Podcasts about procul harum

Rather than debating who put whose chocolate in which peanut butter, we see the results of someone really knowing what to do with some good ingredients. Without You, originally by Badfinger, covered by Harry Nilsson.  Outro music is Whiter Shade of Pale, by Procul Harum. 

Send us a textIn a packed podcast episode:Graham asks if Netflix is really beating the BBC at the numbers of viewers game in the UK? Graham and Charles have been listening to Mogwai's new album The Bad Fire and wonder why the band never quite hits the peaks.Is new film The Brutalist just too brutally long?Graham reports on the sold out Vinyl Sessions showdown with music author Rob Chapman talking about Syd Barrett and Nick Drake,Plus a discussion about what music is good accompany sex and is Procul Harum's debut album in early 1968 the first prog album?Keep in touch with Two Big Egos in a Small Car:X@2big_egosFacebook@twobigegos

Jerry Stevenson Success Secrets for Musicians. Jerry returns to the podcast, and we look in depth at what makes a successful creative musician. The points raised work for any artist gleaned from many years of experience of working as a top guitarist. This gets very deep and very interesting, and I my opinion are the things not taught in college and go to the very essence of what makes an artist.   Jerrys credits include Chris Rea, Barbara Dickson and Procul Harum and well as playing for the Queen at Buckingham Palace.   To support the podcast and get access to features about guitar playing and song writing visit https://www.patreon.com/vichyland and also news for all the creative music that we do at Bluescamp UK and France visit www.bluescampuk.co.uk   For details of the Ikaro music charity visit www.ikaromusic.com   Big thanks to Josh Ferrara for the music  

Na BRAV....äääh, Die Bravourösen 90er sind zurück! Anderer Name, etwas anderes Konzept, aber noch immer mit den alten Stimmen. Und da hoffen wir doch darauf, dass es euch gefällt! Wir haben in den letzten Monaten wenig von uns hören lassen. Wir mussten ein wenig schauen, ob und wie wir den Podcast weitermachen wollen und können. Der Wille ist da, das steht fest! Wir haben das Konzept aber ein wenig geändert. In jeder zweiten Ausgabe wird nach wie vor eine BRAVO Hits besprochen werden. In den anderen Ausgaben wollen wir uns aber ein wenig in der tollen Samplerwelt der letzten 40 Jahre tummeln. Da gab es so viel. Den Anfang macht heute die Kuschelrock 1. Vielleicht die bekannteste Samplerreihe neben den BRAVO Hits. Wer von den Menschen Jahrgang 1965 bis 1990 nicht zu einer Kuschelrock-Ausgabe geschwoft hat, hat der oder die überhaupt gelebt? Eben. Die Kuschelrock 1 wurde 1987 noch als Single-CD veröffentlicht. Wir haben uns der Neuauflage aus dem Jahr 1989 angenommen. Die wird gleich mal von einem Standard-Werk aller Kuschelrocks eröffnet. "The Power of Love" von Jennifer Rush wurde unzählige Male auch gecovert, unter anderem von Joe Cocker. Auf der CD 1 finden sich dann noch weitere Perlen wie zum Beispiel "A Whiter Shade of Pale" von Procul Harum oder "One More Night" von Phil Collins. Überhaupt Phil Collins. Mit zwei Songs von Genesis ist der Edelbarde gleich 3x auf dieser Doppel-CD vertreten. Das Motto der heutigen Ausgabe von "Die bravourösen 90er" lautet: Wein auf den Tisch, Licht dimmen, und nur im Frottee-Schlüpfer auf dem Sofa diesen Podcast genießen! Du möchtest deinen Podcast auch kostenlos hosten und damit Geld verdienen? Dann schaue auf www.kostenlos-hosten.de und informiere dich. Dort erhältst du alle Informationen zu unseren kostenlosen Podcast-Hosting-Angeboten. kostenlos-hosten.de ist ein Produkt der Podcastbude. Gern unterstützen wir dich bei deiner Podcast-Produktion.

Soldater! Uskyldige brikker i større skæbnesvangre spil af få magthavere og samtidig ofre for en ulyksalig kommandovej. Selvom der både nu og i historien er dem der vælger det frivilligt er det stadig en vild - og desværre vildt naiv - tanke at alle nægtede. At ingen ville være soldat! Det har Lennon (selvfølgelig) sunget om og sammen med ham marcherer bl.a. Abba, Muse, Tom Waits, Paul Young, Procul Harum, Fleurie, Sade, Flying Pickets, Rachel Platten, og de danske Scarlet Pleasure, Fallulah og Ginger Ninja. En stor del af sangene handler konkret om soldater i et reelt krigs tema mens nogle bruger ordet mere symbolsk.

Liz Truss, forsætisráðherra Bretlands, hefur staðið í ströngu þær sex vikur sem hún hefur gegnt embætti. Efnahagsaðgerðum hennar var illa tekið og á föstudag rak hún fjármálaráðherrann sinn. Því er jafnvel spáð að sjálf láti hún af embætti fyrr en síðar. Hjörtur J. Guðmundsson, sagnfræðingur og alþjóðastjórnmálafræðingur, ræddi um stöðuna í breskum stjórnmálum. Ásgeir Brynjar Torfason, sérfræðingur í fjármálum, ræddi stuttlega bresk efnahagsmál og sagði svo frá nýafstöðnum ársfundum Alþjóða gjalderissjóðsins og Alþjóðabankans, Nóbelsverðlaunahöfunum í hagfræði og vandræðum svissneska bankans Credit Suisse. Í dag er alþjóðlegur baráttudagur gegn fátækt. Af því tilefni komu í þáttinn Geirdís Hanna Kristjánsdóttir, frá kjarahópi Öryrkjabandalagsins, og Ásta Þórdís Skjalddal frá grasrótarsamtökunum PEP. Báðar þekkja fátækt á eigin skinni. Þær sögðu frá eigin aðstæðum og baráttunni gegn fátækt. Tónlist: A whiter shade of pale - Procul Harum, Frank Mills - Emilíana Torrini, Syndir holdsins / Lifi ljósið - Hárið 2004.

Liz Truss, forsætisráðherra Bretlands, hefur staðið í ströngu þær sex vikur sem hún hefur gegnt embætti. Efnahagsaðgerðum hennar var illa tekið og á föstudag rak hún fjármálaráðherrann sinn. Því er jafnvel spáð að sjálf láti hún af embætti fyrr en síðar. Hjörtur J. Guðmundsson, sagnfræðingur og alþjóðastjórnmálafræðingur, ræddi um stöðuna í breskum stjórnmálum. Ásgeir Brynjar Torfason, sérfræðingur í fjármálum, ræddi stuttlega bresk efnahagsmál og sagði svo frá nýafstöðnum ársfundum Alþjóða gjalderissjóðsins og Alþjóðabankans, Nóbelsverðlaunahöfunum í hagfræði og vandræðum svissneska bankans Credit Suisse. Í dag er alþjóðlegur baráttudagur gegn fátækt. Af því tilefni komu í þáttinn Geirdís Hanna Kristjánsdóttir, frá kjarahópi Öryrkjabandalagsins, og Ásta Þórdís Skjalddal frá grasrótarsamtökunum PEP. Báðar þekkja fátækt á eigin skinni. Þær sögðu frá eigin aðstæðum og baráttunni gegn fátækt. Tónlist: A whiter shade of pale - Procul Harum, Frank Mills - Emilíana Torrini, Syndir holdsins / Lifi ljósið - Hárið 2004.

On this Robin Trower interview: Why James Brown & BB King influenced him more than Hendrix, benefit of being in Procul Harum before his solo career, how Bridge of Sighs changed his life, opening for The Beatles, The Stones & Ten Years After, working with Geoff Emerick, his top 2 musical experiences, John Peel's support, MOST IMPORTANT decision he made which contributed to his success, how Martin Barre (from Jethro Tull) helped “convert” him from Gibsons to Fender Strats, favorite songs from his own catalog, Alexander The Great, what he's most grateful for, and what drives him. Absolutely LOVELY guy, amazing musician! Cool Guitar & Music T-Shirts! http://www.GuitarMerch.com Robin Trower just came out with his 27th studio LP called No More Worlds To Conquer, and we'll talk about this new LP along with some of his amazing history. Subscribe & Website:  https://www.everyonelovesguitar.com/subscribe Support this show: http://www.everyonelovesguitar.com/support

Í Rokklandi í dag eru tveir tónlistarmenn í brennidepli. Annarsvegar ung og áhugaverð tónlistarkona að vestan, og svo ný-látinn tónlistarmaður frá Englandi. Unga tónlistarkonan heitir Árný Margrét, en hún sendi frá sér fyrstu fjögurra laga plötuna núna á föstudaginn, Intertwined, sem kemur út um allan heim á vegum One Little Independent Records sem gefur t.d. út Björk og Ásgeir Trausta. Tátni tónlistarmaðurinn er svo Gary Brooker, forsprakki hljómsveitarinnar Procol Harum, en hann lést núna 19. Febrúar, 76 ára að aldri. Gunnlaugur Sigfusson útvarpsmaður með meiru segir okkur frá Gary Brooker og Procul Harum.

Í Rokklandi í dag eru tveir tónlistarmenn í brennidepli. Annarsvegar ung og áhugaverð tónlistarkona að vestan, og svo ný-látinn tónlistarmaður frá Englandi. Unga tónlistarkonan heitir Árný Margrét, en hún sendi frá sér fyrstu fjögurra laga plötuna núna á föstudaginn, Intertwined, sem kemur út um allan heim á vegum One Little Independent Records sem gefur t.d. út Björk og Ásgeir Trausta. Tátni tónlistarmaðurinn er svo Gary Brooker, forsprakki hljómsveitarinnar Procol Harum, en hann lést núna 19. Febrúar, 76 ára að aldri. Gunnlaugur Sigfusson útvarpsmaður með meiru segir okkur frá Gary Brooker og Procul Harum.

Í Rokklandi í dag eru tveir tónlistarmenn í brennidepli. Annarsvegar ung og áhugaverð tónlistarkona að vestan, og svo ný-látinn tónlistarmaður frá Englandi. Unga tónlistarkonan heitir Árný Margrét, en hún sendi frá sér fyrstu fjögurra laga plötuna núna á föstudaginn, Intertwined, sem kemur út um allan heim á vegum One Little Independent Records sem gefur t.d. út Björk og Ásgeir Trausta. Tátni tónlistarmaðurinn er svo Gary Brooker, forsprakki hljómsveitarinnar Procol Harum, en hann lést núna 19. Febrúar, 76 ára að aldri. Gunnlaugur Sigfusson útvarpsmaður með meiru segir okkur frá Gary Brooker og Procul Harum.

Heimsglugginn að þessu sinni fjallaði um innrás Rússa í Úkraínu, öllu öðru efni var ýtt til hliðar og útsendingin stóð lengur en venja er. Björn Þór Sigbjörnsson, Guðrún Hálfdánardóttir og Bogi Ágústsson ræddu hvað hefði gerst og hvers vegna. Friðrik Jónsson, sérfræðingur í öryggismálum, var með eftir klukkan hálf-níu. Áður en Friðrik slóst í hópinn var breska tónlistarmannsins Gary Brookers minnst. Hann var stofnandi Procul Harum og einn höfunda A Whiter Shade of Pale, sem er með allra þekktustu laga poppsögunnar.

Heimsglugginn að þessu sinni fjallaði um innrás Rússa í Úkraínu, öllu öðru efni var ýtt til hliðar og útsendingin stóð lengur en venja er. Björn Þór Sigbjörnsson, Guðrún Hálfdánardóttir og Bogi Ágústsson ræddu hvað hefði gerst og hvers vegna. Friðrik Jónsson, sérfræðingur í öryggismálum, var með eftir klukkan hálf-níu. Áður en Friðrik slóst í hópinn var breska tónlistarmannsins Gary Brookers minnst. Hann var stofnandi Procul Harum og einn höfunda A Whiter Shade of Pale, sem er með allra þekktustu laga poppsögunnar.

Heimsglugginn að þessu sinni fjallaði um innrás Rússa í Úkraínu, öllu öðru efni var ýtt til hliðar og útsendingin stóð lengur en venja er. Björn Þór Sigbjörnsson, Guðrún Hálfdánardóttir og Bogi Ágústsson ræddu hvað hefði gerst og hvers vegna. Friðrik Jónsson, sérfræðingur í öryggismálum, var með eftir klukkan hálf-níu. Áður en Friðrik slóst í hópinn var breska tónlistarmannsins Gary Brookers minnst. Hann var stofnandi Procul Harum og einn höfunda A Whiter Shade of Pale, sem er með allra þekktustu laga poppsögunnar.

Leo Beattie was at the epicenter of the Detroit rock scene of the late 1960's, early 1970's. After leaving his parents house just a year or two prior, and narrowly missing the draft for Vietnam, his first professional job in the industry was as a roadie for the hard-hitting band, the MC5. When opportunity knocked to join the road crew of Iggy and the Stooges, Leo took the job, and from there he would go on to work with Alice Cooper, Mitch Ryder, Procul Harum, and Robin Trower. FULL Episode HERE: https://open.spotify.com/episode/2M8ssxFWfSZ0b5cMj5DZJv?si=2MvWAgUMTnemM-rCkWh_Rw

Dozens of Big Name Artists Take Part In Joe Bonamassa'sAnnual Stream-a-Thon...Ann Wilson of Heart to Sing National Anthem at 2021 NFL Draft...Procol Harum to Release New EP Missing Persons See omnystudio.com/listener for privacy information.

'A Whiter Shade of Pale' by Keith Reid, Matthew Fisher, Danny Cordell, Procul Harum.

1967: In der Bundesrepublik Deutschland startet das Farbfernsehen und Procol Harum veröffentlicht "A whiter shade of pale". Der Song wird ein Riesenerfolg – und der größte Hit für Procol Harum.

Episode one hundred and fifteen of A History of Rock Music in Five Hundred Songs looks at “House of the Rising Sun” by the Animals, at the way the US and UK music scenes were influencing each other in 1964, and at the fraught question of attribution when reworking older songs. Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on “Memphis” by Johnny Rivers. 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/ —-more—- Erratum A couple of times I mispronounce Hoagy Lands’ surname as Land. Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. Information on the Animals comes largely from Animal Tracks  by Sean Egan. The two-CD set The Complete Animals isn’t actually their complete recordings — for that you’d also need to buy the Decca recordings — but it is everything they recorded with Mickie Most, including all the big hits discussed in this episode. For the information on Dylan’s first album, I used The Mayor of MacDougal Street by Dave Van Ronk and Elijah Wald, the fascinating and funny autobiography of Dylan’s mentor in his Greenwich Village period. I also referred to Chronicles Volume 1 by Bob Dylan, a partial, highly inaccurate, but thoroughly readable autobiography; Bob Dylan: All The Songs by Phillipe Margotin and Jean-Michel Guesdon; and Revolution in the Air, by Clinton Heylin. Transcript Today we’re going to look at a song that, more than any other song we’ve looked at so far, shows how the influence between British and American music was working in the early 1960s. A song about New Orleans that may have its roots in English folk music, that became an Appalachian country song, performed by a blues band from the North of England, who learned it from a Minnesotan folk singer based in New York. We’re going to look at “House of the Rising Sun”, and the career of the Animals: [Excerpt: The Animals, “House of the Rising Sun”] The story of the Animals, like so many of the British bands of this time period, starts at art school, when two teenagers named Eric Burdon and John Steel met each other. The school they met each other at was in Newcastle, and this is important for how the band came together. If you’re not familiar with the geography of Great Britain, Newcastle is one of the largest cities, but it’s a very isolated city. Britain has a number of large cities. The biggest, of course, is London, which is about as big as the next five added together. Now, there’s a saying that one of the big differences between Britain and America is that in America a hundred years is a long time, and in Britain a hundred miles is a long way, so take that into account when I talk about everything else here. Most of the area around London is empty of other big cities, and the nearest other big city to it is Birmingham, a hundred miles north-west of it. About seventy miles north of that, give or take, you hit Manchester, and Manchester is in the middle of a chain of large cities — Liverpool, Manchester, Leeds, and Sheffield, and the slightly smaller Bradford, are more or less in a row, and the furthest distance between two adjacent cities is about thirty-five miles. But then Newcastle is another hundred miles north of Leeds, the closest of those cities to it. And then it’s another hundred miles or so further north before you hit the major Scottish cities, which cluster together like the ones near Manchester do. This means Newcastle is, for a major city, incredibly isolated. Britain’s culture is extraordinarily London-centric, but if you’re in Liverpool or Manchester there are a number of other nearby cities. A band from Manchester can play a gig in Liverpool and make the last train home, and vice versa. This allows for the creation of regional scenes, centred on one city but with cross-fertilisation from others. Now, again, I am talking about a major city here, not some remote village, but it means that Newcastle in the sixties was in something of the same position as Seattle was, as we talked about in the episode on “Louie, Louie” — a place where bands would play in their own immediate area and not travel outside it. A journey to Leeds, particularly in the time we’re talking about when the motorway system was only just starting, would be a major trip, let alone travelling further afield. Local bands would play in Newcastle, and in large nearby towns like Gateshead, Sunderland, and Middlesborough, but not visit other cities. This meant that there was also a limited pool of good musicians to perform with, and so if you wanted to be in a band, you couldn’t be that picky about who you got on with, so long as they could play. Steel and Burdon, when they met at art school, were both jazz fanatics, and they quickly formed a trad jazz band. The band initially featured them on trumpet and trombone, but when rock and roll and skiffle hit the band changed its lineup to one based around guitars. Steel shifted to drums, while Burdon stopped playing an instrument and became the lead singer. Burdon’s tastes at the time were oriented towards the jazzier side of R&B, people like Ray Charles, and he also particularly loved blues shouters like Jimmy Witherspoon and Big Joe Turner. He tried hard to emulate Turner, and one of the songs that’s often mentioned as being in the repertoire of these early groups is “Roll ‘Em Pete”, the Big Joe Turner song we talked about back in episode two: [Excerpt: Big Joe Turner, “Roll ’em Pete”] The jazz group that Burdon and Steel formed was called the Pagan Jazz Men, and when they switched instruments they became instead The Pagans R&B Band. The group was rounded out by Blackie Sanderson and Jimmy Crawford, but soon got a fifth member when a member from another band on an early bill asked if he could sit in with them for a couple of numbers. Alan Price was the rhythm guitarist in that band, but joined in on piano, and instantly gelled with the group, playing Jerry Lee Lewis style piano. The other members would always later say that they didn’t like Price either as a person or for his taste in music — both Burdon and Steel regarded Price’s tastes as rather pedestrian when compared to their own, hipper, tastes, saying he always regarded himself as something of a lounge player, while Burdon was an R&B and blues person and Steel liked blues and jazz. But they all played well together, and in Newcastle there wasn’t that much choice about which musicians you could play with, and so they stayed together for a while, as the Pagans evolved into the Kansas City Five or the Kansas City Seven, depending on the occasional presence of two brass players. The Kansas City group played mostly jump blues, which was the area of music where Burdon and Steel’s tastes intersected — musicians they’ve cited as ones they covered were Ray Charles, Louis Jordan, and Big Joe Turner. But then the group collapsed, as Price didn’t turn up to a gig — he’d been poached by a pop covers band, the Kon-Tors, whose bass player, Chas Chandler, had been impressed with him when Chandler had sat in at a couple of Kansas City Five rehearsals. Steel got a gig playing lounge music, just to keep paying the bills, and Burdon would occasionally sit in with various other musicians. But a few members of the Kon-Tors got a side gig, performing as the Alan Price Rhythm & Blues Combo as the resident band at a local venue called the Club A Go-Go, which was the venue where visiting London jazzmen and touring American blues players would perform when they came to Newcastle. Burdon started sitting in with them, and then they invited Steel to replace their drummer, and in September 1963 the Alan Price Rhythm And Blues Combo settled on a lineup of Burdon on vocals, Price on piano, Steel on drums, Chandler on bass, and new member Hilton Valentine, who joined at the same time as Steel, on guitar. Valentine was notably more experienced than the other members, and had previously performed in a rock and roll group called the Wildcats — not the same band who backed Marty Wilde — and had even recorded an album with them, though I’ve been unable to track down any copies of the album. At this point all the group members now had different sensibilities — Valentine was a rocker and skiffle fan, while Chandler was into more mainstream pop music, though the other members emphasised in interviews that he liked *good* pop music like the Beatles, not the lesser pop music. The new lineup was so good that a mere eight days after they first performed together, they went into a recording studio to record an EP, which they put out themselves and sold at their gigs. Apparently five hundred copies of the EP were sold. As well as playing piano on the tracks, Price also played melodica, which he used in the same way that blues musicians would normally use the harmonica: [Excerpt: The Alan Price Rhythm & Blues Combo, “Pretty Thing”] This kind of instrumental experimentation would soon further emphasise the split between Price and Burdon, as Price would get a Vox organ rather than cart a piano between gigs, while Burdon disliked the sound of the organ, even though it became one of the defining sounds of the group. That sound can be heard on a live recording of them a couple of months later, backing the great American blues musician Sonny Boy Williamson II at the Club A Go Go: [Excerpt: Sonny Boy Williamson II and the Animals, “Fattening Frogs For Snakes”] One person who definitely *didn’t* dislike the sound of the electric organ was Graham Bond, the Hammond organ player with Alexis Korner’s band who we mentioned briefly back in the episode on the Rolling Stones. Bond and a few other members of the Korner group had quit, and formed their own group, the Graham Bond Organisation, which had originally featured a guitarist named John McLaughlin, but by this point consisted of Bond, saxophone player Dick Heckstall-Smith, and the rhythm section Jack Bruce and Ginger Baker. They wouldn’t make an album until 1965, but live recordings of them from around this time exist, though in relatively poor quality: [Excerpt: The Graham Bond Organisation, “Wade in the Water”] The Graham Bond Organisation played at the Club A Go Go, and soon Bond was raving back in London about this group from Newcastle he’d heard. Arrangements were quickly made for them to play in London. By this time, the Rolling Stones had outgrown the small club venues they’d been playing, and a new band called the Yardbirds were playing all the Stones’ old venues. A trade was agreed — the Yardbirds would play all the Alan Price Rhythm & Blues Combo’s normal gigs for a couple of weeks, and the Alan Price Rhythm & Blues Combo would play the Yardbirds’. Or rather, the Animals would. None of the members of the group could ever agree on how they got their new name, and not all of them liked it, but when they played those gigs in London in December 1963, just three months after getting together, that was how they were billed. And it was as the Animals that they were signed by Mickie Most. Mickie Most was one of the new breed of independent producers that were cropping up in London, following in Joe Meek’s footsteps, like Andrew Oldham. Most had started out as a singer in a duo called The Most Brothers, which is where he got his stage name. The Most Brothers had only released one single: [Excerpt: The Most Brothers, “Whole Lotta Woman”] But then Most had moved to South Africa, where he’d had eleven number one hits with cover versions of American rock singles, backed by a band called the Playboys: [Excerpt: Mickie Most and the Playboys, “Johnny B Goode”] He’d returned to the UK in 1963, and been less successful here as a performer, and so he decided to move into production, and the Animals were his first signing. He signed them up and started licensing their records to EMI, and in January 1964 the Animals moved down to London. There has been a lot of suggestion over the years that the Animals resented Mickie Most pushing them in a more pop direction, but their first single was an inspired compromise between the group’s blues purism and Most’s pop instincts. The song they recorded dates back at least to 1935, when the State Street Boys, a group that featured Big Bill Broonzy, recorded “Don’t Tear My Clothes”: [Excerpt: The State Street Boys, “Don’t Tear My Clothes”] That song got picked up and adapted by a lot of other blues singers, like Blind Boy Fuller, who recorded it as “Mama Let Me Lay It On You” in 1938: [Excerpt: Blind Boy Fuller, “Mama Let Me Lay it On You”] That had in turn been picked up by the Reverend Gary Davis, who came up with his own arrangement of the song: [Excerpt: Rev. Gary Davis, “Baby, Let Me Lay It On You”] Eric von Schmidt, a folk singer in Massachusetts, had learned that song from Davis, and Bob Dylan had in turn learned it from von Schmidt, and included it on his first album as “Baby Let Me Follow You Down”: [Excerpt: Bob Dylan, “Baby Let Me Follow You Down”] The Animals knew the song from that version, which they loved, but Most had come across it in a different way. He’d heard a version which had been inspired by Dylan, but had been radically reworked. Bert Berns had produced a single on Atlantic for a soul singer called Hoagy Lands, and on the B-side had been a new arrangement of the song, retitled “Baby Let Me Hold Your Hand” and adapted by Berns and Wes Farrell, a songwriter who had written for the Shirelles. Land’s version had started with an intro in which Lands is clearly imitating Sam Cooke: [Excerpt: Hoagy Lands, “Baby Let Me Hold Your Hand”] But after that intro, which seems to be totally original to Berns and Farrell, Lands’ track goes into a very upbeat Twist-flavoured song, with a unique guitar riff and Latin feel, both of them very much in the style of Berns’ other songs, but clearly an adaptation of Dylan’s version of the old song: [Excerpt: Hoagy Lands, “Baby Let Me Hold Your Hand”] Most had picked up that record on a trip to America, and decided that the Animals should record a version of the song based on that record. Hilton Valentine would later claim that this record, whose title and artist he could never remember (and it’s quite possible that Most never even told the band who the record was by) was not very similar at all to the Animals’ version, and that they’d just kicked around the song and come up with their own version, but listening to it, it is *very* obviously modelled on Lands’ version. They cut out Lands’ intro, and restored a lot of Dylan’s lyric, but musically it’s Lands all the way. The track starts like this: [Excerpt: The Animals, “Baby Let Me Take You Home”] Both have a breakdown section with spoken lyrics over a staccato backing, though the two sets of lyrics are different — compare the Animals: [Excerpt: The Animals, “Baby Let Me Take You Home”] and Lands: [Excerpt: Hoagy Lands, “Baby Let Me Hold Your Hand”] And both have the typical Bert Berns call and response ending — Lands: [Excerpt: Hoagy Lands, “Baby Let me Hold Your Hand”] And the Animals: [Excerpt: The Animals, “Baby Let Me Take You Home”] So whatever Valentine’s later claims, the track very much was modelled on the earlier record, but it’s still one of the strongest remodellings of an American R&B record by a British group in this time period, and an astonishingly accomplished record, which made number twenty-one. The Animals’ second single was another song that had been recorded on Dylan’s first album. “House of the Rising Sun” has been argued by some, though I think it’s a tenuous argument, to originally date to the seventeenth century English folk song “Little Musgrave and Lady Barnard”: [Excerpt: Martin Carthy, “Little Musgrave and Lady Barnard”] What we do know is that the song was circulating in Appalachia in the early years of the twentieth century, and it’s that version that was first recorded in 1933, under the name “Rising Sun Blues”, by Clarence Ashley and Gwen Foster: [Excerpt: Clarence Ashley and Gwen Foster, “Rising Sun Blues”] The song has been described as about several things — about alcoholism, about sex work, about gambling — depending on the precise version. It’s often thought, for example, that the song was always sung by women and was about a brothel, but there are lots of variants of it, sung by both men and women, before it reached its most famous form. Dave van Ronk, who put the song into the form by which it became best known, believed at first that it was a song about a brothel, but he later decided that it was probably about the New Orleans Women’s Prison, which in his accounting used to have a carving of a rising sun over the doorway. Van Ronk’s version traces back originally to a field recording Alan Lomax had made in 1938 of a woman named Georgia Turner, from Kentucky: [Excerpt: Georgia Turner, “Rising Sun Blues”] Van Ronk had learned the song from a record by Hally Wood, a friend of the Lomaxes, who had recorded a version based on Turner’s in 1953: [Excerpt: Hally Wood, “House of the Rising Sun”] Van Ronk took Wood’s version of Turner’s version of the song, and rearranged it, changing the chords around, adding something that changed the whole song. He introduced a descending bassline, mostly in semitones, which as van Ronk put it is “a common enough progression in jazz, but unusual among folksingers”. It’s actually something you’d get a fair bit in baroque music as well, and van Ronk introducing this into the song is probably what eventually led to things like Procul Harum’s “A Whiter Shade of Pale” ripping off Bach doing essentially the same thing. What van Ronk did was a simple trick. You play a descending scale, mostly in semitones, while holding the same chord shape which creates a lot of interesting chords. The bass line he played is basically this: [demonstrates] And he held an A minor shape over that bassline, giving a chord sequence Am, Am over G, Am over F#, F. [demonstrates] This is a trick that’s used in hundreds and hundreds of songs later in the sixties and onward — everything from “Sunny Afternoon” by the Kinks to “Go Now” by the Moody Blues to “Forever” by the Beach Boys — but it was something that at this point belonged in the realms of art music and jazz more than in folk, blues, or rock and roll. Of course, it sounds rather better when he did it: [Excerpt, Dave van Ronk, “House of the Rising Sun”] “House of the Rising Sun” soon became the highlight of van Ronk’s live act, and his most requested song. Dylan took van Ronk’s arrangement, but he wasn’t as sophisticated a musician as van Ronk, so he simplified the chords. Rather than the dissonant chords van Ronk had, he played standard rock chords that fit van Ronk’s bassline, so instead of Am over G he played C with a G in the bass, and instead of Am over F# he played D with an F# in the bass. So van Ronk had: [demonstrates] While Dylan had: [demonstrates] The movement of the chords now follows the movement of the bassline. It’s simpler, but it’s all from van Ronk’s arrangement idea. Dylan recorded his version of van Ronk’s version for his first album: [Excerpt: Bob Dylan, “House of the Rising Sun”] As van Ronk later told the story (though I’m going to edit out one expletive here for the sake of getting past the adult content rating on Apple): “One evening in 1962, I was sitting at my usual table in the back of the Kettle of Fish, and Dylan came slouching in. He had been up at the Columbia studios with John Hammond, doing his first album. He was being very mysterioso about the whole thing, and nobody I knew had been to any of the sessions except Suze, his lady. I pumped him for information, but he was vague. Everything was going fine and, “Hey, would it be okay for me to record your arrangement of ‘House of the Rising Sun?’” [expletive]. “Jeez, Bobby, I’m going into the studio to do that myself in a few weeks. Can’t it wait until your next album?” A long pause. “Uh-oh.” I did not like the sound of that. “What exactly do you mean, ‘Uh-oh’?” “Well,” he said sheepishly, “I’ve already recorded it.” “You did what?!” I flew into a Donald Duck rage, and I fear I may have said something unkind that could be heard over in Chelsea.” van Ronk and Dylan fell out for a couple of weeks, though they later reconciled, and van Ronk said of Dylan’s performance “it was essentially my arrangement, but Bobby’s reading had all the nuance and subtlety of a Neanderthal with a stone hand ax, and I took comfort thereby.” van Ronk did record his version, as we heard, but he soon stopped playing the song live because he got sick of people telling him to “play that Dylan song”. The Animals learned the song from the Dylan record, and decided to introduce it to their set on their first national tour, supporting Chuck Berry. All the other acts were only doing rock and roll and R&B, and they thought a folk song might be a way to make them stand out — and it instantly became the highlight of their act.  The way all the members except Alan Price tell the story, the main instigators of the arrangement were Eric Burdon, the only member of the group who had been familiar with the song before hearing the Dylan album, and Hilton Valentine, who came up with the arpeggiated guitar part. Their arrangement followed Dylan’s rearrangement of van Ronk’s rearrangement, except they dropped the scalar bassline altogether, so for example instead of a D with an F# in the bass they just play a plain open D chord — the F# that van Ronk introduced is still in there, as the third, but the descending line is now just implied by the chords, not explicitly stated in the bass, where Chas Chandler just played root notes. In the middle of the tour, the group were called back into the studio to record their follow-up single, and they had what seemed like it might be a great opportunity. The TV show Ready Steady Go! wanted the Animals to record a version of the old Ray Charles song “Talking ‘Bout You”, to use as their theme. The group travelled down from Liverpool after playing a show there, and went into the studio in London at three o’clock in the morning, before heading to Southampton for the next night’s show. But they needed to record a B-side first, of course, and so before getting round to the main business of the session they knocked off a quick one-take performance of their new live showstopper: [Excerpt: The Animals, “House of the Rising Sun”] On hearing the playback, everyone was suddenly convinced that that, not “Talking ‘Bout You”, should be the A-side. But there was a problem. The record was four minutes and twenty seconds long, and you just didn’t ever release a record that long. The rule was generally that songs didn’t last longer than three minutes, because radio stations wouldn’t play them, but Most was eventually persuaded by Chas Chandler that the track needed to go out as it was, with no edits. It did, but when it went out, it had only one name on as the arranger — which when you’re recording a public domain song makes you effectively the songwriter. According to all the members other than Price, the group’s manager, Mike Jeffrey, who was close to Price, had “explained” to them that you needed to just put one name down on the credits, but not to worry, as they would all get a share of the songwriting money. According to Price, meanwhile, he was the sole arranger. Whatever the truth, Price was the only one who ever got any songwriting royalties for their version of the song, which went to number one in the UK and the US. although the version released as a single in the US was cut down to three minutes with some brutal edits, particularly to the organ solo: [Excerpt: The Animals, “House of the Rising Sun (US edit)”] None of the group liked what was done to the US single edit, and the proper version was soon released as an album track everywhere The Animals’ version was a big enough hit that it inspired Dylan’s new producer Tom Wilson to do an experiment. In late 1964 he hired session musicians to overdub a new electric backing onto an outtake version of “House of the Rising Sun” from the sessions from Dylan’s first album, to see what it would sound like: [Excerpt: Bob Dylan, “House of the Rising Sun (1964 electric version)”] That wasn’t released at the time, it was just an experiment Wilson tried, but it would have ramifications we’ll be seeing throughout the rest of the podcast. Incidentally, Dave van Ronk had the last laugh at Dylan, who had to drop the song from his own sets because people kept asking him if he’d stolen it from the Animals. The Animals’ next single, “I’m Crying”, was their first and only self-written A-side, written by Price and Burdon. It was a decent record and made the top ten in the UK and the top twenty in the US, but Price and Burdon were never going to become another Lennon and McCartney or Jagger and Richards — they just didn’t like each other by this point. The record after that, “Don’t Let Me Be Misunderstood”, was written by the jazz songwriters Benny Benjamin and Horace Ott, and had originally been recorded by Nina Simone in an orchestral version that owed quite a bit to Burt Bacharach: [Excerpt: Nina Simone, “Don’t Let Me Be Misunderstood”] The Animals’ version really suffers in comparison to that. I was going to say something about how their reinterpretation is as valid in its own way as Simone’s original and stands up against it, but actually listening to them back to back as I was writing this, rather than separately as I always previously had, I changed my mind because I really don’t think it does. It’s a great record, and it’s deservedly considered a classic single, but compared to Simone’s version, it’s lightweight, rushed, and callow: [Excerpt: The Animals, “Don’t Let Me Be Misunderstood”] Simone was apparently furious at the Animals’ recording, which they didn’t understand given that she hadn’t written the original, and according to John Steel she and Burdon later had a huge screaming row about the record. In Steel’s version, Simone eventually grudgingly admitted that they weren’t “so bad for a bunch of white boys”, but that doesn’t sound to me like the attitude Simone would take. But Steel was there and I wasn’t… “Don’t Let Me Be Misunderstood” was followed by a more minor single, a cover of Sam Cooke’s “Bring it on Home to Me”, which would be the last single by the group to feature Alan Price. On the twenty-eighth of April 1965, the group were about to leave on a European tour. Chas Chandler, who shared a flat with Price, woke Price up and then got in the shower. When he got out of the shower, Price wasn’t in the flat, and Chandler wouldn’t see Price again for eighteen months. Chandler believed until his death that while he was in the shower, Price’s first royalty cheque for arranging “House of the Rising Sun” had arrived, and Price had decided then and there that he wasn’t going to share the money as agreed. The group quickly rushed to find a fill-in keyboard player for the tour, and nineteen-year-old Mick Gallagher was with them for a couple of weeks before being permanently replaced by Dave Rowberry. Gallagher would later go on to be the keyboard player with Ian Dury and the Blockheads, as well as playing on several tracks by the Clash. Price, meanwhile, went on to have a number of solo hits over the next few years, starting with a version of “I Put A Spell On You”, in an arrangement which the other Animals later claimed had originally been worked up as an Animals track: [Excerpt: The Alan Price Set, “I Put A Spell On You”] Price would go on to make many great solo records, introducing the songs of Randy Newman to a wider audience, and performing in a jazz-influenced R&B style very similar to Mose Allison. The Animals’ first record with their new keyboard player was their greatest single. “We Gotta Get Out Of This Place” had been written by Barry Mann and Cynthia Weill, and had originally been intended for the Righteous Brothers, but they’d decided to have Mann record it himself: [Excerpt: Barry Mann, “We Gotta Get Out Of This Place”] But before that version was released, the Animals had heard Mann’s piano demo of the song and cut their own version, and Mann’s was left on the shelf. What the Animals did to the song horrified Cynthia Weill, who considered it the worst record of one of her songs ever — though one suspects that’s partly because it sabotaged the chances for her husband’s single — but to my mind they vastly improved on the song. They tightened the melody up a lot, getting rid of a lot of interjections. They reworked big chunks of the lyric, for example changing “Oh girl, now you’re young and oh so pretty, staying here would be a crime, because you’ll just grow old before your time” to “Now my girl, you’re so young and pretty, and one thing I know is true, you’ll be dead before your time is due”, and making subtler changes like changing “if it’s the last thing that we do” to “if it’s the last thing we ever do”, improving the scansion. They kept the general sense of the lyrics, but changed more of the actual words than they kept — and to my ears, at least, every change they made was an improvement. And most importantly, they excised the overlong bridge altogether. I can see what Mann and Weill were trying to do with the bridge — Righteous Brothers songs would often have a call and response section, building to a climax, where Bill Medley’s low voice and Bobby Hatfield’s high one would alternate and then come together. But that would normally come in the middle, building towards the last chorus. Here it comes between every verse and chorus, and completely destroys the song’s momentum — it just sounds like noodling: [Excerpt: Barry Mann, “We Gotta Get Out Of This Place”] The Animals’ version, by contrast, is a masterpiece of dynamics, of slow builds and climaxes and dropping back down again. It’s one of the few times I’ve wished I could just drop the entire record in, rather than excerpting a section, because it depends so much for its effect on the way the whole structure of the track works together: [Excerpt: The Animals, “We Gotta Get Out Of This Place”] From a creators’ rights perspective, I entirely agree with Cynthia Weill that the group shouldn’t have messed with her song. But from a listener’s point of view, I have to say that they turned a decent song into a great one, and one of the greatest singles of all time “We Gotta Get Out Of This Place” was followed by another lesser but listenable single, “It’s My Life”, which seemed to reinforce a pattern of a great Animals single being followed by a merely OK one. But that was the point at which the Animals and Most would part company — the group were getting sick of Most’s attempts to make them more poppy. They signed to a new label, Decca, and got a new producer, Tom Wilson, the man who we heard earlier experimenting with Dylan’s sound, but the group started to fall apart. After their next single, “Inside — Looking Out”, a prison work song collected by the Lomaxes, and the album Animalisms, John Steel left the group, tired of not getting any money, and went to work in a shop. The album after Animalisms, confusingly titled Animalism, was also mostly produced by Wilson, and didn’t even feature the musicians in the band on two of the tracks, which Wilson farmed out to a protege of his, Frank Zappa, to produce. Those two tracks featured Zappa on guitar and members of the Wrecking Crew, with only Burdon from the actual group: [Excerpt: The Animals, “All Night Long”] Soon the group would split up, and would discover that their management had thoroughly ripped them off — there had been a scheme to bank their money in the Bahamas for tax reasons, in a bank which mysteriously disappeared off the face of the Earth. Burdon would form a new group, known first as the New Animals and later as Eric Burdon and the Animals, who would have some success but not on the same level. There were a handful of reunions of the original lineup of the group between 1968 and the early eighties, but they last played together in 1983. Burdon continues to tour the US as Eric Burdon and the Animals. Alan Price continues to perform successfully as a solo artist. We’ll be picking up with Chas Chandler later, when he moves from bass playing into management, so you’ll hear more about him in future episodes. John Steel, Dave Rowberry, and Hilton Valentine reformed a version of the Animals in the 1990s, originally with Jim Rodford, formerly of the Kinks and Argent, on bass. Valentine left that group in 2001, and Rowberry died in 2003. Steel now tours the UK as “The Animals and Friends”, with Mick Gallagher, who had replaced Price briefly in 1965, on keyboards. I’ve seen them live twice and they put on an excellent show — though the second time, one woman behind me did indignantly say, as the singer started, “That’s not Eric Clapton!”, before starting to sing along happily… And Hilton Valentine moved to the US and played briefly with Burdon’s Animals after quitting Steel’s, before returning to his first love, skiffle. He died exactly four weeks ago today, and will be missed.

Episode one hundred and fifteen of A History of Rock Music in Five Hundred Songs looks at "House of the Rising Sun" by the Animals, at the way the US and UK music scenes were influencing each other in 1964, and at the fraught question of attribution when reworking older songs. Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on "Memphis" by Johnny Rivers. 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/ ----more---- Erratum A couple of times I mispronounce Hoagy Lands' surname as Land. Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. Information on the Animals comes largely from Animal Tracks  by Sean Egan. The two-CD set The Complete Animals isn't actually their complete recordings -- for that you'd also need to buy the Decca recordings -- but it is everything they recorded with Mickie Most, including all the big hits discussed in this episode. For the information on Dylan's first album, I used The Mayor of MacDougal Street by Dave Van Ronk and Elijah Wald, the fascinating and funny autobiography of Dylan's mentor in his Greenwich Village period. I also referred to Chronicles Volume 1 by Bob Dylan, a partial, highly inaccurate, but thoroughly readable autobiography; Bob Dylan: All The Songs by Phillipe Margotin and Jean-Michel Guesdon; and Revolution in the Air, by Clinton Heylin. Transcript Today we're going to look at a song that, more than any other song we've looked at so far, shows how the influence between British and American music was working in the early 1960s. A song about New Orleans that may have its roots in English folk music, that became an Appalachian country song, performed by a blues band from the North of England, who learned it from a Minnesotan folk singer based in New York. We're going to look at "House of the Rising Sun", and the career of the Animals: [Excerpt: The Animals, "House of the Rising Sun"] The story of the Animals, like so many of the British bands of this time period, starts at art school, when two teenagers named Eric Burdon and John Steel met each other. The school they met each other at was in Newcastle, and this is important for how the band came together. If you're not familiar with the geography of Great Britain, Newcastle is one of the largest cities, but it's a very isolated city. Britain has a number of large cities. The biggest, of course, is London, which is about as big as the next five added together. Now, there's a saying that one of the big differences between Britain and America is that in America a hundred years is a long time, and in Britain a hundred miles is a long way, so take that into account when I talk about everything else here. Most of the area around London is empty of other big cities, and the nearest other big city to it is Birmingham, a hundred miles north-west of it. About seventy miles north of that, give or take, you hit Manchester, and Manchester is in the middle of a chain of large cities -- Liverpool, Manchester, Leeds, and Sheffield, and the slightly smaller Bradford, are more or less in a row, and the furthest distance between two adjacent cities is about thirty-five miles. But then Newcastle is another hundred miles north of Leeds, the closest of those cities to it. And then it's another hundred miles or so further north before you hit the major Scottish cities, which cluster together like the ones near Manchester do. This means Newcastle is, for a major city, incredibly isolated. Britain's culture is extraordinarily London-centric, but if you're in Liverpool or Manchester there are a number of other nearby cities. A band from Manchester can play a gig in Liverpool and make the last train home, and vice versa. This allows for the creation of regional scenes, centred on one city but with cross-fertilisation from others. Now, again, I am talking about a major city here, not some remote village, but it means that Newcastle in the sixties was in something of the same position as Seattle was, as we talked about in the episode on "Louie, Louie" -- a place where bands would play in their own immediate area and not travel outside it. A journey to Leeds, particularly in the time we're talking about when the motorway system was only just starting, would be a major trip, let alone travelling further afield. Local bands would play in Newcastle, and in large nearby towns like Gateshead, Sunderland, and Middlesborough, but not visit other cities. This meant that there was also a limited pool of good musicians to perform with, and so if you wanted to be in a band, you couldn't be that picky about who you got on with, so long as they could play. Steel and Burdon, when they met at art school, were both jazz fanatics, and they quickly formed a trad jazz band. The band initially featured them on trumpet and trombone, but when rock and roll and skiffle hit the band changed its lineup to one based around guitars. Steel shifted to drums, while Burdon stopped playing an instrument and became the lead singer. Burdon's tastes at the time were oriented towards the jazzier side of R&B, people like Ray Charles, and he also particularly loved blues shouters like Jimmy Witherspoon and Big Joe Turner. He tried hard to emulate Turner, and one of the songs that's often mentioned as being in the repertoire of these early groups is "Roll 'Em Pete", the Big Joe Turner song we talked about back in episode two: [Excerpt: Big Joe Turner, "Roll 'em Pete"] The jazz group that Burdon and Steel formed was called the Pagan Jazz Men, and when they switched instruments they became instead The Pagans R&B Band. The group was rounded out by Blackie Sanderson and Jimmy Crawford, but soon got a fifth member when a member from another band on an early bill asked if he could sit in with them for a couple of numbers. Alan Price was the rhythm guitarist in that band, but joined in on piano, and instantly gelled with the group, playing Jerry Lee Lewis style piano. The other members would always later say that they didn't like Price either as a person or for his taste in music -- both Burdon and Steel regarded Price's tastes as rather pedestrian when compared to their own, hipper, tastes, saying he always regarded himself as something of a lounge player, while Burdon was an R&B and blues person and Steel liked blues and jazz. But they all played well together, and in Newcastle there wasn't that much choice about which musicians you could play with, and so they stayed together for a while, as the Pagans evolved into the Kansas City Five or the Kansas City Seven, depending on the occasional presence of two brass players. The Kansas City group played mostly jump blues, which was the area of music where Burdon and Steel's tastes intersected -- musicians they've cited as ones they covered were Ray Charles, Louis Jordan, and Big Joe Turner. But then the group collapsed, as Price didn't turn up to a gig -- he'd been poached by a pop covers band, the Kon-Tors, whose bass player, Chas Chandler, had been impressed with him when Chandler had sat in at a couple of Kansas City Five rehearsals. Steel got a gig playing lounge music, just to keep paying the bills, and Burdon would occasionally sit in with various other musicians. But a few members of the Kon-Tors got a side gig, performing as the Alan Price Rhythm & Blues Combo as the resident band at a local venue called the Club A Go-Go, which was the venue where visiting London jazzmen and touring American blues players would perform when they came to Newcastle. Burdon started sitting in with them, and then they invited Steel to replace their drummer, and in September 1963 the Alan Price Rhythm And Blues Combo settled on a lineup of Burdon on vocals, Price on piano, Steel on drums, Chandler on bass, and new member Hilton Valentine, who joined at the same time as Steel, on guitar. Valentine was notably more experienced than the other members, and had previously performed in a rock and roll group called the Wildcats -- not the same band who backed Marty Wilde -- and had even recorded an album with them, though I've been unable to track down any copies of the album. At this point all the group members now had different sensibilities -- Valentine was a rocker and skiffle fan, while Chandler was into more mainstream pop music, though the other members emphasised in interviews that he liked *good* pop music like the Beatles, not the lesser pop music. The new lineup was so good that a mere eight days after they first performed together, they went into a recording studio to record an EP, which they put out themselves and sold at their gigs. Apparently five hundred copies of the EP were sold. As well as playing piano on the tracks, Price also played melodica, which he used in the same way that blues musicians would normally use the harmonica: [Excerpt: The Alan Price Rhythm & Blues Combo, "Pretty Thing"] This kind of instrumental experimentation would soon further emphasise the split between Price and Burdon, as Price would get a Vox organ rather than cart a piano between gigs, while Burdon disliked the sound of the organ, even though it became one of the defining sounds of the group. That sound can be heard on a live recording of them a couple of months later, backing the great American blues musician Sonny Boy Williamson II at the Club A Go Go: [Excerpt: Sonny Boy Williamson II and the Animals, “Fattening Frogs For Snakes”] One person who definitely *didn't* dislike the sound of the electric organ was Graham Bond, the Hammond organ player with Alexis Korner's band who we mentioned briefly back in the episode on the Rolling Stones. Bond and a few other members of the Korner group had quit, and formed their own group, the Graham Bond Organisation, which had originally featured a guitarist named John McLaughlin, but by this point consisted of Bond, saxophone player Dick Heckstall-Smith, and the rhythm section Jack Bruce and Ginger Baker. They wouldn't make an album until 1965, but live recordings of them from around this time exist, though in relatively poor quality: [Excerpt: The Graham Bond Organisation, "Wade in the Water"] The Graham Bond Organisation played at the Club A Go Go, and soon Bond was raving back in London about this group from Newcastle he'd heard. Arrangements were quickly made for them to play in London. By this time, the Rolling Stones had outgrown the small club venues they'd been playing, and a new band called the Yardbirds were playing all the Stones' old venues. A trade was agreed -- the Yardbirds would play all the Alan Price Rhythm & Blues Combo's normal gigs for a couple of weeks, and the Alan Price Rhythm & Blues Combo would play the Yardbirds'. Or rather, the Animals would. None of the members of the group could ever agree on how they got their new name, and not all of them liked it, but when they played those gigs in London in December 1963, just three months after getting together, that was how they were billed. And it was as the Animals that they were signed by Mickie Most. Mickie Most was one of the new breed of independent producers that were cropping up in London, following in Joe Meek's footsteps, like Andrew Oldham. Most had started out as a singer in a duo called The Most Brothers, which is where he got his stage name. The Most Brothers had only released one single: [Excerpt: The Most Brothers, "Whole Lotta Woman"] But then Most had moved to South Africa, where he'd had eleven number one hits with cover versions of American rock singles, backed by a band called the Playboys: [Excerpt: Mickie Most and the Playboys, "Johnny B Goode"] He'd returned to the UK in 1963, and been less successful here as a performer, and so he decided to move into production, and the Animals were his first signing. He signed them up and started licensing their records to EMI, and in January 1964 the Animals moved down to London. There has been a lot of suggestion over the years that the Animals resented Mickie Most pushing them in a more pop direction, but their first single was an inspired compromise between the group's blues purism and Most's pop instincts. The song they recorded dates back at least to 1935, when the State Street Boys, a group that featured Big Bill Broonzy, recorded "Don't Tear My Clothes": [Excerpt: The State Street Boys, "Don't Tear My Clothes"] That song got picked up and adapted by a lot of other blues singers, like Blind Boy Fuller, who recorded it as "Mama Let Me Lay It On You" in 1938: [Excerpt: Blind Boy Fuller, "Mama Let Me Lay it On You"] That had in turn been picked up by the Reverend Gary Davis, who came up with his own arrangement of the song: [Excerpt: Rev. Gary Davis, "Baby, Let Me Lay It On You"] Eric von Schmidt, a folk singer in Massachusetts, had learned that song from Davis, and Bob Dylan had in turn learned it from von Schmidt, and included it on his first album as "Baby Let Me Follow You Down": [Excerpt: Bob Dylan, "Baby Let Me Follow You Down"] The Animals knew the song from that version, which they loved, but Most had come across it in a different way. He'd heard a version which had been inspired by Dylan, but had been radically reworked. Bert Berns had produced a single on Atlantic for a soul singer called Hoagy Lands, and on the B-side had been a new arrangement of the song, retitled "Baby Let Me Hold Your Hand" and adapted by Berns and Wes Farrell, a songwriter who had written for the Shirelles. Land's version had started with an intro in which Lands is clearly imitating Sam Cooke: [Excerpt: Hoagy Lands, "Baby Let Me Hold Your Hand"] But after that intro, which seems to be totally original to Berns and Farrell, Lands' track goes into a very upbeat Twist-flavoured song, with a unique guitar riff and Latin feel, both of them very much in the style of Berns' other songs, but clearly an adaptation of Dylan's version of the old song: [Excerpt: Hoagy Lands, "Baby Let Me Hold Your Hand"] Most had picked up that record on a trip to America, and decided that the Animals should record a version of the song based on that record. Hilton Valentine would later claim that this record, whose title and artist he could never remember (and it's quite possible that Most never even told the band who the record was by) was not very similar at all to the Animals' version, and that they'd just kicked around the song and come up with their own version, but listening to it, it is *very* obviously modelled on Lands' version. They cut out Lands' intro, and restored a lot of Dylan's lyric, but musically it's Lands all the way. The track starts like this: [Excerpt: The Animals, "Baby Let Me Take You Home"] Both have a breakdown section with spoken lyrics over a staccato backing, though the two sets of lyrics are different -- compare the Animals: [Excerpt: The Animals, "Baby Let Me Take You Home"] and Lands: [Excerpt: Hoagy Lands, "Baby Let Me Hold Your Hand"] And both have the typical Bert Berns call and response ending -- Lands: [Excerpt: Hoagy Lands, "Baby Let me Hold Your Hand"] And the Animals: [Excerpt: The Animals, "Baby Let Me Take You Home"] So whatever Valentine's later claims, the track very much was modelled on the earlier record, but it's still one of the strongest remodellings of an American R&B record by a British group in this time period, and an astonishingly accomplished record, which made number twenty-one. The Animals' second single was another song that had been recorded on Dylan's first album. "House of the Rising Sun" has been argued by some, though I think it's a tenuous argument, to originally date to the seventeenth century English folk song "Little Musgrave and Lady Barnard": [Excerpt: Martin Carthy, "Little Musgrave and Lady Barnard"] What we do know is that the song was circulating in Appalachia in the early years of the twentieth century, and it's that version that was first recorded in 1933, under the name "Rising Sun Blues", by Clarence Ashley and Gwen Foster: [Excerpt: Clarence Ashley and Gwen Foster, "Rising Sun Blues"] The song has been described as about several things -- about alcoholism, about sex work, about gambling -- depending on the precise version. It's often thought, for example, that the song was always sung by women and was about a brothel, but there are lots of variants of it, sung by both men and women, before it reached its most famous form. Dave van Ronk, who put the song into the form by which it became best known, believed at first that it was a song about a brothel, but he later decided that it was probably about the New Orleans Women's Prison, which in his accounting used to have a carving of a rising sun over the doorway. Van Ronk's version traces back originally to a field recording Alan Lomax had made in 1938 of a woman named Georgia Turner, from Kentucky: [Excerpt: Georgia Turner, "Rising Sun Blues"] Van Ronk had learned the song from a record by Hally Wood, a friend of the Lomaxes, who had recorded a version based on Turner's in 1953: [Excerpt: Hally Wood, "House of the Rising Sun"] Van Ronk took Wood's version of Turner's version of the song, and rearranged it, changing the chords around, adding something that changed the whole song. He introduced a descending bassline, mostly in semitones, which as van Ronk put it is "a common enough progression in jazz, but unusual among folksingers". It's actually something you'd get a fair bit in baroque music as well, and van Ronk introducing this into the song is probably what eventually led to things like Procul Harum's "A Whiter Shade of Pale" ripping off Bach doing essentially the same thing. What van Ronk did was a simple trick. You play a descending scale, mostly in semitones, while holding the same chord shape which creates a lot of interesting chords. The bass line he played is basically this: [demonstrates] And he held an A minor shape over that bassline, giving a chord sequence Am, Am over G, Am over F#, F. [demonstrates] This is a trick that's used in hundreds and hundreds of songs later in the sixties and onward -- everything from "Sunny Afternoon" by the Kinks to "Go Now" by the Moody Blues to "Forever" by the Beach Boys -- but it was something that at this point belonged in the realms of art music and jazz more than in folk, blues, or rock and roll. Of course, it sounds rather better when he did it: [Excerpt, Dave van Ronk, "House of the Rising Sun"] "House of the Rising Sun" soon became the highlight of van Ronk's live act, and his most requested song. Dylan took van Ronk's arrangement, but he wasn't as sophisticated a musician as van Ronk, so he simplified the chords. Rather than the dissonant chords van Ronk had, he played standard rock chords that fit van Ronk's bassline, so instead of Am over G he played C with a G in the bass, and instead of Am over F# he played D with an F# in the bass. So van Ronk had: [demonstrates] While Dylan had: [demonstrates] The movement of the chords now follows the movement of the bassline. It's simpler, but it's all from van Ronk's arrangement idea. Dylan recorded his version of van Ronk's version for his first album: [Excerpt: Bob Dylan, "House of the Rising Sun"] As van Ronk later told the story (though I'm going to edit out one expletive here for the sake of getting past the adult content rating on Apple): "One evening in 1962, I was sitting at my usual table in the back of the Kettle of Fish, and Dylan came slouching in. He had been up at the Columbia studios with John Hammond, doing his first album. He was being very mysterioso about the whole thing, and nobody I knew had been to any of the sessions except Suze, his lady. I pumped him for information, but he was vague. Everything was going fine and, “Hey, would it be okay for me to record your arrangement of ‘House of the Rising Sun?’” [expletive]. “Jeez, Bobby, I’m going into the studio to do that myself in a few weeks. Can’t it wait until your next album?” A long pause. “Uh-oh.” I did not like the sound of that. “What exactly do you mean, ‘Uh-oh’?” “Well,” he said sheepishly, “I’ve already recorded it.” “You did what?!” I flew into a Donald Duck rage, and I fear I may have said something unkind that could be heard over in Chelsea." van Ronk and Dylan fell out for a couple of weeks, though they later reconciled, and van Ronk said of Dylan's performance "it was essentially my arrangement, but Bobby’s reading had all the nuance and subtlety of a Neanderthal with a stone hand ax, and I took comfort thereby." van Ronk did record his version, as we heard, but he soon stopped playing the song live because he got sick of people telling him to "play that Dylan song". The Animals learned the song from the Dylan record, and decided to introduce it to their set on their first national tour, supporting Chuck Berry. All the other acts were only doing rock and roll and R&B, and they thought a folk song might be a way to make them stand out -- and it instantly became the highlight of their act.  The way all the members except Alan Price tell the story, the main instigators of the arrangement were Eric Burdon, the only member of the group who had been familiar with the song before hearing the Dylan album, and Hilton Valentine, who came up with the arpeggiated guitar part. Their arrangement followed Dylan's rearrangement of van Ronk's rearrangement, except they dropped the scalar bassline altogether, so for example instead of a D with an F# in the bass they just play a plain open D chord -- the F# that van Ronk introduced is still in there, as the third, but the descending line is now just implied by the chords, not explicitly stated in the bass, where Chas Chandler just played root notes. In the middle of the tour, the group were called back into the studio to record their follow-up single, and they had what seemed like it might be a great opportunity. The TV show Ready Steady Go! wanted the Animals to record a version of the old Ray Charles song "Talking 'Bout You", to use as their theme. The group travelled down from Liverpool after playing a show there, and went into the studio in London at three o'clock in the morning, before heading to Southampton for the next night's show. But they needed to record a B-side first, of course, and so before getting round to the main business of the session they knocked off a quick one-take performance of their new live showstopper: [Excerpt: The Animals, "House of the Rising Sun"] On hearing the playback, everyone was suddenly convinced that that, not "Talking 'Bout You", should be the A-side. But there was a problem. The record was four minutes and twenty seconds long, and you just didn't ever release a record that long. The rule was generally that songs didn't last longer than three minutes, because radio stations wouldn't play them, but Most was eventually persuaded by Chas Chandler that the track needed to go out as it was, with no edits. It did, but when it went out, it had only one name on as the arranger -- which when you're recording a public domain song makes you effectively the songwriter. According to all the members other than Price, the group's manager, Mike Jeffrey, who was close to Price, had "explained" to them that you needed to just put one name down on the credits, but not to worry, as they would all get a share of the songwriting money. According to Price, meanwhile, he was the sole arranger. Whatever the truth, Price was the only one who ever got any songwriting royalties for their version of the song, which went to number one in the UK and the US. although the version released as a single in the US was cut down to three minutes with some brutal edits, particularly to the organ solo: [Excerpt: The Animals, "House of the Rising Sun (US edit)"] None of the group liked what was done to the US single edit, and the proper version was soon released as an album track everywhere The Animals' version was a big enough hit that it inspired Dylan's new producer Tom Wilson to do an experiment. In late 1964 he hired session musicians to overdub a new electric backing onto an outtake version of "House of the Rising Sun" from the sessions from Dylan's first album, to see what it would sound like: [Excerpt: Bob Dylan, "House of the Rising Sun (1964 electric version)"] That wasn't released at the time, it was just an experiment Wilson tried, but it would have ramifications we'll be seeing throughout the rest of the podcast. Incidentally, Dave van Ronk had the last laugh at Dylan, who had to drop the song from his own sets because people kept asking him if he'd stolen it from the Animals. The Animals' next single, "I'm Crying", was their first and only self-written A-side, written by Price and Burdon. It was a decent record and made the top ten in the UK and the top twenty in the US, but Price and Burdon were never going to become another Lennon and McCartney or Jagger and Richards -- they just didn't like each other by this point. The record after that, "Don't Let Me Be Misunderstood", was written by the jazz songwriters Benny Benjamin and Horace Ott, and had originally been recorded by Nina Simone in an orchestral version that owed quite a bit to Burt Bacharach: [Excerpt: Nina Simone, "Don't Let Me Be Misunderstood"] The Animals' version really suffers in comparison to that. I was going to say something about how their reinterpretation is as valid in its own way as Simone's original and stands up against it, but actually listening to them back to back as I was writing this, rather than separately as I always previously had, I changed my mind because I really don't think it does. It's a great record, and it's deservedly considered a classic single, but compared to Simone's version, it's lightweight, rushed, and callow: [Excerpt: The Animals, "Don't Let Me Be Misunderstood"] Simone was apparently furious at the Animals' recording, which they didn't understand given that she hadn't written the original, and according to John Steel she and Burdon later had a huge screaming row about the record. In Steel's version, Simone eventually grudgingly admitted that they weren't "so bad for a bunch of white boys", but that doesn't sound to me like the attitude Simone would take. But Steel was there and I wasn't... "Don't Let Me Be Misunderstood" was followed by a more minor single, a cover of Sam Cooke's "Bring it on Home to Me", which would be the last single by the group to feature Alan Price. On the twenty-eighth of April 1965, the group were about to leave on a European tour. Chas Chandler, who shared a flat with Price, woke Price up and then got in the shower. When he got out of the shower, Price wasn't in the flat, and Chandler wouldn't see Price again for eighteen months. Chandler believed until his death that while he was in the shower, Price's first royalty cheque for arranging "House of the Rising Sun" had arrived, and Price had decided then and there that he wasn't going to share the money as agreed. The group quickly rushed to find a fill-in keyboard player for the tour, and nineteen-year-old Mick Gallagher was with them for a couple of weeks before being permanently replaced by Dave Rowberry. Gallagher would later go on to be the keyboard player with Ian Dury and the Blockheads, as well as playing on several tracks by the Clash. Price, meanwhile, went on to have a number of solo hits over the next few years, starting with a version of "I Put A Spell On You", in an arrangement which the other Animals later claimed had originally been worked up as an Animals track: [Excerpt: The Alan Price Set, "I Put A Spell On You"] Price would go on to make many great solo records, introducing the songs of Randy Newman to a wider audience, and performing in a jazz-influenced R&B style very similar to Mose Allison. The Animals' first record with their new keyboard player was their greatest single. "We Gotta Get Out Of This Place" had been written by Barry Mann and Cynthia Weill, and had originally been intended for the Righteous Brothers, but they'd decided to have Mann record it himself: [Excerpt: Barry Mann, "We Gotta Get Out Of This Place"] But before that version was released, the Animals had heard Mann's piano demo of the song and cut their own version, and Mann's was left on the shelf. What the Animals did to the song horrified Cynthia Weill, who considered it the worst record of one of her songs ever -- though one suspects that's partly because it sabotaged the chances for her husband's single -- but to my mind they vastly improved on the song. They tightened the melody up a lot, getting rid of a lot of interjections. They reworked big chunks of the lyric, for example changing "Oh girl, now you're young and oh so pretty, staying here would be a crime, because you'll just grow old before your time" to "Now my girl, you're so young and pretty, and one thing I know is true, you'll be dead before your time is due", and making subtler changes like changing "if it's the last thing that we do" to "if it's the last thing we ever do", improving the scansion. They kept the general sense of the lyrics, but changed more of the actual words than they kept -- and to my ears, at least, every change they made was an improvement. And most importantly, they excised the overlong bridge altogether. I can see what Mann and Weill were trying to do with the bridge -- Righteous Brothers songs would often have a call and response section, building to a climax, where Bill Medley's low voice and Bobby Hatfield's high one would alternate and then come together. But that would normally come in the middle, building towards the last chorus. Here it comes between every verse and chorus, and completely destroys the song's momentum -- it just sounds like noodling: [Excerpt: Barry Mann, "We Gotta Get Out Of This Place"] The Animals' version, by contrast, is a masterpiece of dynamics, of slow builds and climaxes and dropping back down again. It's one of the few times I've wished I could just drop the entire record in, rather than excerpting a section, because it depends so much for its effect on the way the whole structure of the track works together: [Excerpt: The Animals, "We Gotta Get Out Of This Place"] From a creators' rights perspective, I entirely agree with Cynthia Weill that the group shouldn't have messed with her song. But from a listener's point of view, I have to say that they turned a decent song into a great one, and one of the greatest singles of all time "We Gotta Get Out Of This Place" was followed by another lesser but listenable single, "It's My Life", which seemed to reinforce a pattern of a great Animals single being followed by a merely OK one. But that was the point at which the Animals and Most would part company -- the group were getting sick of Most's attempts to make them more poppy. They signed to a new label, Decca, and got a new producer, Tom Wilson, the man who we heard earlier experimenting with Dylan's sound, but the group started to fall apart. After their next single, "Inside -- Looking Out", a prison work song collected by the Lomaxes, and the album Animalisms, John Steel left the group, tired of not getting any money, and went to work in a shop. The album after Animalisms, confusingly titled Animalism, was also mostly produced by Wilson, and didn't even feature the musicians in the band on two of the tracks, which Wilson farmed out to a protege of his, Frank Zappa, to produce. Those two tracks featured Zappa on guitar and members of the Wrecking Crew, with only Burdon from the actual group: [Excerpt: The Animals, "All Night Long"] Soon the group would split up, and would discover that their management had thoroughly ripped them off -- there had been a scheme to bank their money in the Bahamas for tax reasons, in a bank which mysteriously disappeared off the face of the Earth. Burdon would form a new group, known first as the New Animals and later as Eric Burdon and the Animals, who would have some success but not on the same level. There were a handful of reunions of the original lineup of the group between 1968 and the early eighties, but they last played together in 1983. Burdon continues to tour the US as Eric Burdon and the Animals. Alan Price continues to perform successfully as a solo artist. We'll be picking up with Chas Chandler later, when he moves from bass playing into management, so you'll hear more about him in future episodes. John Steel, Dave Rowberry, and Hilton Valentine reformed a version of the Animals in the 1990s, originally with Jim Rodford, formerly of the Kinks and Argent, on bass. Valentine left that group in 2001, and Rowberry died in 2003. Steel now tours the UK as "The Animals and Friends", with Mick Gallagher, who had replaced Price briefly in 1965, on keyboards. I've seen them live twice and they put on an excellent show -- though the second time, one woman behind me did indignantly say, as the singer started, "That's not Eric Clapton!", before starting to sing along happily... And Hilton Valentine moved to the US and played briefly with Burdon's Animals after quitting Steel's, before returning to his first love, skiffle. He died exactly four weeks ago today, and will be missed.

Dooner’s World – Episode 67 – Ed Palermo • Kickoff to Dooner’s Frank Zappa Halloween week!!! Guests this week include, Ed Mann, Dawn from Phemale-centrics (Phish Halloween Special), Stephen Perkins from Jane’s Addiction, Dale Bozzio, and Ike Willis with Scott Parker• New album coming out November 6th – The Great Un-American Songbook #3 – Great mashups of Zappa, Beatles, Procul Harum, The Moody Blues, and more • Killer strawberry Fields with Shove it Right In quotes – genius! • Upcoming show at The Falcon in Marlborough, NY on November 17th • Seeing Zappa on the Bong Fury Tour in Chicago • History of Frank Zappa Halloween shows – first was supposedly in 1965! • Ed has about 6 new albums in the works and he gives a preview of what’s to come • They end with a quick talk about One of the best musicians to ever live - Rashaan Roland Kirk Support the show (https://www.patreon.com/user?u=39941006&fan_landing=true)

Harry Belafonte [00:31] "The Drummer and The Cook (Cockney Air)" An Evening with Belafonte RCA Victor LPM-1402 1957 I wonder if Harry was Dick Van Dyke's dialect coach. Miriam Makeba [04:25] "Beware, Verwoerd (Ndodemnyama)" An Evening with Belafonte/Makeba RCA Victor LSP-3420 1965 As the liner notes say, a warning to the Prime Minister of South Africa that the black man is on the move. Harry Belafonte [06:28] "Walking on the Moon" An Evening with Belafonte/Mouskouri RCA Victor LSP-3415 1966 From the film Never on a Sunday. Rod Stewart [10:02] "Maggy May" Every Picture Tells a Story Mercury SRM-1-609 1971 A number one hit from a number one album from Mssrs. Stewart and Wood and friends. Warren Zevon [17:13] "Lawyers, Guns and Money" Excitable Boy Asylum Records 6E-118 1978 Seems even more appropriate for this times. From the album that gave us "Werewolves of London" too. Rolling Stones [20:42] "Shake Your Hips" Exile on Main St. Rolling Stones Records COC 2-2900 1972 A fine stab at the Slim Harpo classic. Recorded by the boys when they were holed up in Nellcôte. Procul Harum [23:41] "Nothing but the Truth" Exotic Birds and Fruits Chrysalis CHT 1058 1974 A very meh album. Not sure how it came to be in my collection, but here it is. Bill Evans Trio [26:53] "Haunted Heart" Explorations Riverside Records RLP 351 1961 Recorded February 2, 1961 with Evans on piano, Scott La Faro on bass, and Paul Motian on drums. Rain Parade [31:26] "You Are My Friend" Explosions in the Glass Palace Enigma Records E 1081 1984 Some primo paisley underground from this LA quartet, released after David Roback departed the group. Robert Fripp [34:31] "You Burn Me Up I'm a Cigarette" Exposure EG PD EGLP 101 1979 Featuring Daryl Hall on vox, believe it or not. Love and Rockets [36:56] "Yin and Yang The Flower Pot Man" Express Big Time 6011-1-B 1986 I can neither confirm nor deny that I was once an industrial goth kid. Pretenders [43:50] "Message of Love" Extended Play Sire MINI 3563 1981 I mean really, how can you not pick this song? Extremity [47:14] "Bestial Destiny" Extremely Fucking Dead 20 Buck Spin SPIN 087 2017 Bay Area Death Metal supergroup featuring Shelby Lermmo on guitar and vox, Marissa Martinez-Hoadley on guitar and vox, Erika Osterhout on bass and Aesop Dekker on drums. Johnny Cash [52:05] "Frankie's Man, Johnny" The Fabulous Johnny Cash Columbia CL 1253 1958 Mono, man! Johnny's first outing with Columbia. The Who [54:21] "Don't Let Go the Coat" Face Dances Warner Bros. Records HS 3516 1981 The first full album withouth Keith Moon, with Faces' Kenney Jones in his place. Made it to number 4 on the US charts. The album cover features 4 portraits of each musician by different artists. My favorite is Howard Hodgkins' portrait of John Entwistle. Music behind the DJ: "À 200 à l'heure" by Francis Lai and Orchestra

It’s the eighth in our series of special editions of Setlist looking at some of our favourite music industry legal battles of all time. This time, CMU’s Andy Malt and Chris Cooke look back at the copyright battle over authorship of Procul Harum's 1967 single, 'A Whiter Shade Of Pale', which was fought all the way up to the appellate committee of the UK's House Of Lords. Organist Matthew Fisher argued that he should have been given 50% stake in the song, but by taking 38 years to go legal, had he left it too long? SUBSCRIBE TO SETLIST Listen to Setlist and sign up to receive new episodes for free automatically each week through any of these services… Acast (https://www.acast.com/cmuweeklypodcast) | Apple Podcasts (http://itunes.apple.com/gb/podcast/setlist/id417402221) | audioBoom (https://audioboom.com/channel/cmu) | CastBox (https://castbox.fm/channel/Setlist-id457591) | Deezer (http://www.deezer.com/show/11741) | Google Play (https://play.google.com/music/m/If2denfjnknpcyhgtuhmeipdyee?t=Complete_Music_Update) | iHeart (https://www.iheart.com/podcast/setlist-28624460/) | Mixcloud (https://www.mixcloud.com/setlistpod/) | RSS (https://audioboom.com/channels/3895711.rss) | Spotify (https://open.spotify.com/show/6CvuckCF0M4MjNdsnMR8vQ) | Stitcher (http://www.stitcher.com/podcast/cmu-music-industry-podcast) | TuneIn (https://tunein.com/radio/Setlist-p775605/) KEEP LISTENING • Check out all Setlist specials (https://completemusicupdate.com/thesetlistspecials/) MORE FROM CMU • Buy the new Dissecting The Digital Dollar on Amazon (https://amzn.to/38kwzlb) • Sign up to receive the CMU Daily news bulletin (https://completemusicupdate.com/signup/)

Listen to my review of the debut album by Procul harum released in 1967 Includes analysis of A Whiter Shade Of Pale

Bear with me this week; I'm fighting off some kind of respiratory thing and I'm sounding like Peter Brady singing "Time to Change." By the way, isn't it cool the way we get that flanging effect only when Marcia and Greg are singing solo, despite the group microphones? Why yes, I am a fussbudget. Nice to meet you. This week: it was Procul Harum's debut single, and at last count it was the song most played EVER on UK radio. Not a Beatles or Stones tune; this one. How about that! I feel a little badly because I didn't really leave anything out of my script for the benefit of putting something cool here, so I guess you're out of luck in that respect. But if you're here to listen to the embed, I've got some good news for you: here it is! Click here for the transcript to today's show.

There are legends and then there are legends. Robin Trower is BOTH. He played with Procul Harum and fronts his own power trio that will be visiting the Pabst Theater in Milwaukee on April 14th. He has a new album out too called Coming Closer to the Day on which he plays all the musical instruments (sans drums) and provides the vocals. Robin had just a few minutes to spend with us on the phone to talk about what shaped him musically, the new album, the tour and more. Thanks to Anastasia Vishnevsky for our theme music and as always, please consider subscribing to our podcast through your favorite app. If you like what you hear, please leave a rating and/or review. It helps our podcast rise through the rankings so others can discover it. https://www.trowerpower.com/

iTunes  Spotify  Youtube Leo Beattie was at the epicenter of the Detroit rock scene of the late 1960’s, early 1970’s. After leaving his parents house just a year or two prior, and narrowly missing the draft for Vietnam, his first professional job in the industry was as a roadie for the hard-hitting band, the MC5.         When opportunity knocked to join the road crew of Iggy and the Stooges, Leo took the job, and from there he would go on to work with Alice Cooper, Mitch Ryder, Procul Harum, and Robin Trower. Happy holidays to all of you and please remember to be safe and have a wonderful Christmas! Today’s episode is sponsored by Stagehandsclothing.com. Use the code: roadie for a 20% discount on your entire order! Special Mentions: Kick Out The Jams - The MC5, The Stooges – The Stooges, Iggy and the Stooges – Raw Power, Grande Ballroom, Over the Bridge.org, StageHands Clothing, ShowPro Beard Co., Airturn GoStand, Gig-gear.com, Telefunken M80 Dynamic Microphone

Procul Harum har eksisteret i over 40 år, men omkring 1970 blev gruppens sammensætning helt ændret og gik derefter ind i en ny udvikling. Vi genudsender  Erik Kramshøjs anden udsendelse om den legendariske popgruppe. Procol Harum er på vej til Danmark, hvor de giver 3 koncerter  De giver koncerter d.25., 27, og 30. oktober i hhv Portalen i Greve, Odeon i Odense og i Alsion i Sønderborg .

Bobby Harrison (Robert Leslie Harrison, 22 de junio de 1939, en West Ham, Inglaterra ) es un baterista . Él era un miembro a inicios de Procol Harum , pero poco después del single de 1967 "A Whiter Shade of Pale", salió de la banda.

Bobby Harrison (Robert Leslie Harrison, 22 de junio de 1939, en West Ham, Inglaterra ) es un baterista . Él era un miembro a inicios de Procol Harum , pero poco después del single de 1967 "A Whiter Shade of Pale", salió de la banda.

Matthew Charles Fisher (nacido el 7 de marzo de 1946) es un músico Inglés, compositor y productor. Él es mejor conocido por interpretar el órgano Hammond en el 1967, " A Whiter Shade of Pale " de Procol Harum, por la que posteriormente ganó un crédito de composición.

Matthew Charles Fisher (nacido el 7 de marzo de 1946) es un músico Inglés, compositor y productor. Él es mejor conocido por interpretar el órgano Hammond en el 1967, " A Whiter Shade of Pale " de Procol Harum, por la que posteriormente ganó un crédito de composición.

This week's Prog-Watch is a variety program with lots of great stuff from David Gilmour, Toto, Ultranova, Glass Hammer, Pendragon, Unifaun, Black Bonzo, Tim Bowness, Procul Harum, and Machines Dream! Plus a great edition of Progressive Discoveries with Dr. Rob Fisher and the German band Blind Ego!Website: Progwatch.comFacebook: https://www.facebook.com/ProgWatch/Twitter: @ProgSquatchEmail: progsquatch@gmail.com

Welcome to Live From Progzilla Towers Edition 128. In this special edition, my wife Wendy chose all the music and we heard from Queen, The Bee Gees, Fleetwood Mac, The Enid, Elvis Costello & The Attractions, Lifesigns, 10CC, Big Big Train, John Lennon & Yoko Ono, The Beatles, Peter Frampton, Peter Gabriel, Alan Parsons Project, Procul Harum, Jeff Wayne, Boomtown Rats, Camel, The Beach Boys, Steven Wilson, Abel Ganz, Anubis, Jump, Lazuli, Sandy Denny, Fish, The Moody Blues & Tiger Moth Tales.

Somewhat neglected in 60s musical history, Procul Harum was nevertheless right up there at the top of what was happening. This show is all about them, including a lengthy interview with lead singer Gary Brooker, and a whole show's worth of their music, much of it from rare live performances. 3 Hours. The post Over the Edge – Universe pt. 48 What About The 60's pt. L-2 appeared first on KPFA.

This one begins with a stupendous (if I do say so myself) simul-play mash of two different versions of “In Held ‘twas In I”  by Procul Harum lasting about 25 minutes. Then we delve into 60's astrology, how it works and what it means to you, hosted by Casey Kasem. More music, including a little segment on George Harrison, and Receptacle callers, of course, one of whom called it all boring. You be the judge. 3 Hours. The post Over the Edge – “Universe Part 34 What About The 60's? x” appeared first on KPFA.

江美琪Jack JonesProcul Harum< A Whiter Shade Of Pale>椎名林檎X东京事变李雨寰彭坦

Did you know that Dusty Springfield changed how she sang Son of a Precher? Why? Or that Procul Harum's name is mangled latin? Or the song you thought the Stones was playing at Alamonta wasn't! Was it artistic or did they just screw up on Maria's song? That and more! Peter Frampton - Baby I Love The Way Little River Band - A Long Way There Maria Muldaur - Midnight at the Oasis Nick Guilder - Hot Child in the City Dusty Springfield - Son of a Precher Otis Redding - Sitting on the Dock of the Bay Procol Harum - Conquistordor Rolling Stones - Sympathy for the Devil Redbone - Come and Get Your Love