Podcasts about not unusual

Mo´ Horizons: Some More Horizons (DJs Session, 2005) 1.- "Chiclete com banana" - Gilberto Gil 2.- "Mariguana Cha Cha Cha" - Akos Stefi 3.- "Stop" - Howard Tate 4.- "Umquokozo" - Miriam Makeba 5.- "It´s Not Unusual" - The Impressions 6.- "Boom Boom" - Donald Byrd 7.- "Puutarhassa" - Pekka Streng 8.- "Die sprache des regens" (feat. Caterina Valente) - Mo´ Horizons 9.- "Chauffeur" - Nina Simone10.- "Follow That Arab" - Corduroy11.- "Prece ao vento" - Wilson Simonal12.- "Pe na estrada" - Students from the 3rd Grade13.- "Magic Single Barrell" (Mo´ Horizons Restyle) - La Taverne Du LacTodas las músicas seleccionadas y producidas por Mo´ HorizonsTodas las músicas extraídas de la recopilación (1xCD) "Some More Horizons" (Stereo Deluxe, 2005)Escuchar audio

George Jones & Jeanette Hicks - "Yearning" [0:00:00] Fred Crawford - "What's On Your Mind" [0:10:06] Bobby Atkins and the Farm Hands - "My Darling And Me" [0:12:11] Charlie Kellogg & Kathy Nelson - "House of Heartaches" [0:14:31] The Wondering Four - "Whiskey Takes Command" [0:16:44] Ernie Chaffin - "I Can't Lose The Blues" [0:21:13] Whitey Gallagher - "Searching (I'm Always Looking)" [0:24:44] Luis Miguel - "Ahora Te Puedes Marchar" [0:26:41] Dolly Parton - "Tennessee Homesick Blues" [0:29:45] Charlie Rich - "Life Has Its Little Ups And Downs" [0:33:04] Jimmy Gilmer & The Fireballs - "Codine" [0:36:39] Tom Jones - "It's Not Unusual" [0:42:06] Johnny Paycheck - "A-11" [0:43:48] Webb Pierce - "There Stands the Glass" [0:46:03] Al Dexter & His Troopers - "When We Go a Honky Tonkin'" [0:48:30] Stoney Edwards - "She's My Rock" [0:50:56] Messer Chups - "Hollywood Devils" [0:53:21] Kay Starr - "Headless Horseman" [0:55:41] https://www.wfmu.org/playlists/shows/145590

George Jones & Jeanette Hicks - "Yearning" [0:00:00] Fred Crawford - "What's On Your Mind" [0:10:06] Bobby Atkins and the Farm Hands - "My Darling And Me" [0:12:11] Charlie Kellogg & Kathy Nelson - "House of Heartaches" [0:14:31] The Wondering Four - "Whiskey Takes Command" [0:16:44] Ernie Chaffin - "I Can't Lose The Blues" [0:21:13] Whitey Gallagher - "Searching (I'm Always Looking)" [0:24:44] Luis Miguel - "Ahora Te Puedes Marchar" [0:26:41] Dolly Parton - "Tennessee Homesick Blues" [0:29:45] Charlie Rich - "Life Has Its Little Ups And Downs" [0:33:04] Jimmy Gilmer & The Fireballs - "Codine" [0:36:39] Tom Jones - "It's Not Unusual" [0:42:06] Johnny Paycheck - "A-11" [0:43:48] Webb Pierce - "There Stands the Glass" [0:46:03] Al Dexter & His Troopers - "When We Go a Honky Tonkin'" [0:48:30] Stoney Edwards - "She's My Rock" [0:50:56] Messer Chups - "Hollywood Devils" [0:53:21] Kay Starr - "Headless Horseman" [0:55:41] https://www.wfmu.org/playlists/shows/145590

Canciones de ayer y, sobre todo, de hoy que podrían salvarnos en cualquier momento o aquí se me ve el plumero. ¿Has. Visto la peli “Mejor Imposible (As Good As it Gets)? Música de Hans Zimmer. A veces sólo se necesita una canción para prendarte de un artista. Las voces que suenan a continuación me siguen salvando las horas. Voces de compositores fuera de serie. SEP SALVARÁN MARTÍN + CLO PROMO SECRETASDISCO 1 HANS ZIMMER As Good As It Gets (1)DISCO 2 STEVIE WONDER Ngiculela-Es una historia- I am Singing (CD 2 - 4)DISCO 3 WILD COLONIALS It’s Not Unusual (1)CUÑA ISA SALVARÁNDISCO 4 SHERYL CROW Strong Enough (4)DISCO 5 DAN FOGELBERG Along Road (CD 2 - 15)DISCO 6 JAMES TAYLOR Never Die Young (2)DISCO 7 JACKSON BROWNE Running On Empty CD 2 - 1) Hasta minuto 5’55’’CLO PODCAST DOUBLE + SEP MARIA HERNANDODISCO 8 CHRIS REA Girl In A Sports Car (4)DISCO 9 THE INNOCENCE MISSION Lake Shore Drive (5)DISCO 10 ANKLI HomeSEP MARTÍN TWITTER X+ PRES SAMUSTINADISCO 11 CAROLE KING So Far Away (2)DISCO 12 RANDY NEWMAN Dixie Flyer (1)DISCO 13 DANIELLE BRISEBOIS World My Only (ESCA)Escuchar audio

All aboard the Gravy Train! Toot Toot ! The very talented, very charming Yung Gravy gets deep about his dreams, what he looks for in a woman & what  psychedelics he was on when he played "It's Not Unusual" by Tom Jones 1,000 times in the shower – we love us some gravy & hope you do toooooo (t) ! THIS EPISODE IS SPONSORED BY: **BETTERHELP** - Take a moment. Take.  A. Moment. ............with BetterHelp. Visit betterhelp.com/TRASHTUESDAY today to get 10% off your first month.  Betterhelp.com/trashtuesday MORE YUNG GRAVY!!!!!!!! www.yunggravy.com IG: :https://www.instagram.com/yunggravy/?hl=en   02:00 Midwest is Best + Mayo Clinic 10:50 Yung Gravy's Dad was a Dream Specialist? 15:30 Old Parents 24:00 Women Cookin' & Cleanin' 33:00 Yung Gravy on Hot Versus Cold Showers 36:00 Drug Times  45:20 Dating Apps 50:00 Relationship Talk  01:01:00 What Elements Do We Need in a Partner   Creds: Producer & Showrunner: stella young, tiny legend Video Shot By: Guy Robinson and Sean Wanless Edited By: Sean Wanless (Audio) & Guy Robinson (Video) & Ariel Moreno (Socials) Theme Song Written by: Bobby Lee  Banana Break Song by: Can Nguyen  This Video Contains Paid Advertising

Intense but Brief!    Lisa Gerrard followed by Liz Fraser  Peter in Heaven with the Cocteau Twins  Artwork for Goth and 4AD - Football is The Key  Surely not - Australian rules football of course! Wheeltappers and Shunters Clubs! 3 gigs a night and it all paid off Budgie's clubland experience leads the way The Essence of Punk was to throw away the rule book It was Rough Down Under & Lisa played Solo! Championing The Underdog! From Street fights to The Stage – Loyalty was demanded Peter was The Rock on which The Dead could Dance safely More Baptisms of Fire and Keeping the Money Tight Born to Drum or Drumming to be Born? The Beat Must Go On! Creating the Dance - We are The Disco Beat Clay Pots with Skin Heads – Got a Young Peter Hooked Lisa's Percussion made Peter Heavier on The Drums 4AD had a Dead Drum Room – Wolfgang Press with Tom Jones. It's Not Unusual to be Loved! Hairy Chested Medallion Man – Made us Determined to Change the World Conversations Never Heard – find Their Voice in the Present The Fallacy of Memory – Reveals the Duality of Events We are all of us Characters in Everyone's stories! Back On The Bus Y'All – We're Gearing up for The Road! ___ Respect: Wolfgang Preiss (27 February 1910 – 27 November 2002) ___ CONNECT WITH US: Curious Creatures: Website: https://curiouscreaturespodcast.com Facebook: @CuriousCreaturesOfficial Twitter: @curecreatures Instagram: @CuriousCreaturesOfficial Lol Tolhurst:  Website: https://loltolhurst.com Facebook: @officialloltolhurst  Twitter: @LolTolhurst  Instagram: @lol.tolhurst  Budgie:  Facebook: @budgieofficial  Twitter: @TuWhit2whoo Instagram: @budgie646 Lol Tolhurst x Budgie x Jacknife Lee: Facebook: @loltolhurstxbudgiexjacknifelee  Twitter: @LolBudgieJCKNF Instagram: @lolxbudgiexjacknifelee Curious Creatures is a partner of the Double Elvis podcast network. For more of the best music storytelling follow @DoubleElvis on Instagram or search Double Elvis in your podcast app. Learn more about your ad choices. Visit megaphone.fm/adchoices

This Spring the Golden Hills Podcast will follow our Women's and Men's Bible Study programs as they study through the book of Ephesians.Join us each Friday while we have a discussion with the teachers who serve in those ministries as they share their own journeys in studying the passage.For more information email:Vinnie:  vinnieangelo@goldenhills.orgSomer: somerransom@goldenhills.orgWomen's Bible Study Resources:Information & RegistrationWomen's Bible Study Guide (Ephesians: Growing in Christ)ESV Scripture Journal: EphesiansMen's Bible Study Resources:Information & RegistrationMen's Study Guide (Ephesians N.T. Wright for Everyone Bible Study Guides)ESV Scripture Journal: EphesiansStudy ResourcesBook of Ephesians (Bible Project)Episode Music"Old Days" (Chicago)"It's Not Unusual" (Five Iron Frenzy)

Este lunes vamos con mucha tralla de rhythm and blues al son de trompas, trompetas, saxos, flautas, clarinetes, oboes y demás instrumentos de viento o metal. Temas de esta década de Brandon Coleman o de Lucky Brown, incluso de este mismo momento con Maiiah & The Angels Of Libra y de tiempos no lejanos, desde los años cincuenta o sesenta del siglo veinte. Figuras cuyos nombres no llegan a recordarse hoy pero que son impresionantes: Carla Thomas, Bettye Swan, Nancy Wilson, Chuck Willis… Y más leyendas: The Band, Valerie Carter y Al Cooper, Jeanette,The Whispers o Tom Jones. DISCO 1 LUCKY BROWN & THE S.G.’S  Saints & BeggarsDISCO 2 ROBERT KRAFT I've Been Pushed AsideDISCO 3 CARLA THOMAS Where Do I GoDISCO 4 NANCY WILSON Make It With YouDISCO 5 AL KOOPER Feat. VALERIE CARTER I’d Rather Be An Old Man’s SweetheartDISCO 6 NICOLETTE LARSON Dancin’ JonesDISCO 7 BETTYE SWANN Then You Can’t Tell Me GoodbyeDISCO 8 THE BAND OpheliaDISCO 9 THE WHISPERS Can’t Stop Loving You BabyDISCO 10 TOM JONES It’s Not UnusualDISCO 11 BRANDON COLEMAN Giant FeelingsDISCO 12 CHUCK WILLIS Let’s Jump TonightDISCO 13 MAIIAH & THE ANGELS OF LIBRA Please Come HomeDISCO 14 JEANETTE Por qué te vasBARRY WHITE You’re So Good You’re BadEscuchar audio

El profesor de inglés, traductor, músico y agitador cultural Philip MacConnell nos invita a sumergirnos en las letras de canciones famosas.  En esta ocasión repasa canciones publicadas en el año 1965. Suenan The Rolling Stones (Satisfaction), Bob Dylan (Like A Rolling Stone), Tom Jones (It's Not Unusual), The Beatles (Yesterday) y The Who (My Generation).         

Continuamos con el dossier dedicado al cineasta estadounidense, y en esta ocasión abordamos "Mars Attacks!", su mezcla de terror y ciencia ficción de serie B. Participan en el debate Alba G. Mora, Daniel Pérez Pamies y Yago Paris. El tema que cierra el programa es "It's Not Unusual", de Tom Jones, perteneciente a la banda sonora diegética y extradiegética de la película: https://www.youtube.com/watch?v=k-HdGnzYdFQ&ab_channel=TomJones-Topic

link Трек-лист: 01. Silmarils — On n’est pas comme Ça 02. They Might Be Giant — Istanbul (Not Constantinople) 03. Way Out West — The Fall 04. Аигел — Пыяла 05. Blind Guardian — Another Stranger Me  06. Secret Sexy Signal — Screwrace 07. Tom Jones — It's Not Unusual 08. PALC, BassnPanda — Тараканы … Продолжить чтение Lofstrom loop 353 (30.11.2023)

Sierra recaps what happened at MiLB meetings this year in Las Vegas, Josh tells the story of when he opened for Tom Jones ("It's Not Unusual"), and the Saints figure out how to top the previous season.Thanks for listening! Follow along on Instagram, X, and Facebook for episode highlights and news. Music produced by Andrew Crowley

Welcome to the Instant Trivia podcast episode 960, where we ask the best trivia on the Internet. Round 1. Category: Anagrammed 21St Century Leaders 1: Germany: Meaner Gal Elk. Angela Merkel. 2: Venezuela: Ez Havoc Hug. Hugo Chavez. 3: Italy:Billion Sour Vices. Silvio Berlusconi. 4: The United Kingdom:Wrong Orb Nod. Gordon Brown. 5: Canada:Sharpen The Rep. Stephen Harper. Round 2. Category: Kids Rule! 1: Henry VI was just 9 months old when he succeeded his dad, Henry V, as king of this in 1422. England. 2: This "boy king" was about 9 years old when he became a pharaoh around 1333 B.C.. Tutankhamen. 3: Fyodor III was 14 in 1676 when he ascended to the throne of Russia and took this Russian title. Tsar Fyodor. 4: Jeanne de Navarre was 13 when she became this country's queen in 1285. France. 5: Isabella II, the daughter of Ferdinand VII, was just under 3 years old when she was proclaimed queen of this in 1833. Spain. Round 3. Category: The Nationals 1: One of the most famous festivals in Bangladesh is Id al-Fitr, which comes at the end of this holy month. Ramadan. 2: Mount Jacques-Cartier is a fixture on the Gaspe Peninsula in this country. Canada. 3: The Ubangi River forms part of the northern boundary of this African country that's sometimes shortened to DRC. Democratic Republic of Congo. 4: A 1958 uprising in Algeria threatened this European nation with civil war. France. 5: Fittingly the shape of this kingdom is often compared to an elephant's head; the "trunk" extends into the Malay Peninsula. Thailand. Round 4. Category: On The Movie'S Soundtrack 1: "Leaving Port", "My Heart Will Go On". Titanic. 2: A 2016 remake of a 1959 epic: "Galley Slaves", "Dear Messala". Ben-Hur. 3: "Lady Marmalade", Nicole Kidman doing "One Day I'll Fly Away". Moulin Rouge!. 4: From 1969 Steppenwolf's "Born To Be Wild". Easy Rider. 5: Adam Levine singing "Lost Stars", Keira Knightley doing "Tell Me If You Wanna Go Home". Begin Again. Round 5. Category: Tom Jones 1: Singer Tom Jones is the son of one of these workers; Loretta Lynn is famous for being the daughter of one. Coal miner. 2: Tom hails from Pontypridd in this British Isles country. Wales. 3: Tom was born the son of a coal miner in Pontypridd in this U.K. country. Wales. 4: Tom played -- who else? -- himself on the "Marge Gets a Job" episode of this animated TV series in 1992. The Simpsons. 5: It's not odd that this 1965 song is heard in the 1998 film "Little Voice". "It's Not Unusual". Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/

It's 1963, and both Hollywood and the UK were starting to poke at the boundaries of film censors. First off, the best picture winner, England's Tom Jones, in which the title character tries to win his lady Sophie (whoa, She's a Lady), but can't resist saying "What's New Pussycat" to any woman with a come hither look. Our special guest, Video Vulture John Tebbutt, explains to Claire, Erin, and Dan that It's Not Unusual to find the appeal may have shifted since the Sexual Revolution. Speaking of sex and revolution, the people flocked to see Elizabeth Taylor as Cleopatra, twice the runtime as 1934's version but with much more exposed Cleo. Twice as long, twice as flashy, an hour longer than it needed to be, Dan knows it as "Zack Snyder's Cleopatra," and it managed to be the year's biggest hit while still almost bankrupting the studio. Two protagonists sexing their way through their legends, but who did it best? Join us and find out!Find all of our episodes and the rest of Writing Therapy Productions' various entertainments at www.writingtherapyproductions.com

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

Award-winning performer John Owen-Jones (Les Miz/Phantom) releases a Christmas single - track one Holly Jolly Christmas and track two On Christmas Eve. Both tracks are taken from John Owen-Jones: The Christmas Album released last year. On Christmas Eve, is a previously unheard track from the vaults of legendary songwriter Les Reed who wrote Delilah and It's Not Unusual among many others. John said “I was given permission to update the original demo Les made and give it a more contemporary feel, so I completely re-orchestrated it. At the same time I took the opportunity to rewrite some of the original lyrics by Bill Martin (Puppet On A String/Congratulations) too and I'm delighted with the result” On Holly Jolly Christmas John said: “This is my fun take on an always popular Christmas classic that was a joy to record and I think it really captures that live-from-your-living-room vibe. I even got some pals into the studio with me to capture some realistic Christmas party crowd sound effects!” Highlights of 2022 include John performing at the Sydney Opera House, creating a leading role in the brand new musical Great British Bake Off and a successful solo UK concert tour culminating with a sold-out show at Her Majesty's Theatre in London's West End. John will be performing more concerts in December. In 2023 John returns to the West End in the Great British Bake Off Musical with a lead role as Phil Hollinghurst!This year John released his own theatre-based podcast with fellow Broadway and West End star Alistair Brammer called ‘The Last Show on Earth' that asks special guests the question: What show would you see if you had one night left on Earth? The first episode aired on Friday 3 June with guest Matt Lucas and new episodes are released monthly. At just 26, John became the youngest actor ever to play the role of ‘Jean Valjean' in the West End and was the first British actor to play the role both in the West End and on Broadway. John Owen-Jones has also played the role of ‘The Phantom' in ‘The Phantom of the Opera' nearly 2000 times - more than any other actor in the history of the West End production. John has so far released five albums, ‘John Owen-Jones' (2009), ‘Unmasked' (2012), ‘Rise' (2015), ‘Bring Him Home' (2016) ‘Spotlight' (2019) and ‘The Christmas Album' (2021) Hosted on Acast. See acast.com/privacy for more information.

Frances O'Grady is the General Secretary of the Trades Union Congress (TUC), the UK's umbrella group for unions, representing millions of workers. She is the first woman in the 154 year history of the TUC to hold this post, which she took up in 2013. Frances is the youngest of five children, and was brought up in Oxford. Her family has strong links with the trade union movement: her great grandfather and grandfather were founder members of the Irish Transport and General Workers' Union, and her father was a shop steward at the British Leyland plant in Cowley. Thanks to strong encouragement from one of her teachers, Frances was the first of her family to go to university, studying History and Politics at Manchester. After graduation, she moved to London and worked in shops and the hospitality industry, becoming a union rep before getting a job at the Transport and General Workers Union. She joined the TUC in 1994 as Campaigns Secretary, became Deputy General Secretary in 2003 and General Secretary a decade later. In 2020, during the pandemic, she worked with the government on the furlough scheme, providing support for workers whose usual employment. In April 2022, she announced that she would step down from her post at the end of this year. DISC ONE: It's Not Unusual by Tom Jones DISC TWO: Burn It Down by Dexys Midnight Runners DISC THREE: Double Barrel by Dave & Ansell Collins DISC FOUR: Atmosphere by Joy Division DISC FIVE: Funkin' for Jamaica by Tom Browne DISC SIX: Hello Stranger by Barbara Lewis DISC SEVEN: Pieces of a Man by Gil Scott-Heron DISC EIGHT: A Change Is Gonna Come by Sam Cooke BOOK CHOICE: History by Elsa Morante LUXURY ITEM: A painting set with edible paints CASTAWAY'S FAVOURITE: Double Barrel by Dave & Ansell Collins Presenter Lauren Laverne Producer Sarah Taylor

Today we'll hear Rick Rubin talk to one of his all-time favorite vocalists, Tom Jones. With his soulful baritone and unique interpretation of the American R&B and gospel, Jones became a mainstay at hip venues in London, New York and Las Vegas with now-timeless hits like “It's Not Unusual,” and “Green Green Grass Of Home.” On today's episode, Tom Jones shares stories with Rick from his remarkable career, including the first time he met Elvis on a movie set in Hollywood—and the night he turned down an invitation to join Little Richard on stage out of fear he'd be deported. Tom also talks about why he thought Burt Bacharach's lyrics to “What's New Pussycat” were a joke the first time he heard them. Subscribe to Broken Record's YouTube channel to hear all of our interviews: https://www.youtube.com/brokenrecordpodcast and follow us on Twitter @BrokenRecord. You can also check out past episodes here: https://brokenrecordpodcast.com. Hear a playlist of all of our favorite Tom Jones songs HERE. If you'd like to keep up with the most recent news from this and other Pushkin podcasts be sure to sign up for our email list at Pushkin.fm. See omnystudio.com/listener for privacy information.

Urodzeni: Chris Dreja (Yardbirds) [FOTO], Andy Partridge (XTC), Ryszard Olesiński (Maanam), "It's Not Unusual”.Zmarli: Berry Oakley (Allman Brothers Band).Nagranie z roku 2021. 

Get more at podsematary.com! Read our afterthoughts for this episode at https://twitter.com/PodSematary/status/1450244090117832708 It's a Recommendation Week on Pod Sematary! Chris & Kelsey have their croc-killing cake and eat it too and then they summon a demon for a conference call. Thanks to David for the recommendations! The Classic Film: Lake Placid (1999) "Three people attempt to stop a gigantic crocodile, who is terrorizing residents in Black Lake, Maine” (IMDb.com). Lake Placid is just a bundle of clichés in a Jaws suit, but we can see why it may be some people's comfort flick. The Modern Film: Host (2020) "Six friends hire a medium to hold a seance via Zoom during lockdown, but they get far more than they bargained for as things quickly go wrong” (IMDb.com). Host, a byproduct of quarantine life and socializing via Zoom, won't blow your skirt up or anything, but it's pretty impressive for its low budget, short production turnaround, and relatively non-existent time commitment. Audio Sources: "Bill & Ted's Excellent Adventure" produced by De Laurentiis Entertainment Group, et al. "The Heart Wants What it Wants" written by Selena Gomez, et al., and performed by Selena Gomez "Host" (2020) produced by Shadowhouse Films "I Think I Love You" written by Tony Romeo and performed by The Partridge Family "I Think I Love You" written by Tony Romeo and performed by Less Than Jake "It's Not Unusual" written by Les Reed & Gordon Mills and performed by Tom Jones "Lake Placid" produced by Fox 2000 Pictures, et al. "Pet Sematary" written by Dee Dee Ramone & Daniel Rey and performed by The Ramones "Truth Hurts" written by Melissa Jefferson, et al., and performed by Lizzo "Zero Effect" produced by Castle Rock Entertainment, et al.

Tom Jones' booming baritone has led him to sell over 100 million records in his nearly six-decade career. He had a string of hits in the mid-1960s including “It's Not Unusual,” “What's New Pussycat?” “She's A Lady,” “Green, Green Grass Of Home,” “I'll Never Fall In Love Again,” and “Delilah.” Now in his early 80s, Tom Jones is still going strong with a new album out and an upcoming tour. Tom Jones talks with Alec about growing up in a small town in Wales, how contracting tuberculosis changed his life and the secret to his nearly six-decade marriage to his middle-school sweetheart Linda and how he's been managing since her death in 2016.  Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

#612 - Les Reed OBE The Les Reed Interview is featured on The Paul Leslie Hour. Les Reed O.B.E., was one of the greatest contributors to popular music and the songs he co-wrote are all of the evidence you need. “It's Not Unusual” is the signature song of Tom Jones, and “Delilah,” recorded by Jones is one of Tom Jones' most beloved songs. Les Reed had a hand in both of these. “There's a Kind of Hush,” is one of the songs most associated with Peter Noone and Herman's Hermits, but there's more. Les Reed has written songs recorded by the likes of Frank Sinatra, Englebert Humperdinck, the Dave Clark Five, Connie Francis, Petula Clark, The Carpenters, Barry Manilow and too many others to list. On top of all of this, Les Reed was a very open-hearted man and one with great gratitude for those who enjoyed his work. This interview will take you into the musical heart and mind of a truly great composer. The Paul Leslie Hour is a talk show dedicated to “Helping People Tell Their Stories.” Some of the most iconic people of all time drop in to chat. Frequent topics include Arts, Entertainment and Culture.

This week we introduce you to the debut album from a 24 year-old lad from Wales.  Thomas John Woodward - today Sir Thomas John Woodward - is better known as Tom Jones. He got his start as the front man for a beat group called Tommy Scott and the Senators, but they really didn't go anywhere beyond South Wales.  Gordo Mills became his manager, took him to London, and renamed him Tom Jones after the Academy Award winning film of the same name released in 1963.Jones' first hit would be the one for which he is always remembered.  "It's Not Unusual" went to number 1 in the UK within a month of its release, and it went to number 10 on the Billboard Hot 100 when released in America.  Mills and Les Reed worked quickely with Jones to get an album out to take advantage of the quick success, and the result is this album - Along Came Jones.  Jones would have only moderate success with the rest of the songs on the album, but would see more fame when he recorded songs from movies, including "What's New Pussycat," by Burt Bacharach, and the theme song to the James Bond film "Thunderball."Tom Jones is synonymous with Las Vegas, and he spend a good bit of time there almost from the beginning.  His first stint was at the Flamingo in 1967.  He made a lot of money in club performances in Vegas rather than in extensive recording.  After moderate success with his first few albums, Mills directed Jones more in the direction of the crooner we know today.We hope you enjoy this early foray into this iconic singer. I've Got A HeartThis is the opening track on the album, and a very positive song.  The boy is singing about having "a heart that really needs somebody, " and "a mind to keep her, to hold her tight, oh yeah, yeah, yeah."  Not the most sophisticated lyrics you will encounter, but it is early in the rock era after all..Whatcha Gonna DoThe album was a mix of cover songs and songs written for Jones, and this is one of the covers.  Originally written by American blues and rock singer Chuck Willis, it cautions against running around on your girl. The RoseGordon Mills wrote this song for Jones.  It is basically the knights errand to win his love by finding the rose of love.  "For my true love I yearn, but I'll never, ever return till I find where that red lady grows."It's Not UnusualThis is where it all started for Tom Jones.  Gordon Mills and Les Reed wrote this song which was released in February 1965, and it entered the charts the week it was released.  It was number 1 on the UK charts a month later, and would define Tom Jones' career. ENTERTAINMENT TRACK:What's New Pussycat?  by Burt Bacharach (from the motion picture What's New Pussycat?)Woody Allen's first screenplay would become this comedy film.  Peter Sellers and Peter O'Toole starred in this movie.  Tom Jones would achieve success from singing this song for the soundtrack as well. STAFF PICKS:I'll Keep Holding On by The MarvelettesRob starts off our staff picks with this female Motown act.  They were the first successful Motown act after The Miracles.  This song was written by Mickey Stevenson and Ivy Jo Hunter, and peaked at number 34 on the Billboard Hot 100.  The original members were  Gladys Horton,  Katherine Anderson, Georgeanna Tillman, Juanita Cowart Motley, and  Wanda Young.  Young is on lead for this one.Help Me Rhonda by The Beach BoysBrian brings us a well known surfing standard and rebound song.  This song has guitarist Al Jardine on lead vocals, and Glen Campbell was playing lead guitar as a session musician.  Darryl Dragon (aka The Captain from Captain & Tennille ) is also playing on this track.  Take a Heart by The SorrowsWayne's staff pick is the title track off the debut album from “Freakbeat” band The Sorrows.  One of the most aggressive R&B bands of their time, The Sorrows were known for their fast guitar solos and thudding drums.  They never achieved much success, perhaps because their style of music was just ahead of its time.  The song itself cautions against breaking hearts and turnabout.Feeling Good by Nina SimoneBruce's staff pick is a song from Broadway recorded by Nina Simone in 1965.  It was not released as a single at the time, but has seen a resurgence recently in period pieces and commercials. INSTRUMENTAL TRACK:No Matter What Shape (Your Stomach's In) by the T-BonesThis instrumental drew its inspiration from an Alka-Seltzer commercial and was recorded by Dave Pell and members of The Wrecking Crew.

As the most detailed map of the universe is revealed, we've learnt that the Milky Way isn't unusual and Curiosity has snapped some pretty cool cloud formations on Mars… The post Martian Clouds, A Detailed Universe Map and We're Not Unusual appeared first on Trekzone.

The singer Tom Jones, who became a pop star and sex symbol in the 1960s with "It's Not Unusual," "Delilah," and "What's New Pussycat?" has a new album. He spoke with Terry Gross in 2003. Also, we remember dancer Jacques d'Amboise, who was with the New York City Ballet for decades. He died May 2. And Justin Chang reviews 'The Woman in the Window.'

Tom Jones doesn't feel like resting on his laurels. He tells Marc there's one main reason he's going strong, recording new music and performing live at the age of 80: Because he still has a point to prove. Tom and Marc talk about his big hits like It's Not Unusual, Delilah, and What's New Pussycat?, how he learned to belt them out by listening to gospel music, and the secret weapon he calls The Push. They also discuss his friendship with Elvis, his musical heroes, and his new album Surrounded by Time. See acast.com/privacy for privacy and opt-out information. Sign up here for WTF+ to get the full show archives and weekly bonus material! https://plus.acast.com/s/wtf-with-marc-maron-podcast.

Tom Jones doesn’t feel like resting on his laurels. He tells Marc there’s one main reason he’s going strong, recording new music and performing live at the age of 80: Because he still has a point to prove. Tom and Marc talk about his big hits like It’s Not Unusual, Delilah, and What’s New Pussycat?, how he learned to belt them out by listening to gospel music, and the secret weapon he calls The Push. They also discuss his friendship with Elvis, his musical heroes, and his new album Surrounded by Time. See omnystudio.com/listener for privacy information.

PLAYLIST 3/4/21 - all cover songs for the first week of Membership Drive! The 50 Kaitenz - "Saturday Night" (Bay City Rollers) - '50 Kaitens No Gyai!!' The Spinoffs - "Stayin' Alive" (Bee Gees) - 'Stayin' Alive' Hextalls - "We Belong" (Pat Benatar) - 'Play with Heart' Fun Size - "Don't Stand" (Police) - 'Pop Secret' Pinhead Gunpowder - “Big Yellow Taxi” (Joni Mitchell) - ‘Jump Salty' 30 Foot Fall - "Still Rock n Roll to Me" (Billy Joel) - ‘ACME-183' Zoinks! - "Theme from The Greatest American Hero (Believe It or Not)" (Joey Scarbury) - 'Bad Move, Space Cadet' The Riplets - "Beat It" (Michael Jackson) - 'Rock' Ssssnakes – “Big Balls” (AC/DC) – ‘Kissss Thissss' Pinhead Circus – “Walking on Sunshine” (Katrina and The Waves) - ‘Fall in Love All Over Again' Leatherface – “In The Ghetto”(Elvis Presley) - ‘Fill Your Boots' Ken Yokoyama - "Kokomo" (Beach Boys) - 'Four' The Hotlines – “Fun Fun Fun” (Beach Boys) - splitw/ The Queers Tough - "I Get Around" (Beach Boys) - 'Four' D.O.A. - "It's Not Unusual" (Tom Jones) - 'It's Not Unusual...but It Sure is Ugly' Sloppy Seconds – “The Candy Man” (Sammy Davis Jr., et al) - ‘Destroyed' The Hymans - "Mrs. Robinson" (Simon and Garfunkel) - st C.J. Ramone - "Waiting for My Man" (Velvet Underground) - 'Reconquista' The Leeches - "I Need to Know" (Tom Petty) - 'Get Serious' Parasites – “There is a Light” (Smiths) - unreleased Osaka Popstar - "Man of Constant Sorrow" (traditional) - '...and The American Legends Of Punk' Snuff – “Don't Fear the Reaper” (Blue Oyster Cult) - ‘Six of One, Half a Dozen of the Other' The Mister T Experience - "Pleasant Valley Sunday" (Monkees) - 'Everyone's Entitled to Their Own Opinion' Dead Bars – “Hanging on the Telephone”(Nerves) - split w/ The Tim Version Gigantor - "Tainted Love" (Gloria Jones/Soft Cell) - 'Magic Bozo Spin' Jon Cougar Concentration Camp –“The Mob Rules” (Black Sabbath) - ‘Dead Wax: A Rad Girlfriend Records Compilation'

TRACKLIST: 01 Kool & The Gang - Celebration 02 Michael Jackson - Don't Stop 'Til You Get Enough 03 Bee Gees - You Should Be Dancing 04 Earth, Wind & Fire - Let's Groove 05 Village People - YMCA 06 Miami Sound Machine - Conga 07 Wilkins ‎- Margarita 08 Barry Manilow - Copacabana 09 The Beach Boys - Kokomo 10 Debarge - Rhythm Of The Night 11 Madonna - Holiday 12 The Arrows - Hot Hot Hot 13 Kc & The Sunshing Band - Give It Up 14 Kylie Minogue - The Locomotion 15 Elton John & Kiki Dee - Dont Go Breaking My Heart 16 The Beatles - Twist And Shout 17 John Cougar Mellencamp - Hurts So Good 18 AC/DC - You Shook Me All Night Long 19 The Rolling Stones - Satisfaction 20 The Beatles - I Should Have Known Better 21 The Doors - Light My Fire 22 Michael Jackson – Beat It 23 Dire Straits - Money for Nothing 24 The Police - De Do Do Do, De Da Da Da 25 James Brown - I Got You (I Feel Good) 26 Toni Basil - Hey Mickey 27 Queen - Dont Stop me Now 28 Michael Sembello - Maniac 29 B-52's - Party out of Bounds 30 Chubby Checker - The Twist 31 The Beach Boys - Surfin' U.S.A. 32 Chuck Berry - Johnny B Goode 33 Elvis Presley - Jailhouse Rock 34 Bill Haley & the Comets - Rock Around The Clock 35 Tom Jones - It's Not Unusual 36 Kenny Loggins - Footloose 37 B-52's - Rock Lobster 38 Bangles - Walk Like an Egyptian 39 The Sweet - Ballroom Blitz

RHOZ Podcast - 14-11-2020 [00:00:00] 6:00 am - RHOZ [00:00:09] Dj Fritz Live2.m4a [00:00:13] 401 - 401 - The Who - Substitute [00:03:59] Newcleus - 11B - Jam On It [00:10:15] Justin Timberlake ft. Chris Stapleton - Say Something [00:14:51] Dj Fritz Live.m4a [00:14:55] 334 - 334 - George Harrison - My Sweet Lord [00:19:22] Supertramp - 03 - It's Raining Again [00:23:39] Emerson Drive - Moments [00:28:31] Dj Fritz Live2.m4a [00:28:34] 363 - 363 - T-Rex - Bang A Gong Get It On [00:32:55] Alannah Myles - Love Is [00:36:27] Kenny Chesney - I Go Back [00:40:20] All hits weekend Dj Fritz [00:40:24] 128 - 128 - Cream - Crossroads [00:44:36] Bob Marley - Buffalo Soldier [00:47:15] Alan Jackson - Country Boy [00:51:16] Dj Fritz stay safe.m4a [00:51:22] 439 - 439 - Peter Frampton - Baby, I Love Your Way [00:56:03] Bobby McFerrin - Don't Worry, Be Happy [01:00:44] Toby Keith - Red Solo Cup [01:04:23] Dj Fritz Live.m4a [01:04:26] 128 - 128 - Cream - Crossroads [01:08:35] Prince - Kiss [01:12:16] Sugarland - It Happens [01:15:13] All hits weekend [01:15:19] 197 - 197 - The Beatles - Eight Days A Week [01:17:59] EMF - Unbelievable [01:21:26] Emerson Drive - A Good Man [01:24:20] Dj Fritz Live2.m4a [01:24:24] 210 - 210 - George Harrison - Got My Mind Set On You [01:28:10] Phil Collins - Sussudio [01:32:23] Zac Brown Band - Got Whatever It Is [01:35:30] Dj Fritz stay safe.m4a [01:35:35] 032 - 032 - Lynyrd Skynyrd - Freebird [01:44:30] Counting Crows - A Long December [01:49:16] Eric Church - Smoke A Little Smoke [01:52:23] Dj Fritz stay safe.m4a [01:52:30] 246 - 246 - Rascals - People Got To Be Free [01:55:23] Madonna - Vogue [02:00:37] Alan Jackson - Margaritaville [02:04:50] Dj Fritz enjoy weekend.m4a [02:04:56] 366 - 366 - The Boxtops - The Letter [02:06:43] Rod Stewart - The Motown Song [02:10:33] Billy Ray Cyrus - Achy Breaky Heart [02:13:55] Dj Fritz Live2.m4a [02:13:58] 301 - 301 - Creedence Clearwater Revival - Green River [02:16:27] Tom Jones - It's Not Unusual [02:18:21] Johnny Cash - A Boy Named Sue [02:22:03] All hits weekend [02:22:08] 493 - 493 - Bob Seger - Old Time Rock & Roll [02:25:15] Wang Chung - Everybody Have Fun Tonight [02:29:17] Jason Aldean - She's Country [02:32:55] Dj Fritz stay safe.m4a [02:33:01] 232 - 232 - The Beatles - Sun King Melody [02:39:41] Al Green - Let's Stay Together [02:42:51] Alan Jackson - Good Time [02:47:55] Dj Fritz enjoy weekend.m4a [02:48:01] 476 - 476 - Crosby, Stills & Nash - Helplessly Hoping [02:50:34] Michael Bolton - When A Man Loves A Woman [02:54:15] Brooks & Dunn - Honky Tonk Stomp [02:57:15] Dj Fritz all greatest hits.m4a [02:57:22] 279 - 279 - Young Rascals - Good Lovin [02:59:48] Digital Underground - The Humpty Dance See omnystudio.com/listener for privacy information.

RHOZ Podcast - 13-11-2020 [00:00:00] 6:00 am - RHOZ [00:00:52] Black Box - Strike It Up [00:06:00] Miley Cyrus & Billy Ray Cyrus - Get Ready, Get Set, Don't Go [00:09:44] Dj Fritz enjoy weekend.m4a [00:09:50] 159 - 159 - Chicago - Saturday In The Park [00:13:36] Brian Setzer - Summertime Blues [00:16:14] Alan Jackson - Sissy's Song [00:19:12] Dj Fritz stay safe.m4a [00:19:18] 266 - 266 - The Beatles - Stawberry Fields Forever [00:23:18] The Proclaimers - I'm Gonna Be (500 Miles) [00:26:47] Tim McGraw - My Best Friend [00:31:20] Dj Fritz stay safe.m4a [00:31:26] 219 - 219 - The Who - I Can't Explain [00:33:29] The Go-Go's - Our Lips Are Sealed [00:36:08] Billy Ray Cyrus - Achy Breaky Heart [00:39:29] All hits weekend Dj Fritz [00:39:33] 130 - 130 - ZZ Top - Legs [00:44:01] Buddy Holly - Peggy Sue [00:46:28] Joe Nichols - Tequilla Makes Her Clothes Fall Off [00:49:36] Dj Fritz enjoy weekend.m4a [00:49:41] 268 - 268 - David Bowie - Young Americans [00:52:48] Belinda Carlisle - Heaven Is A Place On Earth [00:56:44] Garth Brooks - Friends In Low Places [01:00:58] Dj Fritz Live.m4a [01:01:01] 385 - 385 - Kinks - Celluloid Heroes [01:07:14] The Kinks - Come Dancing [01:11:05] Big n Rich - Save a Horse, Ride a Cowboy [01:14:24] Dj Fritz stay safe.m4a [01:14:30] 332 - 332 - Bachman Turner Overdrive - Taking Care of Business [01:19:15] Doug & The Slugs - Makin' It Work [01:22:39] Brad Paisley - Ticks [01:26:35] Dj Fritz Live.m4a [01:26:40] 050 - 050 - Steppenwolf - Born To Be Wild [01:30:05] Phil Collins - Against All Odds [01:33:00] 11 Rough & Ready 1.mp3 [01:36:04] Dj Fritz stay safe.m4a [01:36:09] 116 - 116 - Led Zeppelin - Going To California [01:39:32] Shaun Cassidy - Da Doo Ron Ron [01:42:08] Corb Lund - Hurtin' Albertan [01:43:17] All hits weekend [01:43:22] 440 - 440 - Bruce Springsteen - Spirit in the night [01:48:12] AC/DC - Thunderstruck [01:53:01] Sugarland - It Happens [01:55:59] Dj Fritz enjoy weekend.m4a [01:56:05] 029 - 029 - Aerosmith - Dream On [02:00:23] Peabo Bryson & Roberta Flack - Tonight, I Celebrate My Love [02:03:46] Lucinda Williams - Can't Let Go [02:07:11] Dj Fritz Live2.m4a [02:07:15] 051 - 051 - Elton John - Goodbye Yellow Brick Road [02:10:27] The Rocky Horror Picture Show Cast - 11B - The Time Warp [02:13:40] Taylor Swift - I'm Only Me When I'm With You [02:17:10] Dj Fritz Live2.m4a [02:17:14] 435 - 435 - Queen - Tie Your Mother Down [02:21:58] Brooks & Dunn - 10A - Boot Scootin' Boogie [02:25:14] Trace Adkins - Swing [02:28:44] Dj Fritz Live.m4a [02:28:48] 037 - 037 - Free - All Right Now [02:34:17] Tom Jones - It's Not Unusual [02:36:12] Billy Ray Cyrus - Some Gave All [02:40:15] All hits weekend Dj Fritz [02:40:18] 451 - 451 - Pete Townsend - Rough Boys [02:44:17] Digital Underground - The Humpty Dance [02:48:50] Alan Jackson - Livin' On Love [02:52:36] Dj Fritz stay safe.m4a [02:52:42] 191 - 191 - Led Zeppelin - Heartbreaker & Livin' Lovin' Mad [02:59:34] O.M.D. - So In Love With You See omnystudio.com/listener for privacy information.

RHOZ Podcast - 14-10-2020 [00:00:00] 6:00 am - RHOZ [00:03:24] All hits weekend Dj Fritz [00:03:28] 499 - 499 - Bob Dylan - Rainy Day Women #12 & 35 [00:07:55] Tom Jones - It's Not Unusual [00:09:51] Kenny Chesney - I Go Back [00:13:44] Dj Fritz Live2.m4a [00:13:48] 298 - 298 - The Who - The Kids Are Alright [00:16:31] Sam Cooke - You Send Me [00:19:13] Billy Ray Cyrus - Some Gave All [00:23:15] All hits weekend [00:23:20] 190 - 190 - Doobie Brothers - Listen To The Music [00:26:59] Bobby Brown - 11A - Don't Be Cruel [00:33:37] Tim McGraw - Live Like You Were Dying [00:38:26] Dj Fritz Live.m4a [00:38:30] 229 - 229 - Creedence Clearwater Revival - Bad Moon Rising [00:40:47] Chic - Le Freak [00:44:23] Diamond Rio - Kissable, Huggable, Loveable, Unbelievable [00:46:44] All hits weekend [00:46:49] 264 - 264 - Dire Straits - Sultans Of Swing [00:52:29] Beastie Boys - Sabotage [00:55:22] Zac Brown Band - Chicken Fried [00:59:16] All hits weekend [00:59:21] 302 - 302 - Bad Company - Cant Get Enough of Your Love [01:03:33] Al Cheny - Bobbie Bell Schottische [01:05:49] Corb Lund - Five Dollar Bill [01:08:19] Dj Fritz Live.m4a [01:08:23] 423 - 423 - Van Halen - Dance The Night Away [01:11:15] Various Artists - Espm Presents The Jockjam(NHL) [01:14:28] Kenny Chesney - Keg In The Closet [01:17:52] Dj Fritz Live.m4a [01:17:56] 208 - 208 - ZZ Top - Tush [01:20:09] Dwight Yoakam - Suspicious Minds [01:23:49] Zac Brown Band - Got Whatever It Is [01:26:56] All hits weekend [01:27:01] 423 - 423 - Van Halen - Dance The Night Away [01:29:54] Kenny Loggins - Footloose [01:33:38] Diamond Rio - Meet In The Middle [01:36:50] All hits weekend Dj Fritz [01:36:53] 303 - 303 - Electric Light Orchestra - Fire On High [01:42:21] Depeche Mode - People Are People [01:45:57] Garth Brooks - Callin' Baton Rouge [01:48:31] All hits weekend Dj Fritz [01:48:34] 264 - 264 - Dire Straits - Sultans Of Swing [01:54:15] Soup Dragons - I'm Free [01:58:01] Johnny Cash - Folsom Prison Blues [02:00:49] Dj Fritz stay safe.m4a [02:00:55] 100 - 100 - Electric Light Orchestra - Don't Bring Me Down [02:04:51] Duran Duran - The Reflex [02:09:04] Jason Aldean - Hicktown [02:12:37] All hits weekend [02:12:42] 024 - 024 - Yes - Roundabout [02:21:05] Snap! - Rhythm Is A Dancer [02:26:15] Alan Jackson - Who's Cheatin' Who [02:30:12] Dj Fritz all greatest hits.m4a [02:30:18] 255 - 255 - Cat Stevens - Peace Train [02:34:06] Louis Armstrong - 7B - What A Wonderful World [02:36:17] Taylor Swift - I'd Lie [02:39:54] All hits weekend Dj Fritz [02:39:59] 183 - 183 - Janis Joplin - Piece Of My Heart [02:44:10] Violent Femmes - Blister In The Sun [02:46:31] The Lost Trailers - Holler Back [02:49:43] Dj Fritz Live.m4a [02:49:47] 173 - 173 - Kansas - Dust in the Wind [02:53:02] Salt-N-Pepa - Let's Talk About Sex [02:56:30] Zac Brown Band - Hwy 20 Ride See omnystudio.com/listener for privacy information.

RHOZ Podcast - 5-10-2020 [00:00:00] 6:00 am - RHOZ [00:03:18] Rodney Atkins - Cleaning This Gun [00:07:00] All hits weekend Dj Fritz [00:07:04] 351 - 351 - Electric Light Orchestra - Livin' Thing [00:10:27] Sawyer Brown - The Race Is On [00:13:16] Sugarland - It Happens [00:16:13] Dj Fritz stay safe.m4a [00:16:20] 349 - 349 - Hollies - Long Cool Woman In A Black Dress [00:19:31] Cheap Trick - I Want You To want Me [00:23:04] Florida Georgia Line - Round Here [00:26:35] All hits weekend [00:26:41] 139 - 139 - Foreigner - Feels Like The First Time [00:30:24] Little Richard - Good Golly Miss Molly [00:32:27] Joe Nichols - Tequilla Makes Her Clothes Fall Off [00:35:34] Dj Fritz stay safe.m4a [00:35:40] 227 - 227 - Fleetwood Mac - The Chain [00:39:56] Roxette - Dangerous [00:43:34] Cody Johnson - On My Way To You [00:47:02] Dj Fritz Live2.m4a [00:47:06] 058 - 058 - Aerosmith - Walk This Way [00:50:42] Three Dog Night - Joy To The World [00:53:50] Brad Paisley - American Saturday Night [00:58:24] All hits weekend Dj Fritz [00:58:27] 244 - 244 - The Beatles - Twist And Shout [01:00:55] Frank Sinatra - New York New York [01:04:18] BROOKS & DUNN - Neon Moon [01:08:32] Dj Fritz Live2.m4a [01:08:35] 492 - 492 - Santana - Evil Ways [01:12:26] Nick Gilder - Hot Child In The City [01:15:31] Zac Brown Band - Hwy 20 Ride [01:19:20] Dj Fritz all greatest hits.m4a [01:19:26] 477 - 477 - Neil Young - Southern Man [01:24:46] Pras F/ Mya And Old Dirty Bastard - 2B - Ghetto Superstar [01:29:03] Toby Keith - She's A Hottie [01:32:08] All hits weekend [01:32:13] 159 - 159 - Chicago - Saturday In The Park [01:35:57] R.E.M. - Stand [01:39:05] Johhny Cash - I Walk the Line [01:39:28] Dj Fritz Live.m4a [01:39:32] 187 - 187 - The Cars - Just What I Needed [01:43:13] Tom Jones - It's Not Unusual [01:45:09] Dwight Yoakam - Crazy Little Thing Called Love [01:47:26] All hits weekend [01:47:31] 033 - 033 - Pink Floyd - Wish You Were Here [01:53:05] Samantha Fox - Touch Me (I Want Your Body) [01:56:39] Dierks Bentley - Sideways [01:59:39] Dj Fritz Live2.m4a [01:59:43] 320 - 320 - Derek and the Dominos - 10 - Bell Bottom Blues [02:04:38] Shannon - Let The Music Play [02:09:05] Easton Corbin - A Little More Country Then that [02:11:54] Dj Fritz Live.m4a [02:11:58] 332 - 332 - Bachman Turner Overdrive - Taking Care of Business [02:16:48] Coolio - 1,2,3,4 (Sumpin' New) [02:19:54] Zac Brown Band - Hwy 20 Ride [02:23:43] Dj Fritz stay safe.m4a [02:23:49] 485 - 485 - Creedence Clearwater Revival - Susie Q [02:28:12] Dionne Warwick & Friends - 5B - That's What Friends Are For [02:32:17] Nelly (Ft. Tim McGraw) - Over And Over Again [02:36:29] Dj Fritz Live2.m4a [02:36:33] 278 - 278 - Badfinger - Come And Get It [02:38:52] Gary Numan - Cars [02:42:27] Luke Combs - When It Rains It Pours [02:46:25] Dj Fritz enjoy weekend.m4a [02:46:30] 376 - 376 - ZZ Top - La Grange [02:49:58] Queen - We Will Rock You [02:51:58] Toby Keith - Red Solo Cup [02:55:38] Dj Fritz stay safe.m4a [02:55:44] 060 - 060 - Paul McCartney - Maybe I'm Amazed [02:59:24] The Spinners - The Rubberband Man See omnystudio.com/listener for privacy information.

RHOZ Podcast - 27-9-2020 [00:00:00] 6:00 am - RHOZ [00:00:17] Dj Fritz stay safe.m4a [00:00:23] 054 - 054 - The Rolling Stones - Sympathy For the Devil [00:06:37] Starship - We Built This City [00:11:06] Eric Church - Smoke A Little Smoke [00:14:13] Dj Fritz stay safe.m4a [00:14:19] 397 - 397 - Chicago - Make Me Smile [00:18:40] Queen - Bohemian Rhapsody [00:24:23] Trace Adkins - Marry For Money [00:27:23] Dj Fritz Live2.m4a [00:27:27] 182 - 182 - Cream - Strange Brew [00:30:11] The Champs - Tequila [00:32:18] Brad Paisley - Im Gonna Miss Her [00:35:29] Dj Fritz stay safe.m4a [00:35:35] 084 - 084 - Fleetwood Mac - Go Your Own Way [00:39:08] Tom Jones - It's Not Unusual [00:41:03] Tim McGraw - Real Good Man [00:45:12] Dj Fritz Live2.m4a [00:45:16] 197 - 197 - The Beatles - Eight Days A Week [00:47:56] John Berry - Your Love Amazes Me [00:51:32] Brad Paisley - Waitin On A Woman [00:55:59] Dj Fritz stay safe.m4a [00:56:05] 233 - 233 - Blue Oyster Cult - Godzilla [00:59:44] The Beach Boys - Kokomo [01:03:12] Miley Cyrus & Billy Ray Cyrus - Get Ready, Get Set, Don't Go [01:06:56] Dj Fritz enjoy weekend.m4a [01:07:03] 138 - 138 - Creedence Clearwater Revival - Down On The Corner [01:09:37] Kenny Rogers - Through The Years [01:13:51] Taylor Swift - Our Song [01:17:10] Dj Fritz Live2.m4a [01:17:14] 421 - 421 - Thin Lizzy - The Boys Are Back In Town [01:21:35] Wham! - Wake Me Up Before You Go-Go [01:25:16] Emerson Drive - Moments [01:30:08] All hits weekend Dj Fritz [01:30:12] 434 - 434 - Mott The Hoople - All The Young Dudes [01:33:34] Live - Lightning Crashes [01:37:52] Diamond Rio - God Only Cries [01:41:46] All hits weekend Dj Fritz [01:41:49] 366 - 366 - The Boxtops - The Letter [01:43:36] Chaka Khan - I Feel For You [01:47:35] Darius Rucker - History In The Making [01:51:01] Dj Fritz Live.m4a [01:51:04] 434 - 434 - Mott The Hoople - All The Young Dudes [01:54:26] Supertramp - 03 - It's Raining Again [01:58:44] Tim McGraw - My Little Girl (FATHER-DAUGHTER DANCE) [02:02:19] Dj Fritz Live.m4a [02:02:22] 235 - 235 - Blind Faith - Can't Find My Way Home [02:05:32] Dwight Yoakam - Pocket Of A Clown [02:08:22] AARON LEWIS - Country Boy [02:13:03] All hits weekend Dj Fritz [02:13:07] 074 - 074 - Jefferson Airplane - Somebody To Love [02:16:02] Steam - Na Na Hey Hey Kiss Him Goodbye [02:20:01] Tim McGraw - Live Like You Were Dying [02:24:50] All hits weekend Dj Fritz [02:24:54] 224 - 224 - Animals - We've Gotta Get Out Of This Place [02:28:02] The Monkees - I'm A Believer [02:30:41] Trace Adkins - I Like My Women A Little trashy [02:33:54] All hits weekend Dj Fritz [02:33:57] 224 - 224 - Animals - We've Gotta Get Out Of This Place [02:37:06] Martha Reeves & The Vandellas - Heatwave [02:39:45] Alan Jackson - Little Bitty [02:42:19] Dj Fritz Live2.m4a [02:42:23] 211 - 211 - The Rolling Stones - Angie [02:46:53] Alan Jackson - Chattahoochee [02:49:15] Jason Aldean - My Kinda Party [02:53:55] All hits weekend Dj Fritz [02:53:59] 198 - 198 - Electric Light Orchestra - Evil Woman [02:58:13] The Contours - Do You Love Me See omnystudio.com/listener for privacy information.

RHOZ Podcast - 22-8-2020 [00:00:00] 6:00 am - RHOZ [00:02:12] Joe Nichols - Unsinkable Ships (The Impossible) [00:06:03] Dj Fritz Live2.m4a [00:06:07] 286 - 286 - Steely Dan - Rikki Don't Lose That Number [00:10:35] Grand Funk Railroad - 10B - Some Kind Of Wonderful [00:13:44] Rodney Atkins - Angel's Hands [00:17:08] Dj Fritz enjoy weekend.m4a [00:17:14] 261 - 261 - Elton John - Your Song [00:21:09] Cher - The Shoop Shoop Song [00:23:49] Taylor Swift - I'd Lie [00:27:26] Dj Fritz Live.m4a [00:27:29] 377 - 377 - Santana - Oye Como Va [00:31:43] Roxette - Listen To Your Heart [00:36:46] Trace Adkins - Ladies Love Country Boys [00:40:23] Dj Fritz Live2.m4a [00:40:26] 455 - 455 - Foghat - Slow Ride [00:44:15] Rod Stewart - This Old Heart Of Mine [00:48:17] Taylor Swift - I'd Lie [00:51:54] Dj Fritz stay safe.m4a [00:52:00] 244 - 244 - The Beatles - Twist And Shout [00:54:29] Tone-Loc - Funky Cold Medina [00:58:35] Zac Brown Band - Chicken Fried [01:02:29] Dj Fritz all greatest hits.m4a [01:02:35] 180 - 180 - Jethro Tull - Locomotive Breath [01:06:58] Patsy Cline - Crazy [01:09:37] Brooks & Dunn - My Maria [01:13:00] Dj Fritz stay safe.m4a [01:13:06] 136 - 136 - Eric Clapton - Let It Rain [01:18:04] Martha Reeves & The Vandellas - Heatwave [01:20:43] Tim McGraw - Live Like You Were Dying [01:25:33] Dj Fritz enjoy weekend.m4a [01:25:39] 339 - 339 - The Rolling Stones - Get Off Of My Cloud [01:28:29] Glass Tiger - Don't Forget Me (When I'm Gone) [01:32:26] Easton Corbin - A Little More Country Then that [01:35:15] Dj Fritz stay safe.m4a [01:35:20] 289 - 289 - The Who - I Can See For Miles [01:39:21] Tom Jones - It's Not Unusual [01:41:17] Alan Jackson - Chattahoochie [01:45:12] Dj Fritz all greatest hits.m4a [01:45:18] 325 - 325 - The Who - My Wife [01:48:43] The Alan Parsons Project - Sirius [01:50:34] Sugarland - Stay [01:55:10] All hits weekend Dj Fritz [01:55:13] 339 - 339 - The Rolling Stones - Get Off Of My Cloud [01:58:04] Ready For The World - Oh Sheila [02:02:03] Rascall Flatts - Life Is A Highway [02:06:23] All hits weekend [02:06:28] 224 - 224 - Animals - We've Gotta Get Out Of This Place [02:09:36] The Temptations - Ain't Too Proud To Beg [02:12:04] Josh Thompson - Beer On The Table [02:15:11] Dj Fritz enjoy weekend.m4a [02:15:17] 112 - 112 - The Allman Brothers Band - The Allman Brothers - Jessica [02:22:41] Anita Baker - Sweet Love [02:26:55] Hank Williams Jr & Sr - There's a Tear in My Beer [02:29:43] Dj Fritz all greatest hits.m4a [02:29:48] 301 - 301 - Creedence Clearwater Revival - Green River [02:32:14] Kool & The Gang - Fresh [02:36:12] Brad Paisley - American Saturday Night [02:40:45] Dj Fritz enjoy weekend.m4a [02:40:50] 337 - 337 - Led Zeppelin - Fool In The Rain [02:46:59] The Rovers - Wasn't That A Party [02:50:24] Brad Paisley - She Said Yes [02:53:44] All hits weekend Dj Fritz [02:53:48] 206 - 206 - Lynyrd Skynyrd - Gimme Three Steps [02:58:06] Irene Cara - Fame See omnystudio.com/policies/listener for privacy information.

Chegamos ao episódio 50 do Fronteiras falando mais uma vez sobre a Era Vargas, especialmente sobre os anos do Estado Novo, momento de ditadura que durou de 1937 a 45. Após sete anos no poder Vargas deu um golpe, impôs uma nova constituição e passou a implantar uma série de reformas que já vinha desenhando nos anos anteriores. O projeto de Brasil criado durante essa fase do governo Vargas ainda hoje está presente na maneira como organizamos nossa indústria, o trabalho, como vemos nossa identidade nacional, em como pensamos as nossas relações políticas e em muitas outras áreas. Preparem-se, essa nossa quinquagésima viagem no tempo está repleta de momentos emocionantes e pontos para reflexão! Neste episódio: Descubra como Vargas deu o golpe e implantou a ditadura do Estado Novo, conheça quem o apoiava, os motivos alegados e como conseguiu se manter no poder. Reflita conosco sobre o caráter fascista do governo, buscando entender as relações deste com outros movimentos autoritários que coexistiram com ele naquele momento. Entenda o poder da propaganda política do governo e como isso se consolidou num projeto cultural para a nação, algo que se refletiu na música, nas artes e até mesmo na forma como enxergamos a nossa história. Compreenda a política varguista para o trabalho, na qual o trabalhador passou a ser considerado importante, porém, sem autonomia, devendo ser tutelado pelo Estado em diversos âmbitos. Entenda, por fim, as relações com os Estados Unidos, a participação na segunda guerra mundial e como isso ajudou a terminar com o regime e 1945 com o final do conflito. (spoiler: vamos precisar de mais episódios para terminar essa história toda). Arte da Capa Publicidade Ajude nosso projeto! Você pode nos apoiar de duas formas: PADRIM  – só clicar e se cadastrar (bem rápido e prático) PIC PAY – Baixe o aplicativo do PicPay: iOS / Android Redes Sociais Twitter, Facebook, Youtube, SPOTIFY, Instagram Contato fronteirasnotempo@gmail.com Expediente Produção Geral e Hosts: C. A e Beraba, Recordar é Viver: Willian Spengler. Vitrine:  Augusto Carvalho, Edição: Adriano João Como citar esse episódio Citação ABNT Fronteiras no Tempo #50 A Era Vargas parte 3: Estado Novo (1937-1945). Locução: Cesar Agenor F. da Silva, Marcelo de Souza e Silva e Willian Spengler [S.l.] Portal Deviante, 28/07/2020. Podcast. Disponível em: http://www.deviante.com.br/?p=40628&preview=true&aiEnableCheckShortcode=true Material Complementar Podcasts Fronteiras no Tempo #48 A Era Vargas parte 2: 1930-1937 Fronteiras no Tempo #41 A Era Vargas parte 1: A Revolução de 1930 Fronteiras no Tempo: Historicidade #29 Ação Integralista Brasileira Vídeos Biografia | Getúlio Vargas – Lili Schwarcz Música e Trabalho: O Bonde São Januário (Cyro Monteiro)* Livros, capítulos de livros e artigos CAPELATO, Maria H. R. Multidões em cena: propaganda política no Varguismo e no Peronismo. 2ª. Ed. São Paulo: Ed. Unesp, 2009. CAPELATO, Maria Helena. Estado novo: o que trouxe de novo? In: FERREIRA, Jorge (org.) O Brasil Republicano v.2. Rio de Janeiro: Civilização Brasileira, 2009. Diário pessoal de Getúlio Vargas (2 volumes). Rio de Janeiro: FGV, 1995. FERREIRA, Jorge. Trabalhadores do Brasil. O imaginário popular. Rio de Janeiro: Fundação Getúlio Vargas, 1997. DE CASTRO GOMES, Ângela. Ideologia e trabalho no Estado Novo. Repensando o Estado Novo, Rio de Janeiro, Ed. FGV, p. 53-72, 1999. NETO, Lira. Getúlio (1930-1945): Do governo provisório à ditadura do Estado Novo. São Paulo: Cia das Letras, 2013. OLIVEIRA, Josivaldo Pires de Oliveira; LEAL, Luiz Augusto Pinheiro Leal. Capoeira, identidade e gênero: ensaios sobre a história social da capoeira no Brasil. Amazon: eBook Kindle. PANDOLFI, Dulce Chaves. Os anos 1930: as incertezas do regime. In: FERREIRA, Jorge; DELGADO, Lucilia de Almeida Neves. O Brasil Republicano, vol. 2. Rio de Janeiro: Civilização Brasileira, 2009. PARANHOS, Adalberto et al. Os desafinados: sambas e bambas no” Estado Novo”. Intermeios, Casa de Artes e Livros, 2015. RAMOS, Graciliano. Memórias do Cárcere. Rio de Janeiro: Record, 2020. SEVCENKO, Nicolau; NOVAIS, Fernando A. História da Vida Privada no Brasil: República: da Belle Époque à Era do Rádio. Vol.3. São Paulo: Cia das Letras, 1998 SIQUEIRA, Magno Bissoli. Capítulo VI: Instrumento de política de conciliação. In: ___. Samba e Identidade Nacional. São Paulo: Unesp, 2012. SKIDMORE, Thomas E. Brasil : de Getúlio a Castello (1930-64). São Paulo: Companhia das Letras, 2010 Links Diretrizes do Estado Novo (1937 – 1945) > Lista de temas [CPDOC/FGV] Centro de Pesquisa e Documentação de História Contemporânea do Brasil (CPDOC). A Era Vargas, anos 20 a 1945. IN: https://cpdoc.fgv.br/producao/dossies/AEraVargas1/apresentacao Trilha Sonora do Episódio 01. Aquarela do Brasil – Francisco Alves 02. Quindins de Yaya – Emilinha Borba & Cesar de Almeida 03. Frenesi – Artie Shaw 04. Bahia com H – Fancisco Alves 05. Leva meu Samba – Ataulfo Alves 06. Morena boca de ouro – Silvio Caldas 07. Tangerine – jimmy Dorsey & His Orchestra 08. Cai cai – Joel & Gaúcho 09. Izaura – Francisco Alves 10. Filosofia – Noel Rosa 11. O Samba da minha Terra – Dorival Caymmi 12. Besame Mucho – Jimmy Dorsey 13. Zé Marmita – Marlene 14. Batuque no Morro – Linda Batista 15. O Guarani – Carlos Gomes 16. Cadê Zazá (marcha) – Carlos Galhardo 17. Batatas Fritas – Aurora Miranda 18. Brasileirinho – Waldir Azevedo 19. Chica Chica Boom Chic – Carmen Miranda 20. South American Way – Carmen Miranda 21. Samba Rasgado – Marlene 22. O Bonde São Januário – Wilson Batista e Ataulfo Alves 23. I Yi Yi Yi Yi (I like very much) – Carmen Miranda 24. Thank you, North America – Carmen Miranda 25. Ca Room Pa Pa – Carmen Miranda 26. Maniac (Flashdance) – Michael Sembello 27. I’m Still Standing – Elton John 28. Girls just want to have fun – Cyndi Lauper 29. Billie Jean – Michael Jackson 30. We Will Rock You – Queen 31. It’s Not Unusual – Tom Jones 32. Night Fever – Bee Jeans 33. Voice of America’s Sons – John Cafferty Madrinhas e Padrinhos Alexandre Strapação Guedes Vianna, Alexsandro de Souza Junior, Anderson O Garcia,  André Luis Santos, Andre Trapani Costa Possignolo, Andréa Silva, Andressa Marcelino Cardoso, Artur Henrique de Andrade Cornejo, Carlos Alberto de Souza Palmezani, Carlos Alberto Jr., Carolina Pereira Lyon, Ceará, Cláudia Bovo, Eani Marculino de Moura, Eduardo Saavedra Losada Lopes, Elisnei Oliveira, Ettore Riter, Felipe Augusto Roza, Felipe Sousa Santana, Flavio Henrique Dias Saldanha, Iago Mardones, Iara Grisi, Isaura Helena, João Carlos Ariedi Filho, José Carlos dos Santos, Leticia Duarte Hartmann, Lucas Akel, Luciano Beraba, Manuel Macias, Marcos Sorrilha, Mayara Araujo dos Reis, Moises Antiqueira, Paulo Henrique de Nunzio, Rafael, Rafael Alves de Oliveira, Rafael Igino Serafim, Rafael Machado Saldanha, Raphael Almeida, Raphael Bruno Silva Oliveira, Renata Sanches, Rodrigo Raupp, Rodrigo Vieira Pimentel, Rubens Lima, Sr. Pinto, Wagner de Andrade Alves, Willian Scaquett, Willian Spengler e ao padrinho anônimoSee omnystudio.com/listener for privacy information.

Donny Hathaway - Someday We'll All Be Free (The Reflex Revision), David Morales feat. Tiger Wilson, Melanie Daniels Walker - Show Love (NYC Mix), Michelle Chiavarini & Carmichael MuiscLover - Divine Everything (Main Mix), Leon Ware - Inside Your Love (Disco Dandies 'Two People' Remix), Hatiras, Sebb Junior - Undisputed Queen of Disco (Understanding EP), Tony Momrelle - My Paradise (Louie Vega Remix), Paul Sirrell - Discotheque (Origiinal Mix), Kev Dot Kruz with Sheba Jordan, Michelle Chiavarini & Derrick Ricky Nelson - Be With You, Jestofunk - Disco Queen (Moz-Art Remix Radio Edit), Will Downing - Come Together As One, Eric Faria - Can't Get Enough of Your Love Baby (Velvet Cuts EP), Patrice Rushen - Haven't You Heard (Joey Negro Disco Mix Edit), Phyllis Hyman - Heavenly (Jeremy Rosebrook's Heavenly Mix), Jeremy Rosebrook & Jimmy DePre - Take Off To Frisco, Los Charly's Orchestra feat. Andre Espeut - Living The Brooklyn Nights, Raymond Barton feat. YaYa Diamond - Love In Your Eyes, Shaila Prospere - Let's Be (Family Reunion Remix), Deborah Cox - Easy Way (HouserWerQ Remix), The R&R Soul Orchestra - 90 To Nothing (feat. Brent Carter), Florence Ballard - It's Not Unusual, www.starpointradio.com

Hellooo Basementeers.... Well this was a big show when we first posted it but the Basement is busy working on 2 huge projects for a big future possible show, so we need to roll an older one, so for the people who didn't hear this the first time, here you go. Here we have The Impressions, Curtis Mayfield & Jerry Butler's old band. We will play trax from there lp's that most of out there have never heard before. So let's start with good ....IMPRESSIONS..... Intro: Junkie Chase 1. You've Been Cheating 2. I've Been Trying 3. Little Young Lover 4. Can't Satisfy 5. Check Out Your Mind 6. Gypsy Woman 7. Believe In Me 8. You Must Believe Me 9. Fool For You 10. I'm A Changed Man 11. Givin' Up On Love 12. Superfly 13. Seven Years 14. Riding High 15. Meeting Over Yonder 16. Never Give You Up 17. Sister Love 18. Falling In Love With You 19. You Always Hurt Me 20. We're A Winner 21. We're Rolling On 22. Baby Turn Me On 23. No One Else 24. Love Happenings 25. Were In Love 26. Love's A Coming 27. The Girl I Find 28. I Need You 29. I'll Always Be There 30. At The County Fair 31. Never Let You Go 32. Don't Let It Hide 33. It's Not Unusual 34. You'll Want Me Back 35. Jealous Man 36. Never Too Much Love 37. Falling In Love With You 38. Your Something Sadie 39. Too Slow Outro: Junkie Chase

Episode 45. It’s Not Unusual featuring Mortar of Clandestien It’s an honour to be joined by Mortar of Clandestien, Grand Lodge III and the mighty Syllabolix crew for the 45th instalment of Beers, Beats & The Biz. From Alice Springs to Perth and on to the rest of the country, in this episode we catch up with one of the country’s most influential and prolific producer/MCs, Mortar of Clandestien. We talk joining Tomohawk and Graphic in Clandestien and their following 6 releases, we talk Mortar’s solo output, from the amazing Mortarshell Symphony to his collaboration with Ciecmate and Dazastah as Grand Lodge III, we talk everything from influences and labels to conspiracies and short lived beefs. Between it all, we talk Robert Hunter and the amazing, Fear and Loathing - a collaborative effort between Hunter and Mortar, from concept to creation we hear numerous stories, talk the making of and the close friendship the two MCs formed. It’s an honour to hear these stories, and so many more, from the Syllabolix veteran and we can’t thank Mortar enough for his time. Beers, Beats & The Biz is live now on iTunes, Soundcloud and Spotify: download, rate, subscribe, comment, share and thank you for tuning in to the show. Support The Podcast - www.patreon.com/BeersBeatsTheBiz Recorded at Shire Studio - shirerecords.com.au/ Brought To You By The Beers Beats & The Biz Team Jake Biz Travis Broi Insideus

This week, Australia's elections are hacked, A Saudi app thay tracks women's movements, Samsung unveils a foldable phone, the perils of AI & machine learning, ... and much, much more.  Headlines Australia's PM says the country's parliament and three largest political parties have been hacked by a “sophisticated state actor” ahead of a federal election Senator calls for Google, Apple to drop Saudi app that monitors women Samsung's foldable phone is the Galaxy Fold, available April 26th starting at $1,980 Audible Book of the Week The History of the Future by Blake J. Harris Sign up at AudibleTrial.com/TheDrillDown Music Break: Every Breath You Take by Police Hot Topics Machine learning 'causing science crisis' A Crucial Step for Averting AI Disasters This Person Does Not Exist Is the Best One-Off Website of 2019 This Person Does Not Exist Music Break: It's Not Unusual  by Tom Jones Final Word US Copyright Office refused copyright claim for “Carlton Dance” The Drill Down Video of the Week Sun Flyer 2 Completes First Flight with Siemens Electric Propulsion Motor Subscribe! The Drill Down on iTunes (Subscribe now!) Add us on Stitcher! The Drill Down on Facebook The Drill Down on Twitter Geeks Of Doom's The Drill Down is a roundtable-style audio podcast where we discuss the most important issues of the week, in tech and on the web and how they affect us all. Hosts are Geeks of Doom contributor Andrew Sorcini (Mr. BabyMan), marketing research analyst Dwayne De Freitas, and Vudu product manager Tosin Onafowokan.

This week, an Amazon robot injures two dozen humans, Google's CEO testifies before Congress, China flexes its muscle against tech companies in the west, Bold statements from Elon Musk, space news... and much, much more.  What We're Playing With Andy: Far Cry 5 Dwayne: Audio Hijack Tosin: Unifi AP AC-LR Hot Topic New report on Russian disinformation, prepared for the Senate, shows the operation's scale and sweep Russian 2016 Influence Operation Targeted African-Americans on Social Media Full Report Expert Interview w/ Liz Marasco Audible Book of the Week Christmas Eve, 1914 by Charles Olivier Sign up at AudibleTrial.com/TheDrillDown Music Break: Stille Nacht by Rolando Villazon Hot Topic As Facebook Raised a Privacy Wall, It Carved an Opening for Tech Giants Facebook's Data Sharing: 5 Takeaways From Our Investigation Music Break: It's Not Unusual  by Tom Jones Final Word 'Fresh Prince' Star Alfonso Ribeiro Sues 'Fortnite' Developer Over 'The Carlton' Dance The Drill Down Video of the Week This fake package covers porch thieves in glitter and fart spray Subscribe! The Drill Down on iTunes (Subscribe now!) Add us on Stitcher! The Drill Down on Facebook The Drill Down on Twitter Geeks Of Doom's The Drill Down is a roundtable-style audio podcast where we discuss the most important issues of the week, in tech and on the web and how they affect us all. Hosts are Geeks of Doom contributor Andrew Sorcini (Mr. BabyMan), marketing research analyst Dwayne De Freitas, and Vudu product manager Tosin Onafowokan.

DOJ, ATF Are About to Find Themselves in Court Over the Newly-Released Bump Stock Ban, Dems promise quick action on gun control in January, Shooting of Criminal by Citizen NOT Reported by Police & NOT Unusual, Gun Control – Do…

No Dia da Nacional Consciência Negra, 20 de novembro, os historiadores C. A. e Beraba refletem juntos sobre os porquês da existência e da celebração desta data. Embarque nessa jornada na qual  contamos a história e as visões construídas sobre o herói nacional Zumbi dos Palmares ao longo do tempo. No episódio: Entenda a origem, a importância e a necessidade de termos o Dia Nacional da Consciência Negra, descubra como foi o processo para a instituição desta data cívica, compreenda o que era e é um Quilombo e por que falamos de Zumbis (no plural) e surpreenda-se com as as narrativas construídas sobre Zumbi dos Palmares ao longo da História do Brasil. Arte da Capa Publicidade Ajude nosso projeto crescer cada vez mais. Seja nossa Madrinha ou Padrinho. www.padrim.com.br/fronteirasnotempo Mencionado no Episódio Ganga Zumba. Dir. Caca Diegues. Brasil, 1963. Quilombo. Dir. Caca Diegues. Brasil-França, 1984.   Redes Sociais Twitter, Facebook, Youtube, Google+ Contato WhatsApp: 13 99204-0533 E-mail: fronteirasnotempo@gmail.com Expediente Produção Geral e Hosts: C. A e Beraba, Recordar é Viver: Willian Spengler. Vitrine:  Augusto Carvalho, Edição: Talk'nCast Material Complementar Livros e Artigos FRANÇA, J. M. C. FERREIRA, R. A. Três vezes Zumbi: a construção de um herói brasileiro. São Paulo: Três Estrelas, 2012. GOMES, F. S. De olho em zumbi dos palmares: histórias, símbolos e memória social. São Paulo: Claro Enigma, 2011. GOMES, F. S.; DOMINGUES, P. (orgs.). Políticas da Raça: experiências e legados da abolição e da pós-emancipação no Brasil. São Paulo: Selo Negro, 2014. GOMES, F. S.; DOMINGUES, P. Da nitidez à invisibilidade: legados do pós-emancipação no Brasil. Belo Horizonte: Fino Traço, 2013. GOMES, Nilma Lino. Diversidade étnico-racial, inclusão e equidade na educação brasileira: desafios, políticas e práticas. Revista Brasileira de Política e Administração da Educação – Periódico científico editado pela ANPAE, [S.l.], v. 27, n. 1, abr. 2011. ISSN 2447-4193. Disponível em: . NASCIMENTO, E. L (org.) A matriz africana no mundo. São Paulo: Selo Negro, 2008. SCHWARCZ, L. Nem preto nem branco, muito pelo contrário. São Paulo: Claro Enigma, 2013. Podcasts Spin de Notícias #49: 18 Maian 2017 (23/11/2017) Salitre, Life Hacks, Zumbis e Comida do séc XVII  Fronteiras no Tempo #4 – Raça e Racismo no Brasil  Fronteiras no Tempo #14 – Partilha da África  Fronteiras no Tempo #19 – Tráfico Negreiro  Fronteiras no Tempo #30: Abolição da Escravidão  Fronteiras no Tempo: Historicidade #7 História da África e da cultura afrobrasileira Links Fundação Cultural Palmares Personalidades negras: Zumbi dos Palmares Vídeos Web-serie Nossa Voz Ecoa Zumbi dos Palmares|Canal Da História 28 DOCUMENTÁRIOS PARA DEBATER RACISMO A lista é bem variada, indo desde produção de alunos do colégio Pedro II até cinema experimental negro e conta, também, com documentários profissionais e premiados que abordam das mais variadas formas as questões históricas e sociais que envolvem as populações negras brasileiras. 1) Menino 23 https://www.youtube.com/watch?v=4wmraawmw38 2) Chacinas nas periferias https://www.youtube.com/watch?v=53rQggrAouI 3) A História do Racismo e do Escravismo (BBC) https://www.youtube.com/watch?v=0E6kcJm1YS4 4) Raça Humana https://www.youtube.com/watch?v=y_dbLLBPXLo 5) O negro no Brasil https://www.youtube.com/watch?v=zJAj-wGtoko 6) Ninguém nasce assim https://www.youtube.com/watch?v=6H_xfUCLWBY 7) Racismo Camuflado no Brasil https://www.youtube.com/watch?v=zJVPM18bjFY 8) Negro lá, negro cá https://www.youtube.com/watch?v=xPC16-Srbu4 9) Vidas de Carolina https://www.youtube.com/watch?v=AkeYwVc2JL0 10) Negros dizeres https://www.youtube.com/watch?v=agvSmz1k_Us 11) Mulher negra https://www.youtube.com/watch?v=WDgGLJ3TPQU 12) Negro Eu, Negro Você https://www.youtube.com/watch?v=lpT17VJpnX0 13)A realidade de trabalhadoras domésticas negras e indígenas https://www.youtube.com/watch?v=s4UsjpFg2Vg 14) Espelho, Espelho Meu! https://www.youtube.com/watch?v=44SzV2HSNmQ 15) Open Arms, Closed Doors https://www.youtube.com/watch?v=uXqpOFBXjBs 16) The Brazilian carnival queen deemed ‘too black’- A Globeleza que era negra demais https://www.youtube.com/watch?v=S0ODz9aIQ_k 17) Boa Esperança – minidoc https://www.youtube.com/watch?v=3NuVBNeQw0I 18) Você faz a diferença https://vimeo.com/27014017#at=70 19) Memórias do cativeiro https://www.youtube.com/watch?v=_Hxhf_7wzk0 20) Quilombo São José da Serra https://www.youtube.com/watch?v=f0asl1-SpP4 21) 7% https://www.facebook.com/usp7doc/ 22) Olhos azuis https://www.youtube.com/watch?v=In55v3NWHv4 23) Pele negra máscaras brancas e Tornar-se negro [vídeo do vlog sobre literatura negra] https://www.youtube.com/watch?v=0K0VrAAL5_E 24) Introdução ao pensamento de Frantz Fanon https://www.youtube.com/watch?v=mVFWJPXscm0 25) Invernada dos Negros https://www.youtube.com/watch?v=TCyu-Tb6D1o 26) A negação do Brasil https://www.youtube.com/watch?v=PrrR2jgSf9M 27) Sua cor bate na minha https://www.youtube.com/watch?v=gm-WjcZwgvg 28) História da Resistência Negra no Brasil https://www.youtube.com/watch?v=68AApIpKuKc  Trilha Sonora do Episódio 01. Guerreiro do Quilombo – Mestre Barrão 02. Ten Long Years – BB King And Eric Clapton 03. Cê Não Ta Preparado – Marboy Thugzz 04. Capoeira Mata Um – Jackson do Pandeiro 05. Cadê Tereza – Os Originais do Samba 06. Aquele Um – Djavan 07. A Vida em Seus Métodos Diz Calma – Di melo 08. Bebete Vãobora – Jorge Ben Jor 09. Funky Tamborim – Tania Maria 10. Vidigal – Banda Black Rio 11. Menina Mulher da Pele Preta – Jorge Ben Jor 12. Canto dos Quilombos – Carlos Henrique Machado 13. Zumbi, A felicidade Guerreira – Gilberto Gilberto 14. Guerreiras Quilombolas – Celia Sampaio 15. Quilombo O Eldorado Negro – Gilberto Gil 16. As Vezes me Chamam de Negro – Mestre Luiz Renato 17. Banditismo por uma Questão de Classe – Chico Science & Nação Zumbi 18. Take it Easy my Brother Charles – Jorge Ben Jor 19. Swinga Sambaby – Trio Mocoto 20. Maria Fumaça – Banda Black Rio 21. Na Baixa do Sapateiro – Banda Black Rio 22. Linda e Preta – Nara Couto 23. Hei, Afro – Cidade Negra 24. Descobridor dos Sete Mares – Tim Maia 25. Soul do Samba – Márcio Local 26. Esperanças Perdidas – Os Originais do Samba 27. Reza Vela – O Rappa 28. It’s Not Unusual – Tom Jones 29. Lucille – Little Richard 30. Masculino e Feminino – Pepeu Gomes Madrinhas e Padrinhos Alexandre Strapação Guedes Vianna, Alexsandro de Souza Junior, Anderson O Garcia, Andréa Silva, Andressa Marcelino Cardoso, Artur Cornejo, Barbara Marques, Caio César Damasceno da Silva, Caio Sérgio Damasceno da Silva, Carlos Alberto Jr., Danilo Alves Cassonato, Eani Marculino de Moura, Eduardo Saavedra Losada Lopes, Ettore Riter, Fabio Henrique S. de Medeiros, Felipe Augusto Roza, Iara Grisi, Jonatas Pinto Lima, José Carlos dos Santos, Lucas Akel, Manuel Macias, Marcos Sorrilha, Maria Rosi Pericolo, Mayara Araujo dos Reis, Paulo Henrique De Nunzio, Rachel Magro, Rafael Alves de Oliveira, Rafael Igino Serafim, Rafael Machado Saldanha, Raphael Almeida, Raul Landim Borges, Renata Sanches, Rodrigo Vieira Pimentel, Rômulo Chagas, Sr. Pinto, Tiago Gonçalves, Victor Silva de Paula, Wagner de Andrade Alves, Willian Scaquett, Willian Spengler e Yuri Morales e ao padrinho anônimoSee omnystudio.com/listener for privacy information.

The World Cup is over, and we are feeling a distinct lack of sporting events at the moment. So let's get on with nine great songs from Crashed Out, The Hard Toms, The Swindells, Ringleaders, King Automatic, Hey Honcho And The Aftermaths, The Zipheads, The Callas With Lee Ranaldo and Union Morbide.Captain Oi, Poetry Corner, Comedy Suburbs, Tony has your Facebook comments, Uglyshoes, last week, Tony talks about Ste's wedding, acoustic gigs, World Cup, France, another great band at The Lion, From the Vaults, Tony's International Gig Guide, PGOTW, 3 Stone Monkey, The New Waves bed, this week, So long Solo, Izzatwat, a little bit of brexit, Podchaser, Union Morbide and a reminder of the stations which carry us.Song 1: Crashed Out – Just Another GigSong 2: The Hard Toms – it’s Not UnusualSong 3: The Swindells – Same OldSong 4: Ringleaders – Gold Coast WomanSong 5: King Automatic – Drunk FriendsSong 6: Hey Honcho And The Aftermaths – Can’t Stand the PainSong 7: The Zipheads – Matter Of TimeSong 8: The Callas With Lee Ranaldo – Acid BooksSong 9: Union Morbide – Old Punk

Spinning off from Flowers & Fishnets comes POWER OF FISHNETS: The Black Canary and Zatanna Podcast. In this first episode, Ryan Daly reviews the original graphic novel Black Canary and Zatanna: Bloodspell. Let us know what you think! Leave a comment or send an email to: RDalyPodcast@gmail.com. This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK Visit our WEBSITE: http://fireandwaterpodcast.com/ Follow us on TWITTER - https://twitter.com/FWPodcasts Like our FACEBOOK page - https://www.facebook.com/FWPodcastNetwork Use our HASHTAG online: #FWPodcasts and #spellsandyells Subscribe via iTunes as part of the FIRE AND WATER PODCAST: http://itunes.apple.com/podcast/the-fire-and-water-podcast/id463855630 Music: “I Put a Spell On You” by Annie Lennox; “It’s Not Unusual” by Tom Jones; “Black Magic Woman” by Santana; “She’s a Lady” by Tom Jones Thanks for listening! Evah a ecin yad!

The team celebrate 50 episodes with a look back at the pop culture of 50 years ago. With Guy Branum, Wynter Mitchell, Margaret Wappler and Oliver Wang. Jams:  Wynter Mitchell - Wooly Bully by Sam the Sham and the Pharaos and California Girls by The Beach Boys. Oliver Wang - A Change is Gonna to Comel by Sam Cooke Margaret Wappler - It’s Not Unusual by Tom Jones Guy Branum - I’m Looking Through You by The Beatles Each week we'll add everyone's jams to this handy Spotify Play List. You can let us know the media you consume when faced with difficult times in our Facebook or via @PopRocket on Twitter.

Mix while subbing on California Death Room -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- Bunny Lee All Stars, Warfare, Dancehall '69 (Disc 1) Eric Morris, Penny Reel, Guns Of Navarone The Checkmates, Turn Me On, Ska Bonanza: The Studio One Ska Years (Disc 1) Owen Grey with Clue J & His Blues Blasters, Jezebel, Ska Bonanza: The Studio One Ska Years (Disc 1) The Skatalites, Nimble Foot Ska, Ska Bonanza: The Studio One Ska Years (Disc 1) Theo Beckford, Take Your Time, Take Your Time The Tennors, Ride Your Donkey, Ride Your Donkey Kelynne Beckford, Combination, Ride Your Donkey Bruce Ruffin, You Are The Best, Bruce Ruffin John Holt, Get It While It's Dub, 500 Volts Of Dub Augustus Pablo, Jah Light, East Of The River Nile Bunny Scott, What's The Use, Heart Of The Ark Jackie Mittoo, Wall Street, Wall Street Phyllis Dillon, We Belong Together, Phyllis Dillon Selected Hits King Stitt & Andy Capp, Herbsman Shuffle, Trojan Producer Series [Disc 2] Horse Mouth, Herb Vendor, Trojan Producer Series [Disc 1] John Holt, No Man Is A Dub, 500 Volts Of Dub Lee Perry, Rejoicing Skank, Upsetter Shop Volume 1 - Upsetter In Dub, Niney The Observer, Ital Correction, Trojan Producer Series [Disc 1] Derrick Morgan, Moon Hop, Moon Hop Winston Wright with Tommy McCook, Moon Invader, Moon Invader The Clancy Set, Western Organ, Western Organ Ace And The Professional, Version, Punnany The Wild Bunch, Music Doctors, The Wild Bunch Pat Kelly, Since You Are Gone, Dry Acid : Lee Perry Productions 1968 - 1969 Invaders, Soulful Music, Happy Ogan Jackie Mittoo, Black Organ, Black Organ The Upsetters, Groovy Dub, Lee Scratch Perry ‎– Arkology [disc 3] The Mellotones, Fact Of Life, Dry Acid : Lee Perry Productions 1968 - 1969 The Pioneers, I Need Your Sweet Inspiration, I Need Your Sweet Inspiration Rico Rodriguez, It's Not Unusual, It's Not Unusual Ernest Rangline, Surfin, Surfin Roland Alphonso, One Thousand Tons Of Megaton, Dancehall '69 (Disc 1) Lennie Hibbert, Village Soul (2nd Version), Village Soul Neville Hinds, Tit for Tat, Trojan Instrumental Box Set [disc 2] Prince Jazzbo, Church Is A Rome, Kick Boy Face The Granville Williams Orchestra, Hi-Life, Hi-Life Scotty & Lorna Bennett, Skank In Bed, Breakfast In Bed / Skank In Bed Sound Dimension, Psychedelic Rock (Rockfort Rock), Mojo Rock Steady Lord Creator, Kingston Town, Kingston Town Max Romeo, Wet Dream, Dream With Max Romeo Dorothy Ashby, Soul Vibrations, Afro-Harping

César Vidal realiza un especial sobre Tom Jones y su faceta menos conocida, el country. Escucheremos temas como  Delilah, It's Not Unusual,  Proud Mary, Honky Tonk Women, Green green grass of home... Y duetos con Tina Turner, Rita Coolridge, Tanya Tucker, Isaac Hayes y Gladys Knight.

Kirsty Young's castaway is the singer Sir Tom Jones. In a career spanning fifty years he's sold 150 million albums and his hits have included It's Not Unusual, What's New Pussycat? and Delilah. As a child it was assumed he'd follow in his father's footsteps and become a miner. But he developed TB when he was twelve and doctors warned his parents against sending their only son to the pit; they said his lungs were too weak. Now aged seventy, he has no plans to retire. "Singing's like breathing to me", he says, "my voice drives me, it tells me that I have to do it". Producer: Leanne Buckle Record: A Whole Lotta Shakin' Goin' On Book: The Rise and Fall of the British Empire -Lawrence James Luxury: A Bucket and Spade.

Vanilla Christ and Chocolate Moses, It’s Not Unusual for Russ to Be Alone… Because He’s Too Smart for People, the Birth of an ArrogantJerk, the Giant Flying Beaver’s Quantum Leap, Serious Vlogging, the Boston Digg Party, RIAA Puppy-Kicking Stakes, Greg Explains Why the Mep Report is On the Internet, Clea Winnebago-Ho-Chunk, Little-Known Stories of Kokopelli, […] The post Mep Report #78 appeared first on The Mep Report - High Brow Birds.