didn't chart.  Bassist Kelly Groucutt takes turns with Jeff Lynne to provide lead vocals on this song.  The title was also the title of Lynne's first major band prior to forming ELO. Evil WomanThis song about a bad woman is the first single and the big hit off the album.  As seems common with many hit singles, it was originally written as a filler track to give the album a longer runtime with no thought to its being a hit.  Lynne wrote it in about 30 minutes.  It went to number 10 on both the US Billboard Hot 100 and the UK singles charts. ENTERTAINMENT TRACK:Theme from Mahogany (Do You Know Where You're Going To) (from the motion picture "Mahogany")Diana Ross stars in this film about a woman torn between a life in Rome as a fashion designer and life in Chicago with the man she loves.  Ross sane the theme as well. STAFF PICKS:Fool for the City by FoghatWayne launches the staff picks with this rocking tribute to the city from the Platinum-selling album of the same name.  "I'm ready for the city, air pollution, here I come."  The album cover features the drummer fishing in a manhole in New York City.  New York City policemen on patrol stopped at the scene and jokingly asked if they had a fishing license.  Foghat came out of the remnants of a group called Savoy Brown. They Just Can't Stop It (Games People Play)  by The SpinnersRob features a crossover success that hit the number 1 spot on the US Hot Soul Singles chart and number 5 on the Billboard Hot 100.  The song was recorded at Philadelphia's Signa Sound Studios, and the female vocals are provided by the studio backing vocal group called Sweethearts of Sigma - Carla Benson, Evette Benton, and Barbara Ingram.  Evette Benton is the lead female voice on the song.Lyin' Eyes by the EaglesCalifornia country is the focus of Lynch's staff pick.  Lyin' Eyes appeared on the Eagles' 1975 album "One of These Nights," and was written by Henley and Frey.  Don Henley took lead vocal duties on this one.  It went to number 2 on the Billboard Hot 100 and won a Grammy for Best Pop Performance by a Duo or Group with Vocals.  The origin of the song was observing young attractive women in Hollywood dating older rich guys.Bad Blood by Neil SedakaBruce brings us a lost number 1 hit.  Sedaka was better known for his work in the 1950's and early 60's, but had a revival during the mid-70's.  This song about a woman who is trouble also features an uncredited vocal by Elton John.  Sedaka sings and plays piano on this song, while David Foster provides the keyboard work. INSTRUMENTAL TRACK:Will o' the Wisp by Leon RussellWe finish off with a brief piano instrumental from singer-songwriter Leon Russell's album of the same name. Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

JJBPod actually continues watching a show this week: Paranoia Agent (episodes 4-6). Does it get better, worse, or stay the same? Would we continue watching it without being paid? We also talk about new movies, tulpas, George W. Bush, and Neil Sedaka. | Rate us nicely on Apple Podcasts | Support us on Patreon | Follow us on Twitter | Subscribe to us on YouTube | Join the fan Discord --- Send in a voice message: https://podcasters.spotify.com/pod/show/jjbpod/message

Dans l'épisode d'aujourd'hui nous allons parler de "The Loco-Motion" par Little Eva, et sur la façon dont une démo réalisée par la baby-sitter de Carole King est devenue l'un des plus grands succès des années soixante. Les plus chagrins d'entre vous trouveront surement qu'on est plus du côté de la pop que du rock ou de la soul….. c'est un peu vrai… Mais quelles compositions ! Et puis restez quand même parce qu'on parlera aussi de sado-masochisme mais…. Enfin…. Vous verrez. Little Eva, "The Loco-Motion" The Cookies, "In Paradise" The Cookies, "Passing Time" Big Joe Turner, "Lipstick, Powder and Paint" Chuck Willis, "It's Too Late" Ray Charles, "Lonely Avenue" Ray Charles, "The Right Time" Tony Orlando, "Halfway to Paradise" Neil Sedaka, "Breaking Up is Hard to Do" Dorothy Jones, "Taking That Long Walk Home" Nat Kendrick and the Swans, "(Do the) Mashed Potatoes" Dee Dee Sharp, "Mashed Potato Time" Bobby "Boris" Pickett and the Crypt-Kickers, "The Monster Mash" Little Eva, "The Loco-Motion" The Locomotions, "Little Eva" Big Dee Irwin, "Everybody's Got a Dance But Me" Carole King, "It Might as Well Rain Until September" The Everly Brothers, "Chains" The Cookies, "Chains" Little Eva, "Please Hurt Me" The Chiffons, "One Fine Day" Little Eva, "Keep Your Hands Off My Baby" The Cookies, "Don't Say Nothing Bad About My Baby" Idalia Boyd, "Hula Hoppin'" Big Dee Irwin, "Swinging on a Star" Earl-Jean, "I'm Into Something Good" Little Eva "Makin' With the Magilla" Grand Funk Railroad, "The Loco-Motion"

GGACP continues its salute to November's American Music Month by revisiting producer/engineer's John Murray's compilation of the podcast's best musical moments from 2014-2020. In this episode: live performances by Neil Sedaka, Dennis DeYoung, Kenny Loggins, Tommy James, Mark Hudson and Tony Orlando (among others). Also: Anne Murray covers “Danny's Song,” Uncle Junior interprets Yip Harburg, Rupert Holmes (almost) pays tribute to Humphrey Bogart, and Charles Fox composes the soundtrack of 1970s television. PLUS: John Davidson looks ahead! The Shondells go psychedelic! The legend of Morris Levy! Goldie Hawn falls for a Hudson Brother! And the Brill Building sound inspires the British Invasion! Learn more about your ad choices. Visit megaphone.fm/adchoices

Label: MGM 12713Year: 1958Condition: M-Price: $30.00Wow! I almost put this one in the rockabilly category... terrific rockabilly guitar accompanies Connie as she belts out this uncharacteristically tough rock'n'roll number, an early composition credit for Neil Sedaka. Note: This beautiful copy comes in a vintage MGM Records factory sleeve. It grades very close to Mint across the board (Labels, Vinyl, Audio).

Hey Guys! sorry for the delay in releasing another episode. it's been very hectic with me in terms of what I have going on with my school and also doing interviews for the premium version of my podcast. but I wanted to give you guys another free episode of this podcast to give you guys a part two on the last episode I released. I have also been busy keeping up with posting new content to my Tik Tok Page (which can feel like a full time job sometimes) but I wanted to show up for this free version of my podcast & not let down the organic listeners that continue to check out this podcast. here's the link to the last song & artist I talked about on my podcast: https://www.youtube.com/watch?v=Ok3qU9VjajE don't forget to also follow me & reach out to me on Instagram & Tik Tok right here: https://www.instagram.com/iheartoldies/ https://www.tiktok.com/@iheartoldies please do also check out my last EP. I could really use your help with getting this EP some organic streams. it's so hard to make a living these days in the current state of the music industry, but if you guys share my music & listen to it & really spread the word about it. you would be helping me out tremendously. I would appreciate that in advance. here's the link to it just in case you wanted to listen to it: https://distrokid.com/hyperfollow/samlwilliams/an-old-soul-with-new--remiagined-things also would absolutely love it if you guys could subscribe to the premium version of my podcast. I got a new subscriber as of yesterday. I would hate to have you guys miss out on all of these great interview episodes I'm releasing. here's where you can do that right here: https://themillennialthrowbackmachine.supercast.com/ Please do also check out the official Spotify & Youtube playlists for this podcast. here you'll be able to keep track of all of the songs I have talked about on my podcast including some of the ones that I have mentioned in old interview episodes of my podcast. here's where you'll be able to find all of them right here: https://open.spotify.com/playlist/21f3uBS6kU4hUF6QAC5JMj?si=ffb7089c6b61494c https://www.youtube.com/watch?v=CS1sYR7xky8&list=PL66sgq_GAmRcXy8yKZJfVmAD14HUYj7Nf don't forget to also check out the official Redbubble Merch store for this podcast. this logo for this podcast is very cool & I want to get your thoughts on it as well as any new ideas you have for me for a potential new logo for this podcast: https://www.redbubble.com/shop/ap/36806158 also would absolutely love it if you guys could check out my latest music video. I put in a lot of hard work into making this video & I really hope you guys enjoy it. here's the link to it right here: https://www.youtube.com/watch?v=9CPh8xWmVpY if you found out some GREAT information about the last song & artist I talked about on my podcast & you didn't know much about them & your a millennial/Gen Z, definitely email me at samltwilli@icloud.com, you can also follow me & reach out to me on Instagram & Tik Tok @iheartoldies. I hope you guys are doing great & I will probably have one more episode of my podcast ready to go for you guys before my birthday, two for November and maybe three more for December before the holidays & that will be a wrap this year for the free version of my podcast. this year was a very productive year for my podcast & there will be more premium episodes of my podcast into the new year. Stay well guys & definitely keep things groovy!

The last episode of Season 5! Amy tells the story of the Walker Family Murders. Is it connected to the Clutter Family Murders?  You decide! Plus, Joe tells us about an awful bus vs. cattle truck accident, a mob hit, a comedy troupe forming, a plane crash with a sole survivor, a rhesus monkey in space and Neil Sedaka's famous girlfriend. Part of the Queen City Podcast Network: www.queencitypodcastnetwork.com. Credits Include: rankin.com, yabiladi.com, Popculture.us, Wikipedia, New York Times, IMDB & Youtube. Information may not be accurate, as it is produced by jerks. Music by MATT TRUMAN EGO TRIP, the greatest American Band. Click Here to buy their albums!

Hey Guys! I hope you are all doing great. So my Second EP came out last month. You know it's very difficult to get a piece of music noticed & listened to by a lot of people when you have zero money going towards the marketing for it. I'm hoping with the right kind of sync placements that these songs will find an audience & they will get noticed on a much larger scale outside of just people I know who I send my music to one day. but if you guys decide to listen to it, that will help me out tremendously because all of the streams you put towards my music will be totally organic & it will be streams that I don't have to pay for via marketing. so that will be great. but anyways, this week I decided to go back to the ealry 60's and do another teen idol. I haven't done one of these guys in quite a long time. specifically an east coast teen idol as well. here's the link to this week's song just in case you wanted to listen to it: https://www.youtube.com/watch?v=Ok3qU9VjajE don't forget to also follow me & reach out to me on Instagram & Tik Tok right here: https://www.instagram.com/iheartoldies/ https://www.tiktok.com/@iheartoldies Please do also listen to my last EP. would really appreciate the streams on this one & I hope the songs resonate with you in someway. here's where you can listen to it right here: https://distrokid.com/hyperfollow/samlwilliams/an-old-soul-with-new--remiagined-things don't forget to sign up for the premium subscription version of this podcast. I would hate to have you guys miss out on all of these great interview episodes I'm doing. here's where you can do that right here: https://themillennialthrowbackmachine.supercast.com/ Please do also listen to the Spotify & Youtube playlists for this podcast. here you'll be able to find all of the songs I have talked about on my podcast so far including some of the ones that I have mentioned in older interview episodes of this podcast. I hope you enjoy these playlists & if you have any suggestions for songs I should talk about next on my podcast that I haven't yet, please email me at samltwilli@icloud.com, you can also follow me & reach out to me on Instagram & Tik Tok @iheartoldies: https://open.spotify.com/playlist/21f3uBS6kU4hUF6QAC5JMj?si=692ef496734e4b7f https://www.youtube.com/watch?v=CS1sYR7xky8&list=PL66sgq_GAmRcXy8yKZJfVmAD14HUYj7Nf please do also check out the official Redbubble Merch Store for this podcast. I hope you'll enjoy it. there is a lot of cool merch items with a logo that is specific to this podcast. here's where you can find it right here: https://www.redbubble.com/shop/ap/36806158 also would totally love it if you checked out my latest music video as well. it's super dope & I hope you like it. here is the link to it right here: https://www.youtube.com/watch?v=9CPh8xWmVpY If you REALLY liked my analysis on this week's song & artist & your dying to hear more about the history behind this artist next week, then definitely email me at samltwilli@icloud.com, you can also follow me & reach out to me on Instagram & Tik Tok @iheartoldies. Thanks guys for being patient with me on the next episode of my podcast, & I sincerely hope you'll subscribe to the premium subscription version of this podcast. hope you guys are doing great & I will talk to you all soon.

Dan has been making music most of his life.  While attending East Carolina University's School of Music, he auditioned and was hired at age 19 to join the cast of the Off-Broadway show "STOMP".  After performing in the New York company, he joined the national tour, eventually playing the lead role and becoming the Rehearsal Director. During this tour, he had the opportunity to perform on stage with Bobby McFerrin for the Presidential Millenium Celebration and appeared on several tv shows, including "Good Morning America", among many others. Dan has since moved back to NYC to continue his music career and has performed at such venues as Madison Square Garden, Town Hall, The Grand Ole Opry, Radio City Music Hall and The Meadowlands Arena.Broadway Drumming 101 is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.Dan recently played drums on Broadway for "The Cher Show," a biographical musical co-produced by Cher herself which premiered in December of 2018 at the Neil Simon Theater.  He also acted as the house drummer for seasons 7, 8 & 10 of NBC's "America's Got Talent" and played for the PBS special "From Broadway With Love" featuring Chita Rivera, Kelli O'Hara, Jesse Mueller, Norbert Leo Butz and Lilias White.  He held the percussion chair for the Broadway show "Holler If Ya Hear Me," and has also subbed on drums in the orchestra pit for Broadway shows like "Wicked" and "Little Shop Of Horrors," played hundreds of auditions the casting office of Bernard Telsey Casting and recently played drums for the Obie Award-winning show "The World Is Round" at BAM.  He plays often for Grammy Award winning artist Tim Kubart and was grateful to contribute percussion to his winning album "Home."  He has played for a number of artists including Cher, Andrea Bocelli, Tituss Burgess, Melinda Doolittle (American Idol Finalist), Stephanie Block, Kelli O'Hara, Heather Christian, Montego Glover, Lucie Arnaz, and Randy Rainbow. In addition, he occasionally performs for corporate events for companies such as GM, Microsoft, Pfizer. etc.  Also trained in music production and recording, Dan produces, engineers and mixes music on a for-hire basis. Recently, he produced, engineered and mixed a Christmas record for Randy Rainbow with the title track co-written by Marc Shaiman. It reached #1 on the Billboard Comedy charts and #7 on iTunes Top Albums. Dan also recorded vocals for bounce music legend Big Freedia(the artist featured on Beyonce's “BREAK MY SOUL”) for an upcoming track. He also produced (and played drums for) "The Sedaka Sessions", where he had the honor of working with Neil Sedaka and an incredible team including engineer Roy Hendrickson (Paul McCartney, Miles Davis, Frank Sinatra, etc) and Grammy Award-winning executive producer Tony McAnany. Some other audio production highlights include a national commercial for "The Grinch That Stole Christmas", a track for Coca-Cola's 125th Anniversary Celebration and mixing of promotional content for Broadway shows like "Natasha Pierre & The Great Comet of 1812," and “Smokey Joe's Cafe”.  He also had the opportunity to contribute as an engineer (as well as a background vocalist and percussionist) on the album "LISTEN", which features Hall & Oates, Carly Simon, and Duncan Sheik.Dan proudly endorses Paiste Cymbals and ACS Custom In-Ear Monitors.http://www.danweinerdrums.comClayton Craddock hosts the Broadway Drumming 101 Podcast and has held the drum chair in several hit broadway and off-broadway musicals, including Tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day At Emerson's Bar and Grill and Ain't Too Proud. He has been a sub drummer on Motown, The Color Purple, Rent, Little Shop of Horrors, Spongebob Squarepants-The Musical, Evita, Cats, Avenue Q, and The Big Apple Circus. The next project he's working on is The Hippest Trip – The Soul Train Musical.Clayton has performed on various TV shows, including Good Morning America, The Colbert Report, The View, The Jimmy Fallon Show, The CBS Early Show, the Today Show, and the 2010 and 2019 TONY Awards at Radio City. He's shared the stage with legends such as The Stylistics, Denise Williams, Chuck Berry, and Ben E. King and was in the Netflix DWYCK episode of Luke Cage with the Delfonics and the HBO version of Lady Day at Emerson's Bar and Grill.Clayton is a proud endorser of Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Broadway Drumming 101 YouTube HERE! YouTubeThank you for reading Broadway Drumming 101. This post is public so feel free to share it. Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

"Breaking up is hard to do," according to Neil Sedaka. Breaking up with your sofa or recliner might be a good thing to consider. What about a love affair? Tune in to learn more. --- Send in a voice message: https://podcasters.spotify.com/pod/show/lets-talk-dementia/message Support this podcast: https://podcasters.spotify.com/pod/show/lets-talk-dementia/support

NBC's Saturday Night welcomes their first co-hosts to the show with British comedy team Cook & Moore!We also welcome a co-host of our own as we are joined by Thomas Sena of the SNL Hall of Fame Podcast. Thomas helps us to understand some British humour (they spell it with a u) and brings an appreciation of Neil Sedaka to the show that surprises everyone, including himself.There's a classic moment for Garrett in this episode and some fun sketches that Thomas helps us to appreciate!He also says what we've all been thinking about Brad...Subscribe today! And follow us on social media on X (Twitter), Instagram, and Facebook.

The late, great Neil Sedaka said it best - “They say that breaking up is hard to do / Now, I know, I know that it's true.” Wise words from a man whose first big hit was a love letter to his ex-girlfriend… maybe you've heard of her… Carole King? Then again, maybe we shouldn't be taking life advice from the man who also wrote the lyrics “Doo doo doo down dooby doo down down” So, what's more awkward than that incredibly random stream of consciousness intro? Answer: having to let people go from your business. Our boys Sid and Keith are here for you like Dionne Warwick's psychic friends to provide anecdotal experiences, interesting insights and what to expect in the post-firing fallout. From start to finish, you definitely will want to keep this week's episode of the Overlap Podcast and start anew, because it really does tell you… how breaking up is hard to do. Once more, with feeling - “Comma comma down dooby down down, comma comma down dooby doo down down…”  

The boys discuss "cool" things we did as kids that are now laughable, Will.i.am in Prague and other famous people they've been close to without interacting and Ricky gives his Final 4 pro wrestlers.

The Pogues [00:31] "Transmetropolitan" Red Roses for Me Enigma ST-73225 1984 Side one, track one from the Pogues debut album written by the one and only Shane MacGowan. Quite the entrance! The Police [04:40] "Bring on the Night" Regatta de Blanc A&M SP-4792 1979 Released in the US as the third single from their 1979 classic yet failed to chart. Skinny Puppy [08:56] "Glass Houses" Remission Nettwerk 12 NTWK 12 1984 Debut label release from everyone's favorite Industrial ensemble from Vancouver. the dB's [12:22] "Ask for Jill" Repercussion Albion Records ALB 109 1982 A snappy little number from Chris Stamey. I can neither confirm nor deny that I was once put on hold by a woman named Jill. Buffalo Springfield [16:03] "Nowadays Clancy Can't Even Sing" Retrospective ATCO SD 33-283 1969 Another debut and another Canadian ensemble. That's right, the first single from Buffalo Springfield. Written by Neil Young. The Chad Mitchell Trio [19:29] "The Ballad of Sigmund Freud" Returns to Carnegie Hall RCA Victor LOC-6007 1960 These fellas might want to look into getting some therapy. A little sample of the show Harry Belafonte put on once more at Carnegie Hall. Deerhoof [21:57] "Hallelujah Chorus" Reveille Global, Buddy! Records, Inc. DIAL 007 2002 The fourth studio release from one of my favorite bands to see live. Recorded by Jamie Stewart of Xiu Xiu. This copy of Reveille features a silver inked cover and white labels. Liberace [24:42] "El Cumbanchero" Rhapsody in Blue and Other Favorites Harmony HL 7237 1967 Some lively latin bears, composed by Puero Rican songwriter Rafael Hernández Marín and performed in a very lively manor by the bejeweled one himself. Ella Fitzgerald [29:16] "Runnin' Wild" Rhythm Is My Business Verve Records V-4056 1962 Whenever I hear a rendition of "Runnin' Wild" I just automatically hear Sugar Kane's version in Some Like It Hot (https://youtu.be/MPxmvZBFZcs). Rickie Lee Jones [31:56] "Chuck E.'s in Love" Rickie Lee Jones Warner Bros. Records BSK 3296 1979 Hey, a catchy song is a catchy song. Metallica [35:27] "For Whom the Bell Tolls" Ride the Lightning Megaforce Records MRI 769 1984 When I was a lad of sixteen or so, I had a Ride the Lightning shirt that I wore to the point of being teased for seemingly always wearing it. James Gang [41:57] "Funk #49" James Gang Rides Again ABC Records ABCS-711 1970 Funky indeed, even the cowbell. Wanda Jackson [45:40] "Stupid Cupid" Right or Wrong Capitol Records ST 1596 1962 Wanda doing a great job putting her vocal stylings to this Neil Sedaka classic. Fórn [47:54] "Ritual Ascension through a Weeping Soul" Rites of Despair Gilead Media RELIC90 2018 Some quality heavy doomy stuff from the Boston-based band. Music behind the DJ: "Brazil" by Billy Mure

Diane and Sean discuss the Pretty Woman of a new generation, The Princess Diaries. Episode music is, "Stupid Cupid" written by Howard Greenfield and Neil Sedaka, performed by Mandy Moore from the OST.-  Our theme song is by Brushy One String-  Artwork by Marlaine LePage-  Why Do We Own This DVD?  Merch available at Teepublic-  Follow the show on social media:- Tumblr: WhyDoWeOwnThisDVD-  Follow Sean's Plants on IG: @lookitmahplantsSupport the show

R&SRNR _175 – “CAROLE KING – UPDATED & REMASTERED” This episode spotlights the most successful female songwriter of the rock and roll era. She's written or co-written more than 200 charted hits. There's a hit stage musical about her life, and her live concerts continue to be huge draws worldwide. In addition to our playing snippets of all of her charted hit singles, Radio Dave and our resident rockologist, Ken Deutsch cover many of what are known as “demo” recordings that she did to sell her songs to established recording stars in 1960s along with samples of their hit versions. And we'll spotlight her special connections with Neil Sedaka, Paul Simon, Bobby Vee, the Drifters, Aretha Franklin, Phil Spector, the Righteous Brothers, the Monkees, James Taylor, Roberta Flack & Donny Hathaway, and many others, as well as her remarkable comeback to international fame after breaking up with her first husband and primary co-composer Gerry Goffin in the late-1960s. She's Carole King. Hear her remarkable story here.  

More than 20,000 people are now known to have died in Monday's earthquakes in Turkey and Syria; the UN secretary general has warned that the full extent of the tragedy is not yet clear. We also hear from people who have lost their loved ones, and ask how the earthquake will affect the Turkish president's standing. Also in the programme: the Italian government's controversial clampdown on the charities trying to save migrants in the Mediterranean; and Neil Sedaka remembers one of the greatest American songwriters, Burt Bacharach, who's died at 94. (Photo: Workers check trucks carrying aid material after crossing the Bab al-Hawa border point at the Syrian-Turkish border. Credit: EFE).

This week on The Jackie and Laurie Show, interesting money, makes you more human, and mostly Neil Sedaka... Comic of the Week: Dana Whissen @danawhissen (instagram) Places to get Jackie's album “Stay Kashian”https://800pgr.lnk.to/StayKashianTW Places to get Laurie's album “Corset”https://800pgr.lnk.to/CorsetTW Buy Laurie's books: https://www.amazon.com/Laurie-Kilmartin/e/B0096S2CLM%3Fref=dbs_a_mng_rwt_scns_share Laurie has T-shirts!https://www.teepublic.com/user/laurie-kilmartin Buy anything from Jackie: http://jackiekashian.com/store Follow Jackie @jackiekashian and @anylaurie16 on Twitter! Here's all the websites you've ever wanted to ignore www.jackieandlaurieshow.com https://maximumfun.org/podcasts/jackie-and-laurie-show Released here on Monday's: https://www.patreon.com/JackieandLauriehttps://podcasts.apple.com/us/podcast/the-jackie-and-laurie-show/id1071731361

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

GGACP's celebration of Jewish American Heritage Month continues with this classic interview from 2019 featuring rock ‘n' roll icon Neil Sedaka, who discusses growing up in Brooklyn, his apprenticeship at the famed Brill Building, his chart-topping collaborations with lyricist Howard Greenfield and his memories of Bobby Darin, Elvis Presley, Carole King, Richard Rodgers and Paul McCartney (among others). Also, Bob Dylan offers praise, John Lennon provides inspiration, Mick Jagger buys a Sedaka record and Neil remembers his cousin Eydie Gorme. PLUS: "My Yiddishe Momme"! The Captain & Tennille! Elton John to the rescue! The late, great Len Maxwell! Billy Joel “borrows” a melody!"And Neil demonstrates his songwriting process! Learn more about your ad choices. Visit megaphone.fm/adchoices