Podcasts about Radio Caroline

In de nieuwste aflevering van Tivoli Road duiken we terug in de tijd naar april 1973, toen een zware storm het zendschip van Radio Veronica, de Norderney, deed stranden op het strand van Scheveningen. Ondanks deze tegenslag moest de geplande manifestatie op 18 april doorgaan. Gelukkig bood Radio Caroline aan om tijdelijk uit te zenden vanaf hun schip, de MV Mi Amigo. Dankzij deze samenwerking konden luisteraars genieten van unieke fragmenten met iconische stemmen als Tineke (op de foto met Marc Hermans) en Stan Haag op de 259 meter. Luister mee naar deze bijzondere momenten uit de geschiedenis van de zeezenders.(fragmenten: Rudy Dero)

durée : 01:00:55 - Les Nuits de France Culture - par : Albane Penaranda - Radios offshore : en 1958, du flottement sur les ondes, la radio pirate "Radio Mercur" émet au large des côtes danoises. Bateaux-radios, plateformes maritimes s'équipent d'émetteurs dont "Radio Caroline", "Radio North Sea International" et "Voice of America" sont les fréquences les plus célèbres. - réalisation : Thomas Jost - invités : Jean-Marc Fombonne Écrivain; Thierry Lefebvre Historien, chercheur en histoire des médias, histoire de la pharmacie et de la médecine, et histoire du cinéma

Matthew Bannister on Jean-Marie Le Pen, who built up the French right wing National Front Party before being ejected from it by his daughter.Catherine Brown, the food writer who championed traditional Scottish cuisine.Baroness Oppenheim-Barnes, the parliamentarian who fought for consumer rights.And the radio DJ Johnnie Walker, known for his passion for music and his rebellious attitude. Bob Harris pays tribute.Producer: Ed PrendevilleArchive: Birmingham Six Case Reopens, BBC News, 1990; Release of the Birmingham Six, BBC News, 1991; Hard Talk, BBC, 2000; BBC Radio 4, 1974; Anti-IRA Marches, BBC News, 1974; Sounds of the 70s with Bob Harris, BBC R2, 2024; Johnnie Walker, Radio Caroline, 1968; Johnnie Walker: Interview, BBC Radio 1 Vintage, 2017; Sounds of the 70s with Johnnie Walker, BBC R2, 2024; Offshore Radio RSL and Johnnie Walker interview, Sky News, 1992; Sounds of the 70s with Johnnie Walker - Walker & Walker: Johnnie & Tiggy, BBC R2, 2024; Johnnie Walker Show, Radio Caroline, 14/08/1967; Walker on Walker, BBC R2, 2025; Johnnie Walker on KSAN, 1976; Johnnie Walker Documentary on Pirate Stations; Radio Cafe, BBC Radio Scotland, 2009; Kitchen Cafe, BBC Radio Scotland, 2009; Catherine Brown, Oxford Symposium on Food and Cookery, 2017; BBC World at One,1981; House of Lords, 2017; BBC West, 1974: Tomorrow's World, BBC1, 1976; BBC News, 1989

In this episode we meet broadcasting legend Nick Bailey, who shares his remarkable journey from pirate radio with Radio Caroline to becoming the first voice on Classic FM.Nick shares his adventures and travels around the world living and working in countries such as Australia, Germany and Hong Kong and we hear stories  about some amazing characters on his journey. We get an insight into world events through the eyes of a traveller. Living on Gibraltar in the time when Franco's dictatorship was at its height through to the changes that were happening in Hong Kong as it was taken back by China. Nick also provides valuable advice for aspiring broadcasters and shares his future plans.I can thoroughly recommend  Nick's book, 'Across the Waves: From Radio Caroline to Classic FM.' In fact I couldn't put the book down and read in 5 days!For my review of the book click here. HighlightsNick Bailey was the first voice on Classic FM.Pirate radio played a crucial role in changing British music.He emphasises the importance of authenticity in broadcasting.Nick's experiences in Hong Kong shaped his views on free speech.He believes that modern presenters have less freedom than before.Nick encourages aspiring broadcasters to volunteer and gain experience.Travelling for work offers a more authentic experience than tourism.Links:Nick's website -  https://www.nickbaileyradio.com/To purchase book, (click link)  - 'Across the Waves: From Radio Caroline to Classic FM' Connect with Undercurrent Stories:  Website: https://www.undercurrentstories.com/Instagram: https://www.instagram.com/undercurrentstories/Facebook: https://www.facebook.com/undercurrentstoriesIntro and outro music, 'Time for a Coffee'  Bob Wells © 2020Question or comment? Send us a text message.www.undercurrentstories.com

Radio Rollback Episode 050 The Steve England Interview On this episode. We bring the full interview with Steve England. Its a most fascinating chat about all things Atlantis, Radio Caroline, Piccadilly Radio and of course jingles. Also some audio of Steve on air in 1974 on Radio Atlantis More info about Steve on his website www.steveengland.com More info about Radio Atlantis www.offshoreradio.co.uk Email jeffmartinmedia220@gmail.com ©2024 Jeff Martin Media

Je vaste dosis verhalen, analyses en een gulle lach over dat fraaie medium: de radio! Met in aflevering 179:Eddy Keur viert afgelopen vrijdag dat hij 40 jaar in het radiovak zit. Vreemd: Eddy begon al in 1979 op Radio Caroline. Dus 45 jaar? Maar: er zitten wel allerlei onderbrekingen in die 45 jaar, dus het is misschien zelfs eerder 30 jaar? Hoe dan ook: het werd een feestje op NPO Radio 2, de zender waar Eddy wil blijven tot het mooi is geweest. Tijd voor een Oeuvre Award...?Jarno van der Wielen heeft het stokje van Daniël Lippens overgenomen bij de SLAM! Middagshow. Sidekicks Erik-Jan en Julia zijn wél gebleven. Wie is er dan in de lead als je als een nieuw trio verder gaat?‘Spijkers met Koppen' brengt al decennia politieke satire en persiflages op NPO Radio 2. Maar met een nieuw kabinet (met nog redelijk onbekende stemmen!) weet je luisteraar dan wel naar welke persiflage je luistert? We checken een imitatie van minister Faber. Waar Harm ook weer een gevaar in ziet...Jim Vorwald heeft de Tim op het Broek-plek in de middag op KINK overgenomen, vooralsnog voor een maand. We luisteren even of er meer in zit.Tijd voor de nieuwe onregelmatige rubriek: De Spelletjes-verklikker. Als een dj of presentator de kandidaat teveel helpt (waardoor er echt niets meer op het spel staat), ben je dan nog wel een spel aan het spelen? De eerste tip die binnenkwam gaat over Margreet Reijntjes in Villa VdB (NPO Radio 1): ze rekent bijna alles goed!In De Post De Post vragen we ons onder andere af of de briefschrijvers zelf wel naar de radio luisteren?Uiteraard is er weer een Blooperblokje, met dit keer onder andere: Tim Klijn, Gerard Ekdom, Bas van Werven, Winfried Baijens en Rob Janssen.Wie er niet is: Syb! Zijn mancave wordt verbouwd en er is even geen apparatuur om radionieuws muzikaal te verhaspelen. Volgende week is hij terug! In de exclusieve bonusshow voor vrienden van de show deze week:We luisteren naar de afscheidswoorden van 3FM-dj Olivier Bakker, die de popzender verruilt voor het politieke woordvoerderschap. Zouden dat ook politiek correcte slotwoorden zijn?Klaas van der Eerden had ooit als sidekick een ochtendshow op 538, naast Wietze de Jager. Totdat Wietze onverwachts aankondigde minder te willen werken, waarna er een enorme mediarel ontstond en de hele ochtendshow al snel op z'n gat lag. Hoe heeft Klaas dat eigenlijk ervaren? Hij vertelt er voor het eerst over in het NPO Radio 1-programma De Perstribune.Edwin Evers maakt een parodie op Geert Wilders. Maar het is zo ongevaarlijk dat het eigenlijk averechts uitpakt: Geert vindt het enig! Is het dan nog leuk? Of past het gewoon goed bij de doelgroep van de hit-zender?Plus Bonusbloopers van onder andere Sven Kockelmann, Kai Merckx én Mieke van der Weij!Om de bonusshow te horen ga je naar Vriendvandeshow.nl/Radio Als je ‘Vriend van de show' wordt (€3,50 per maand of €35,- per jaar) steun je ons om deze podcast voort te zetten en krijg je élke week zo'n extra show! De extra afleveringen, ook alle vorige, komen vanzelf in je eigen podcast-app.Bestook ons met feedback, post, blooper-tips en meer via: ditwasderadio@gmail.com.Volg ons op de socials: Facebook | X | Threads | Instagram | Youtube | TikTokDit Was De Radio dankt 'De Radiofabriek' voor de opnamefaciliteiten. Meer info op: www.radiofabriek.nl.Zie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

Stuart Clark is a leganed of the music journalism game. He has a rich history in the music industry, having worked with Radio Caroline and The Voice of Peace before moving to Ireland and joining Hot Press and over his remarkeable career has wined and dined the likes of Anthony Bourdain and Joe Elliot, eaten ant eggs in Syria and campaigned for the changing of the laws around drug use.In this week's episode he regales Gary and Gareth with his experiences with pirate radio, journalism and his opinion on the best cheese in ireland. Enjoy! If you have any Culinary Conundrums for the lads be sure to send them to the lads on food@goloudnow.com

Radio weddings, part 10 - Radio Caroline. Daniel Robinson, Red Telecom, part 2. VOA Sao Tome, Saipan and Tinian go off the air.

Radio weddings, part 10 - Radio Caroline. Daniel Robinson, Red Telecom, part 2. VOA Sao Tome, Saipan and Tinian go off the air.

Radio legend Tony Blackburn has spent the past 60 years entertaining listeners with his cheeky charm and passion for soul music. His journey in broadcasting began in 1964 on the offshore pirate stations Radio Caroline and Radio London. Just three years later, he made history as the first DJ to be heard on BBC Radio 1, launching the station with his exciting new music show. Tony quickly became a household name, hosting iconic shows like Top of the Pops, the Top 40 and Capital Gold's award-winning Breakfast Show. In 2015 he made history again, becoming the first person to receive two Lifetime Achievement Awards from the Radio Academy. Still going strong, he continues to entertain on the airwaves, with no plans to hang up his headphones just yet... Tickets for his UK tour, Sounds of the Sixties, are available here.

Radio Caroline, Britain's first Pirate Broadcaster, is celebrating 60 years on the air this year. These days it's no longer the rebel out in international waters beaming music to European listeners; it's a legal non-profit station that generates programs from a land-based studio in Britain. However, once a month, it originates shows from the ship, the Ross Revenge, moored in territorial waters of the Blackwater estuary off England's Essex coast. It's pure old-school nostalgia, the way it was done decades ago. ABC News London correspondent Tom Rivers is out on the ship where the broadcasters are remembering bygone days this weekend and raising funds to get the boat - which is on the U-K's National Register of Historic Vessels - into dry dock for vital restoration work.

Show for Saturday 31st August 2024, 4-7 pm on www.radiocaroline.co.uk. Radio Caroline remembers her Dutch colleagues To commemorate the Dutch offshore radio stations, that closed down 50 years ago this Saturday 31st August 2024, Radio Caroline plays three hours of Dutch bands from the early 1970's accompanied by jingles, commercials and airchecks from Radio Veronica, Atlantis and Northsea. And we hear their dramatic final moments at exactly the same time as they closed down 50 years ago back in 1974. We do all that on the same mediumwave, albeit on a different wavelenght: 463 metres, which is on a frequency of 648 kHz.

Here's your daily dose of news with Update. In today's episode a union calls for meaningful discussions about pay, how we can find out more about the opportunities with artificial intelligence and do you remember the original Radio Caroline? There are some events coming up this weekend to mark its links with the Isle of Man. All that and so much more...

TT incident civil case allowed, Isle of Man Bank probate hassle, hidden Paolo Nutini concert, assisted dying 'politics' & 1960s Radio Caroline era photos wanted. It's Mannin Line with Andy Wint #iom #manninline #manxradio

PODCAST: This Week in Amateur Radio Edition #1317 - Full Version Release Date: May 25, 2024 Here is a summary of the news trending This Week in Amateur Radio. This week's edition is anchored by Denny Haight, NZ8D, Dave Wilson, WA2HOY, Don Hulick, K2ATJ, Will Rogers, K5WLR, Eric Zittel, KD2RJX, Chris Perrine, KB2FAF, George Bowen, W2XBS, and Jessica Bowen, KC2VWX. Produced and edited by George Bowen, W2XBS. Approximate Running Time: 1:29:11 Trending headlines in this week's bulletin service: Podcast Download: https://bit.ly/TWIAR1317 Trending headlines in this week's bulletin service 1. AMSAT: AMSAT At Hamvention 2. AMSAT: Lost and Found: Missing Satellite Rediscovered 3. AMSAT: Satellite Shorts From All Over 4. ARRL: 2024 ARRL National Convention Hosted at Dayton Hamvention Concludes 5. ARRL: 2024 ARRL Youth Rally A Success at Dayton Hamvention 6. ARRL: ARRL Headquarters Based Computer Systems Fall To Hackers 7. Right To Repair Law For Electronics To Debut In California 8. WWVB Operating At Reduced Power Due To Antenna Damage 9. Omnispace and Starlink Battle Over Frequency Coordination and Interference 10. Theresa Cruz Aniceto DW3TRZ SK 11. World Cup Cricket Tournament Is Seeking Amateur Radio Operators 12. Leo McHugh EI8BR, CW Mentor SK 13. Permit Is Granted For USA Radio Orienteering Event 14. Youth Operators To Be Featured In Rotuma DXpedition 15. Two Amateur Radio Projects Receive Software Awards 16. Radio Caroline, Britain's Pirate Radio Station Broadcasting From Sea, Turns 60 Years Strong 17. ARRL: 2024 ARRL National Convention a Success 18. ARRL: 2024 ARRL National Convention Forums Available On YouTube 19. ARRL: 2024 ARRL Field Day is One Month Away! 20. ARRL: International Amateur Radio Union Elections Recap 21. Northeast HamXposition and ARRL New England Division Convention announced a major addition to its program 22. Two dozen amateur radio groups will be activating different parks in and around Puerto Rico on May 26, 2024. 23. Beginning June 1, 2024, amateur radio clubs will activate special event stations for the 80th anniversary of D-Day. 24. ARRL Contest sheet and upcoming hamfests and conventions 25. FCC: FCC Votes To Reestablishes Net Neutrality Rules 26. AMSAT: 2024 AMSAT Board of Directors Election – Call for Nominations 27. WIA: Researchers Say Satellite May Imperil The Earth's Magnetosphere 28. FCC: FCC Launches New Spectrum Steering Team To Implement White House National Spectrum Policy 29. US National Weather Service Suggests Amateurs Prepare For Upcoming Hurricane Season Plus these Special Features This Week: * Working Amateur Radio Satellites with Bruce Paige, KK5DO - AMSAT Satellite News * Foundations of Amateur Radio with Onno Benschop VK6FLAB, will discuss The Nature Of Inspiration * The DX Corner with Bill Salyers, AJ8B in the DX Corner, with all the latest news on DXpeditions, DX, upcoming contests, and more.. * Weekly Propagation Forecast from the ARRL * Bill Continelli, W2XOY - The History of Amateur Radio. This week, Bill takes us all aboard The Wayback Machine to look at Part One of his series on the History of Amateur Radio Repeaters. ----- Website: https://www.twiar.net X: https://x.com/TWIAR Facebook: https://www.facebook.com/groups/twiari YouTube: https://bit.ly/TWIARYouTube RSS News: https://twiar.net/?feed=rss2 Automated (Full): https://twiar.net/TWIARHAM.mp3 (Static file, updated weekly) Automated (1-hour): https://www.twiar.net/TWIAR1HR.mp3 (Static file, updated weekly) ----- Visit our website at www.twiar.net for program audio, and daily for the latest amateur radio and technology news. You can air This Week in Amateur Radio on your repeater! Built in identification breaks every 10 minutes or less. This Week in Amateur Radio is heard on the air on nets and repeaters as a bulletin service all across North America, and all around the world on amateur radio repeater systems, weekends on WA0RCR on 1860 (160 Meters), and more. This Week in Amateur Radio is portable too! The bulletin/news service is available and built for air on local repeaters (check with your local clubs to see if their repeater is carrying the news service) and can be downloaded for air as a weekly podcast to your digital device from just about everywhere. This Week in Amateur Radio is also carried on a number of LPFM stations, so check the low power FM stations in your area. You can also stream the program to your favorite digital device by visiting our web site www.twiar.net. Or, just ask Siri, Alexa, or your Google Nest to play This Week in Amateur Radio! This Week in Amateur Radio is produced by Community Video Associates in upstate New York, and is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License. If you would like to volunteer with us as a news anchor or special segment producer please get in touch with our Executive Producer, George, via email at w2xbs77@gmail.com. Also, please feel free to follow us by joining our popular group on Facebook, and follow our feed on X! Thanks to FortifiedNet.net for the server space! Thanks to Archive.org for the audio space.

pirate radio, Radio Caroline, Ronan O'Rahilly, Radio Luxembourg, Lord Haw-Haw, propaganda, John Amery, Julian Amery, Leopold Amery, MI5, William Joyce, 1964 General Election in UK, Harold Macmillan, Profumo scandal, Harold Wilson, Tory party, Lord Boothby, Kray Twins, organized crime, Mayfair Set, Clermont Club, Thomas Corbally, Philadelphia mob, Meyer Lansky, gambling, Caroline Kennedy, IRA, Herbert W. Armstrong, British Israelism, Christian Identity theology, Worldwide Church of God, The World Tomorrow, William Potter Gale, LA area, "The Puppets," oil rights, offshore drilling, Radio London, Radio Atlanta, Gordon McLendon, Jack Ruby, Candy Barr, Office of Naval Intelligence, Columbia pictures, John Peel, Association of Former Intelligence Officers, 1968 King/Mountbatten plot, MC5s, James Bond, The Beatles, Apple, Cool Britannia, rebranding of British EmpireMusic by: Keith Allen Dennishttps://keithallendennis.bandcamp.com/Additional Music: Albert Bouchardhttps://www.amazon.com/dp/B09DHX6JH7/ref=sr_1_1?crid=36R7HC0QEYY1A&dib=eyJ2IjoiMSJ9.o9R-tsCJXZyBV46YP1RAWrYWjMmVz8-WLQpDcHz06JD0wN3-C0TXj85XDXFLTj30-68sOqffWLxAzCD-e3akPN7oNVdBbhWKOZEwR-aTR6qwJFofIMDNvqcwV5WTizUSzHAHKJJDpFlLMVLJYKQqvs6O02X9qxtmLAiabbqDiJlN8osc8PrVLbS-3wBnXnKt1UFGEah7EqqlrrdjMNl8XXwqdxFG1nYC_tLeeRLx_Ms.M1Zp0mrAQp1xllebZQ3jvh58rfr05AQomIqVrZzcKOA&dib_tag=se&keywords=albert+bouchard&qid=1714960524&s=dmusic&sprefix=%2Cdigital-music%2C289&sr=1-1 Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Caroline la Radio pirate offshore

Heute: Piratensender auf der Nordsee ++ Es war kein Aprilscherz, der sich vor genau 60 Jahren auf einem umgebauten Fischkutter auf der Nordsee abspielte, sondern der Beginn einer neuen Ära. Am 28. März 1964 begann der erste "Piratensender“ Radio Caroline, Musik zu senden verbunden mit kurzen, kräftigen Moderationen. Und zwar nicht irgendwelche Musik, sondern Popmusik. Die wurde seinerzeit von den staatlichen Radiosendern so gut wie nicht gespielt. Radio Caroline spielte Pop Musik, die vor allem junge Leute hören wollten, die aber die staatlichen Sender nicht spielten. Rundfunk-Lizenzen hatten Piratensender wie Radio Caroline natürlich nicht. Sie sendeten ausserhalb staatlicher Kontrolle von einem Schiff ausserhalb der drei Meilen - Zone. Die ersten Reaktionen der Hörer in England und auf dem Kontinent waren überwältigend, beschreibt Radiomoderatorenlegende Conny Ferrin, den die Entwicklung der Piratensender faszinieren. Man muss sich vorstellen: Es war eine ganz andere Zeit: Kein Internet, kein Handy, der Kontakt mit den Sendern ging nicht einfach per Mail. Dennoch wurde der Sender gleich am Anfang mit Briefen überschwemmt. Ein irischer Geschäftsmann steckte hinter Radio Caroline. Der wollte das Monopol der staatlich kontrollierten Rundfunkanstalten brechen und zunächst einmal die Musik spielen, die ihn persönlich interessierte. Bald folgten weitere Sender. Und kein Wunder, dass Regierungen mit aller Macht versuchten, Piratensender abzuschalten. Doch ohne diese Sender wäre der Siegeszug der Popmusik so nicht verlaufen. ++

Radio Rollback 044 Radio Caroline Happy Birthday On this episode we celebrate 60 years of the worlds most famous radio station, Radio Caroline. We look back to the very early days, with Simon Dee and Carl Conway on air from April 1964. Then from 1968, it's The Admail Robbie Dale. Happy Birthday Radio Caroline jeffmartinmedia220@gmail.com © 2024 Jeff Martin Media  

Katzer, Herwig

Heute vor 60 Jahren ging vor der Küste von Essex der erste britische Piratensender auf Sendung – "Radio Caroline".

Auf hoher See machen Rock-und-Pop-Fans 1964 vor der englischen Küste halblegal Radio - und der BBC Konkurrenz. Der Piratensender "Caroline" hat einen riesigen Erfolg. Von Thomas Pfaff.

durée : 01:00:53 - Les Nuits de France Culture - par : Albane Penaranda - Radios offshore : en 1958, du flottement sur les ondes, la radio pirate "Radio Mercur" émet au large des côtes danoises. Bateaux-radios, plateformes maritimes s'équipent d'émetteurs dont "Radio Caroline", "Radio North Sea International" et "Voice of America" sont les fréquences les plus célèbres. - invités : Jean-Marc Fombonne Écrivain; Thierry Lefebvre Chercheur en Histoire des médias, membre du Comité des travaux historiques et scientifiques (CTHS)

Live from Queen's Pier Ramsey with guests talking about retail and business, the proposed boundary extension, planning, Mooragh Park, Radio Caroline plans, the cost of progress on the pier and more. Mannin Line with Andy Wint #iom #manninline #manxradio

Radio Rollback Episode 43 Mark Wesley on RNI and 208 On this episode. Following our chat with Mark Wesley about his wonderful career on Episode 42.  We listen to som of Mark on the air. First Mark on his debut show aboad the Mebo II 14th March 1970 Then Mark on 208 Radio Luxemburg. 15th April 1972 Finally, we here Mark, when RNI was broadcasting as Radio Caroline during the 1970 General Election Campaign 18th June 1970 We also pay a tribute to Steve Wright Email jeffmartinmedia220@gmail.com © 2024 Jeff Martin Media

Shaun has been everywhere when it comes to radio! From Swansea Sound to the BBC and even on Radio Caroline. More stories than song choices in this edition of 'Music was my first love' which was originally on Hospital Radio Glamorgan on Monday 26th February 2024. 1 Moonlight Feels Right – Starbuck 2 Peg – Steely Dan 3 Down In The Tube Station At Midnight – The Jam 4 Shine A Little Love – ELO 5 Do Nothing – The Specials 6 Love Is The Answer – England Dan & John Ford Coley 7 Bridge To Your Heart – Wax 8 Who's Leaving Who – Hazel Dean 9 All Together Now – The Farm 10 Music For A Sushi Restaurant – Harry Styles

Randall Lee Rose grew up in America and was taken in by American Radio growing up, before he moved to the UK to forge a career on stations such as Radio Caroline and Capital Gold.In this edition of Radio Greats, Randall sits down with Luke to share the stories of his career on the Radio in the UK, from getting the bug, working on Radio Caroline - being part of the original line-up of Capital Gold and covering Kenny Everett. Working alongside Richard Park and how the move to Country 1035 was one of his biggest regrets. Freelancing on Virgin and Mercury before presenting on Big L and returning to Gold Radio as the voice of the station.Thanks to Aircheck Downloads for use of content.

Toen er nog geen sprake was van Radio Maeva, was er wel sprake van Arie van Loon, maar onder de naam Hugo de Groot. Dat was het pseudoniem waarmee Arie programma's maakte aan boord van de MV Mi Amigo voor Radio Caroline. In deze aflevering besteden Marc en Ben uitgebreid aandacht aan hun Maeva-collega in zijn Hugo-periode.

Au début des années 1960, les jeunes Anglais découvrent, dans le sillage des Beatles et d'autres groupes à la mode, les rythmes saccadés de la musique pop. Les médias, et notamment la BBC, tentent de se mettre au diapason.Mais la radio d'État, qui a alors le monopole de la diffusion, ne consacre que quelques heures à cette nouvelle musique. Frustrée, la jeunesse britannique se tourne alors vers une nouvelle station, Radio Caroline, créée en 1964.Installée sur un bateau, elle émet de la musique pop toute la journée. Elle ne se contente d'ailleurs pas, comme la BBC, des grands succès du moment. Elle fait aussi découvrir de nouveaux titres, dont certains deviennent vite très populaires.Une histoire chaotiqueRadio Caroline vient donc compléter la programmation de la BBC, dont la jeunesse ne représente pas le principal public. Mais les choses ne sont pas si simples. La BBC ayant le monopole de la diffusion, cette nouvelle station est donc une radio pirate.Jusqu'en 1967, le gouvernement britannique tolère cette radio, dans la mesure où le bateau qui l'abrite croise dans des eaux internationales. Mais d'autres stations, comme Radio Atlanta, qui fusionnera avec Radio Caroline, se mettent à diffuser de la musique.Les radios pirates se multipliant, les autorités finissent par les interdire. De toute façon, Radio Caroline a des difficultés financières, et ses créanciers finissent par mettre la main sur le bateau qui l'héberge !En 1972, le navire arrive tout de même au large des Pays-Bas, qui ne lui réserve pas un meilleur accueil et interdit à son tour les radios libres. Et il finit même par sombrer quelques années plus tard, en 1980.Mais l'histoire ne s'arrête pas là. Un autre bateau accueille Radio Caroline en 1983. Mais, une fois encore, l'argent vient à manquer et l'expérience tourne court en 1990.Hébergée aujourd'hui par un studio londonien, la station, qui a d'ailleurs perdu son identité, n'est plus que l'ombre d'elle-même. Il est vrai qu'elle doit faire face à une rude concurrence. Quelques milliers d'auditeurs lui sont encore fidèles, mais on est loin du succès d'antan. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Au début des années 1960, les jeunes Anglais découvrent, dans le sillage des Beatles et d'autres groupes à la mode, les rythmes saccadés de la musique pop. Les médias, et notamment la BBC, tentent de se mettre au diapason. Mais la radio d'État, qui a alors le monopole de la diffusion, ne consacre que quelques heures à cette nouvelle musique. Frustrée, la jeunesse britannique se tourne alors vers une nouvelle station, Radio Caroline, créée en 1964. Installée sur un bateau, elle émet de la musique pop toute la journée. Elle ne se contente d'ailleurs pas, comme la BBC, des grands succès du moment. Elle fait aussi découvrir de nouveaux titres, dont certains deviennent vite très populaires. Une histoire chaotique Radio Caroline vient donc compléter la programmation de la BBC, dont la jeunesse ne représente pas le principal public. Mais les choses ne sont pas si simples. La BBC ayant le monopole de la diffusion, cette nouvelle station est donc une radio pirate. Jusqu'en 1967, le gouvernement britannique tolère cette radio, dans la mesure où le bateau qui l'abrite croise dans des eaux internationales. Mais d'autres stations, comme Radio Atlanta, qui fusionnera avec Radio Caroline, se mettent à diffuser de la musique. Les radios pirates se multipliant, les autorités finissent par les interdire. De toute façon, Radio Caroline a des difficultés financières, et ses créanciers finissent par mettre la main sur le bateau qui l'héberge ! En 1972, le navire arrive tout de même au large des Pays-Bas, qui ne lui réserve pas un meilleur accueil et interdit à son tour les radios libres. Et il finit même par sombrer quelques années plus tard, en 1980. Mais l'histoire ne s'arrête pas là. Un autre bateau accueille Radio Caroline en 1983. Mais, une fois encore, l'argent vient à manquer et l'expérience tourne court en 1990. Hébergée aujourd'hui par un studio londonien, la station, qui a d'ailleurs perdu son identité, n'est plus que l'ombre d'elle-même. Il est vrai qu'elle doit faire face à une rude concurrence. Quelques milliers d'auditeurs lui sont encore fidèles, mais on est loin du succès d'antan. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Vorm, een podcast over radiovormgeving. In deze aflevering praat Bas van Teylingen met Ruud Hendriks (Mi Amigo, Radio Caroline, Unique FM, Radio Veronica, SLAM FM, Radio 538, etc.. ) Doneer je dankbaarheid voor deze prachtige content via ⁠⁠www.vriendvandeshow.nl/invorm⁠⁠ Meer Ruud: https://www.hendriks.tv/⁠⁠ Bas van Teylingen op Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/basvanteylingen⁠⁠⁠⁠⁠⁠⁠⁠ Meer over Bas van Teylingen: ⁠⁠http://www.basvanteylingen.nl/

GUEST 1 OVERVIEW: James DiEugenio has been researching the four major assassinations of the 1960s (JFK, Malcolm X, Martin Luther King and Robert F. Kennedy) for the last three decades, with special focus JFK. He's author of “The JFK Assassination” and “Destiny Betrayed”; and the screenwriter of Oliver Stone's latest film, “JFK Revisited”. That film, sold in 11 foreign countries, has been released in two versions, a two-hour release subtitled “Through the Looking Glass”, and a four-hour version, subtitled “Destiny Betrayed”. X: @jimmydie1963 https://www.kennedysandking.com/ GUEST 2 OVERVIEW: Craig Kelly is United Australia Party National Director. He initially entered politics as a member of the Liberal Party of Australia, and was elected to the Australian House of Representatives at the 2010 federal election, as a member of parliament for the division of Hughes. He resigned from the Liberal Party in February 2021 to sit on the crossbench as an independent politician, before announcing that he was joining the United Australia Party in August of that year, and was appointed as the party's leader. GUEST 3 OVERVIEW: Ian MacRae is an experienced broadcast professional and provider of media services. He launched his radio career at Melbourne's 3AW in the early 1960s. In the early 1970s his breakfast radio show rocketed Sydney radio station 2SM to the top of the ratings charts. He later travelled to the UK becoming one of the pioneer announcers of UK pirate radio stations Radio City and later Radio Caroline.

Jon Summers is The Motoring Historian. He was a company car thrashing, technology sales rep that turned into a fairly inept sports bike rider. Hailing from California, he collects cars and bikes built with plenty of cheap and fast, and not much reliable. On his show, he gets together with various co-hosts to talk about new and old cars, driving, motorbikes, motor racing, and motoring travel. Topics Covered on this Episode: Tommy Vance, Radio Caroline and Early rock radio in Britain WASP Four bands in one: the evolution of Judas Priest The science fiction theatre of Iron Maiden Aerosmith or Kiss ? Slayer - Die By The Sword  Production and thrash metal - to remaster or not to remaster Motley Crue, Backing tracks and the digitization of live music Mixtapes, and M's impression of For Whom the Bell Tolls Listening culture 1980s vs 2020s WASP - Shoot from the Hip News - Ford/Tesla (and GM/Rivian) charging infrastructure partnerships M remains EV sceptical J loves the hybrid Chevy Volt design J is flabbergasted by the Faraday Future launch Tesla, Lucid and Faraday: redefining the car EV ranges: the utility of 200 miles vs 400 miles M theorizes that lightweight is better than EV behemoths The unsafety of cabover vans 44teeth Boothy's return to the TT A shameless plug for our book, The Chronicles of Halvar and Clarence Isle of Man TT: Hickey's 133 mph lap Twenty years since the passing of Dave Jeffries Bullett - Stay Wild Pau Historic Grand Prix - A balcony overlooking the track: M's Five Star experience at the Parc Beaumont Hotel Legends Racers M and the attainable dream of Historic Racing A critique of Belgium Three Men in a Ka The defeat of the Silver Arrows - and the Nazis - at Pau - by Rene Dreyfus A digression on Mellaha, the site of the Tripoli Grand Prix The Million Franc Prize J's digression justifying his factual incorrectness A thumbnail on Hermann Lang Accept - Too High to Get it Right The Ethics of Banger Racing Quick fire: F40 or 959? F40 or F50? R32 or Focus RS? GT2 or 488 Pista? Manual transmission or rear wheel drive? You can historic race any car anywhere. What and where? Eulogy to Spa Copyright Jon Summers, The Motoring Historian. This episode is part of our Motoring Podcast Network and has been republished with permission. ===== (Oo---x---oO) ===== The Motoring Podcast Network : Years of racing, wrenching and Motorsports experience brings together a top notch collection of knowledge, stories and information. #everyonehasastory #gtmbreakfix - motoringpodcast.net Check out our membership program and go VIP at: https://www.patreon.com/gtmotorsports Other cool stuff: https://www.gtmotorsports.org/links

In this episode of The Debrief, we meet radio historian Dr Urszula Doliwa from the University of Warmia and Mazury. The history of pirate radio in Poland is slightly different to the stories many know about the famous pirate stations of the 1960s and 70s such as Radio Caroline. Here, pirate radio was more a fight for free speech than looking for the latest music trends… Host John Beauchamp is in Olsztyn at the radio studios of the Journalism Institute at the University of Warmia and Mazury, where he meets Dr Urszula Doliwa, the author of “Pirate Waves” to talk about the emergence – and disappearance – of pirate radio stations in Poland.

On this edition - The story of Radio Caroline and the 1980 sinking of the radio ship MV Mi Amigo. First broadcast in April 2021. Presented by Tom MacSweeney - https://twitter.com/tommacsweeney Discover comprehensive maritime coverage at https://maritimeirelandradioshow.ie/ Stay up to date with Tom MacSweeney's Maritime Ireland by subscribing to the show on Apple Podcasts here: https://apple.co/3qfVLEr or on Spotify here: https://spoti.fi/2DX9F5FA Follow Tom MacSweeney's Maritime Ireland on Facebook: https://www.facebook.com/maritimeirelandradioshow/ Or on Twitter - https://twitter.com/tmmaritime

This time I chat to Chris Cooper from Birmingham. He was one of the people behind Empire Radio, the short wave pirate, then went on to found the Birmingham FM pirate EST before going on to The Voice of Peace and Radio Caroline. He can now be heard regularly on Radio Seagull. He is a great story teller with a great memory of his pirate days. 

This is the second part of my chat with Bob Lawrence. We talk about regulation in radio, the future of medium wave, Caroline's 648 licence, the end of LMR, his time on the Mi Amigo and plenty of other anorak stuff. 

In this episode you can hear the first half of my conversation with Bob Lawrence (Richard Thompson). We talk about his start in radio and his time as part of the original London Music Radio. We look at the trials and tribulations of being a LBP operator in the 1970's and the camaraderie between stations of the time.   

For this episode I talk to Lawrie Hallett, the poacher turned gamekeeper. He went from pirate radio operator to ofcom official via a whole load of radio related projects and played a major role in helping Radio Caroline gain their 648 AM licence. He is now spending much of his time helping train the next generation of radio broadcasters.

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

Episode 11 finds us talking to Clair and Dave from London pirate, Rock FM. They came up with the idea of RFM in the pub, so it seems appropriate that we chat to them while they are having a Sunday lunchtime drink (hence all the pub noise). We hear about how they new nothing about LBP radio, not even listeners, and from this inauspicious start they went on to run London's premier rock pirate for five years. They even got a telling off from Radio Caroline.

We hear about Stuart's life in music, starting out as a pirate radio DJ for Radio Caroline, Stuart talks of his many adventures on sea and land back when commercial radio was illegal. Find out from Stuart which movie gives the most accurate depiction of what those days in pirate radio were like. Listen to Stuart talk about what led to the creation of Hot Press magazine in Ireland. Listen to Stuart talk about the Irish artists he is excited about now and what music scenes are thriving in Ireland. Do you know who the hip hop stars are coming out of Limerick? And where the new wave of Irish trad music is coming from? Did you know Fontaines DC are Irish? Stuart talks about all of this and more including his favourite moment in music journalism so far. Was it when he met Joe Strummer, or one of his many meetings with Dolores O'Riordan and The Cranberries, or another time? How does he handle meeting so many famous musicians? You'll have to listen in to find out. Stay tuned for a selection of music submitted by our audience during our Sunday Sync listening sessions. Did the music fit the sync brief? Find out what our panel of music and film experts think will or won't work for film and TV. Stuart Clark Hot Press Twitter Stay tuned for our sync session where our panel of filmmakers and music industry experts provide feedback on our listeners' holiday music for sync. Music is the difference between a good film and a great one. Music Songs included in this episode are: Jeepster by Marc Bolan Starman by David Bowie White Riot by The Clash Give Peace a Chance by John Lennon Linger by The Cranberries Skinty Fia by Fontaines DC SYNC SESSIONS Featuring: "Jump Right In" by the Sea Suns "Still with Me" by Nomae "Drive" by Claire Arena Feat. Chu The Producer 2 Sense  Music presents The Sync Report, where you will meet industry experts and top level songwriters as we pull the curtain back on music placement and scores, build vital relationships and provide real opportunities to our listeners. Listen to indie filmmakers present their latest productions and describe specific scenes as they consider music submitted by our audience. Please tell your friends about us, and remember to rate, comment, & subscribe to us on Apple Podcasts and across all platforms.  And find us at The Sync Report here TSR Website  Facebook  Instagram Twitter Youtube Linkedin Tik Tok  The Sync Report podcast is:  Hosted By: Colin O'Donoghue - Rose Ganguzza - Jason P. Rothberg Featuring: Kevin Sharpley - Paula Flack and Willow Produced By: JASON P ROTHBERG - KEVIN SHARPLEY - PAULA FLACK - ROBERT CAPPADONA Executive Producers: COLIN O'DONOGHUE - ROSE GANGUZZA - JASON P ROTHBERG - KEVIN SHARPLEY - GIANFRANCO BIANCHI - DEAN LYON Writers: JASON P ROTHBERG - LISA DUNN - PAULA FLACK Editors: JASON P ROTHBERG - MILFREDO SEVEN - PAULA FLACK EDGAR “EDGE” CAMEY - ADAM MCNAMARA Marketing Director: PAULA FLACK Music Supervisors: PHILL MASON Music Department: Heather Ragnars – Phill Mason - Lisa Dunn Foley: PHILL MASON Research: LISA DUNN Art Director: GIANFRANCO BIANCHI Graphic Design: JODYLYNN TALEVI  College Programs: DR STACY MONTGOMERY College interns: Angela Nicastro - Drift

August 14, 1967. Off the coast of England, a group of pirate ships has been fighting to stay afloat. These are pirates of a particular kind—less sword fighting and treasure hunting, more spinning records and dancing late into the night. For the past few years, these boats have made it their mission to broadcast popular music from international waters. But at the stroke of midnight, a new law will make these pirate radio DJs criminals. Some of them, aboard Radio Caroline, are willing to risk it. How did a group of young rebels launch an offshore radio station that gave the BBC a run for its money? And how did they change the course of music history?Special thanks to our guests, former Caroline pirates Nick Bailey, Gordon Cruse, Roger Gale, Patrick Hammerton, Keith Hampshire, Dermot Hoy, Colin Nichol, Paul Noble, Ian Ross, Chris Sandford, and Steve Young. See acast.com/privacy for privacy and opt-out information.

Newstalk ZB's Bruce Russell spent a lifetime being a companion to his treasured listeners. Whether it was reading the news or creating the character Freddy on Timaru's Radio Caroline in the 1980s, he was loved for his devilish sense of humour, gargantuan general knowledge and storytelling. The broadcaster, in his early 70s, died suddenly on Sunday night, working right up until his death – as an overnight host, newsreader and host of the popular In My Day show. He passed away shortly before he was due on air to host Newstalk ZB's overnight show. Mike Hosking shares his memories of Bruce who he crossed paths with on many occasions in the early hours of the morning.LISTEN ABOVESee omnystudio.com/listener for privacy information.

Broadcasting legend, ITFC matchday announcer, and Radio Caroline presenter, Stephen Foster, aka Foz, joins GB on this week's show.

In this week's Behind the Scenes, audio wizard Rob Ashard chats about master mixing the sound desk on The Graham Norton Show, The Last Leg, Ant & Dec's Saturday Night Takeaway and the hundreds of other programmes with which he has been associated over the last 30 plus years. We reminisce about LWT's Blind Date, Gladiators, Live from Her Majesty's, The Brian Conley Show and ‘saving the day on Saturday Night Live'. Not his words, but director Ian Hamilton's. We also learn how Rob spends his spare time behind the mic at the Santa Pod Raceway and spinning the discs as a much-respected popular DJ on Radio Caroline. Steam, Smoke & Mirrors Theme music composed by John Orchard and arranged by Ian English Facebook: colin.edmonds.73 Instagram: colinedmondsssm Twitter:@ColinEdmondsSSM Website: https://www.steamsmokeandmirrors.com/ Buy Steam, Smoke and Mirrors Available at Caffeine Nights Available at Amazon Available on Audible Buy The Lazarus Curiosity: Steam, Smoke and Mirrors 2 Available at Caffeine Nights Available at Amazon Available on Audible Buy The Nostradamus Curiosity: Steam, Smoke and Mirrors 3 Available at Caffeine Nights Available at Amazon

Nick Richards was a DJ for Radio Caroline, an unlicensed offshore radio station operating off the coast of the UK. This was the late 1970s, and millions of people were tuning in, but there were problems with the ship. Because of its illegal status, it couldn't go to shore for repairs, and it was rotting below the waterline. The DJs did their best to keep the ship afloat, until they faced one storm too many. Nick spoke to Outlook's Harry Graham. Get in touch: outlook@bbc.com Presenter: Harry Graham Producer: Harry Graham Image: The pirate radio ship Mi Amigo, home to Radio Caroline Credit: Getty Images/Evening Standard

PIRATE RADIO first erupted in the UK in the early 1960s when stations such as Radio Caroline and Radio London started to broadcast from ships moored offshore or disused WW2 forts in the north sea. They were set up by wildcat entrepreneurs and music enthusiasts to meet the growing demand for the pop, rock and underground music not catered for by the BBC who had a monopoly on the airwaves. Music writer ROB CHAPMAN returns to the Bureau to tell the story of this first golden age of illicit broadcasting.  We hear of the extraordinary life of pirate-in-chief Ronan O'Rahilly anarchist founder of Radio Caroline, of legendary broadcaster John Peel and his ground breaking show ‘The Perfumed Garden', and of the oddities of life aboard the radio ships precariously sailing the airwaves. Initially, the stations got round the law because they were broadcasting from international waters to delighted young people across the country before they ran foul of the authorities and were shut down in 1967. But their impact lived on: the government caved into youth demand for pop music with the creation of Radio 1 and many of the pirate radio DJs including Tony Blackburn, Kenny Everett, Johnnie Walker, Emperor Rosko went on to mainstream success with the BBC and commercial stations of the seventies and beyond. For more on Rob http://www.rob-chapman.com ---------- Get the Bureau's Newsletter   Support our wild endeavours   The Bureau of Lost Culture Home   Go on - follow, rate and review us - or be in touch directly bureauoflostculture@gmail.com We'd love to hear from you. -------------

Episode 125 of A History of Rock Music in Five Hundred Songs looks at “Here Comes the Night", Them, the early career of Van Morrison, and the continuing success of Bert Berns.  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 "Dirty Water" by the Standells. 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/ Resources As usual, I've created a Mixcloud playlist, with full versions of all the songs excerpted in this episode. The information about Bert Berns comes from Here Comes the Night: The Dark Soul of Bert Berns and the Dirty Business of Rhythm and Blues by Joel Selvin. I've used two biographies of Van Morrison. Van Morrison: Into the Music by Ritchie Yorke is so sycophantic towards Morrison that the word "hagiography" would be, if anything, an understatement. Van Morrison: No Surrender by Johnny Rogan, on the other hand, is the kind of book that talks in the introduction about how the author has had to avoid discussing certain topics because of legal threats from the subject. I also used information from the liner notes to The Complete Them 1964-1967, which as the title suggests is a collection of all the recordings the group made while Van Morrison was in the band. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we're going to take a look at a band whose lead singer, sadly, is more controversial now than he was at the period we're looking at. I would normally not want to explicitly talk about current events upfront at the start of an episode, but Van Morrison has been in the headlines in the last few weeks for promoting dangerous conspiracy theories about covid, and has also been accused of perpetuating antisemitic stereotypes with a recent single.  So I would like to take this opportunity just to say that no positive comments I make about the Van Morrison of 1965 in this episode should be taken as any kind of approval of the Van Morrison of 2021 -- and this should also be taken as read for one of the similarly-controversial subjects of next week's episode...   Anyway, that aside, today we're going to take a look at the first classic rock and roll records made by a band from Northern Ireland, and at the links between the British R&B scene and the American Brill Building. We're going to look at Van Morrison, Bert Berns, and "Here Comes the Night" by Them:   [Excerpt: Them, "Here Comes the Night"]   When we last looked at Bert Berns, he was just starting to gain some prominence in the East Coast recording scene with his productions for artists like Solomon Burke and the Isley Brothers. We've also, though it wasn't always made explicit, come across several of his productions when talking about other artists -- when Leiber and Stoller stopped working for Atlantic, Berns took over production of their artists, as well as all the other recordings he was making, and so many of the mid-sixties Drifters records we looked at in the episode on "Stand By Me" were Berns productions. But while he was producing soul classics in New York, Berns was also becoming aware of the new music coming from the United Kingdom -- in early 1963 he started receiving large royalty cheques for a cover version of his song "Twist and Shout" by some English band he'd never heard of. He decided that there was a market here for his songs, and made a trip to the UK, where he linked up with Dick Rowe at Decca.    While most of the money Berns had been making from "Twist and Shout" had been from the Beatles' version, a big chunk of it had also come from Brian Poole and the Tremeloes, the band that Rowe had signed to Decca instead of the Beatles. After the Beatles became big, the Tremeloes used the Beatles' arrangement of "Twist and Shout", which had been released on an album and an EP but not a single, and had a top ten hit with their own version of it:   [Excerpt: Brian Poole and the Tremeloes, "Twist and Shout"]   Rowe was someone who kept an eye on the American market, and saw that Berns was a great source of potential hits. He brought Berns over to the UK, and linked him up with Larry Page, the manager who gave Rowe an endless supply of teen idols, and with Phil Solomon, an Irish manager who had been the publicist for the crooner Ruby Murray, and had recently brought Rowe the group The Bachelors, who had had a string of hits like "Charmaine":   [Excerpt: The Bachelors, "Charmaine"]   Page, Solomon, and Rowe were currently trying to promote something called "Brum Beat", as a Birmingham rival to Mersey beat, and so all the acts Berns worked with were from Birmingham. The most notable of these acts was one called Gerry Levene and the Avengers. Berns wrote and produced the B-side of that group's only single, with Levene backed by session musicians, but I've been unable to find a copy of that B-side anywhere in the digital domain. However, the A-side, which does exist and wasn't produced by Berns, is of some interest:   [Excerpt: Gerry Levene and the Avengers, "Dr. Feelgood"]   The lineup of the band playing on that included guitarist Roy Wood, who would go on to be one of the most important and interesting British musicians of the later sixties and early seventies, and drummer Graeme Edge, who went on to join the Moody Blues. Apparently at another point, their drummer was John Bonham.   None of the tracks Berns recorded for Decca in 1963 had any real success, but Berns had made some useful contacts with Rowe and Solomon, and most importantly had met a British arranger, Mike Leander, who came over to the US to continue working with Berns, including providing the string arrangements for Berns' production of "Under the Boardwalk" for the Drifters:   [Excerpt: The Drifters, "Under the Boardwalk"]   In May 1964, the month when that track was recorded, Berns was about the only person keeping Atlantic Records afloat -- we've already seen that they were having little success in the mid sixties, but in mid-May, even given the British Invasion taking over the charts, Berns had five records in the Hot One Hundred as either writer or producer -- the Beatles' version of "Twist and Shout" was the highest charting, but he also had hits with "One Way Love" by the Drifters:   [Excerpt: The Drifters, "One Way Love"]   "That's When it Hurts" by Ben E. King:   [Excerpt: Ben E. King, "That's When it Hurts"]   "Goodbye Baby (Baby Goodbye)" by Solomon Burke:   [Excerpt: Solomon Burke, "Goodbye Baby (Baby Goodbye)"]   And "My Girl Sloopy" by the Vibrations:   [Excerpt: The Vibrations, "My Girl Sloopy"]   And a week after the production of "Under the Boardwalk", Berns was back in the studio with Solomon Burke, producing Burke's classic "Everybody Needs Somebody to Love", though that track would lead to a major falling-out with Burke, as Berns and Atlantic executive Jerry Wexler took co-writing credit they hadn't earned on Burke's song -- Berns was finally at the point in his career where he was big enough that he could start stealing Black men's credits rather than having to earn them for himself:   [Excerpt: Solomon Burke, "Everybody Needs Somebody to Love"]   Not everything was a hit, of course -- he wrote a dance track with Mike Leander, "Show Me Your Monkey", which was definitely not a big hit -- but he had a strike rate that most other producers and writers would have killed for. And he was also having hits in the UK with the new British Invasion bands -- the Animals had made a big hit from "Baby Let Me Take You Home", the old folk tune that Berns had rewritten for Hoagy Lands. And he was still in touch with Phil Solomon and Dick Rowe, both of whom came over to New York for Berns' wedding in July.   It might have been while they were at the wedding that they first suggested to Berns that he might be interested in producing a new band that Solomon was managing, named Them, and in particular their lead singer, Van Morrison.   Van Morrison was always a misfit, from his earliest days. He grew up in Belfast, a city that is notoriously divided along sectarian lines between a Catholic minority who (for the most part) want a united Ireland, and a Presbyterian majority who want Northern Ireland to remain part of the UK. But in a city where the joke goes that a Jewish person would be asked "but are you a Catholic Jew or a Protestant Jew?", Morrison was raised as a Jehovah's Witness, and for the rest of his life he would be resistant to fitting into any of the categories anyone tried to put him in, both for good and ill.   While most of the musicians from the UK we've looked at so far have been from middle-class backgrounds, and generally attended art school, Morrison had gone to a secondary modern school, and left at fourteen to become a window cleaner. But he had an advantage that many of his contemporaries didn't -- he had relatives living in America and Canada, and his father had once spent a big chunk of time working in Detroit, where at one point the Morrison family planned to move. This exposed Morrison senior to all sorts of music that would not normally be heard in the UK, and he returned with a fascination for country and blues music, and built up a huge record collection. Young Van Morrison was brought up listening to Hank Williams, Sister Rosetta Tharpe,  Jimmie Rodgers, Louis Jordan, Jelly Roll Morton, and his particular favourite, Lead Belly. The first record he bought with his own money was "Hootin' Blues" by the Sonny Terry Trio:   [Excerpt: The Sonny Terry Trio, "Hootin' Blues"]   Like everyone, Van Morrison joined a skiffle group, but he became vastly more ambitious in 1959 when he visited a relative in Canada. His aunt smuggled him into a nightclub where an actual American rock and roll group were playing -- Ronnie Hawkins and the Hawks:   [Excerpt: Ronnie Hawkins, "Mary Lou"]   Hawkins had been inspired to get into the music business by his uncle Delmar, a fiddle player whose son, Dale Hawkins, we looked at back in episode sixty-three. His band, the Hawks, had a reputation as the hottest band in Canada -- at this point they were still all Americans, but other than their drummer Levon Helm they would soon be replaced one by one with Canadian musicians, starting with bass player Robbie Robertson.   Morrison was enthused and decided he was going to become a professional musician. He already played a bit of guitar, but started playing the saxophone too, as that was an instrument that would be more likely to get him work at this point.   He joined a showband called the Monarchs, as saxophone player and occasional vocalist. Showbands were a uniquely Irish phenomenon -- they were eight- or nine-piece groups, rhythm sections with a small horn section and usually a couple of different singers, who would play every kind of music for dancing, ranging from traditional pop to country and western to rock and roll, and would also perform choreographed dance routines and comedy sketches.    The Monarchs were never a successful band, but they managed to scrape a living playing the Irish showband circuit, and in the early sixties they travelled to Germany, where audiences of Black American servicemen wanted them to play more soulful music like songs by Ray Charles, an opportunity Morrison eagerly grabbed. It was also a Black American soldier who introduced Morrison to the music of Bobby Bland, whose "Turn on Your Love Light" was soon introduced to the band's set:   [Excerpt Bobby "Blue" Bland, "Turn on Your Love Light"]   But they were still mostly having to play chart hits by Billy J Kramer or Gerry and the Pacemakers, and Morrison was getting frustrated. The Monarchs did get a chance to record a single in Germany, as Georgie and the Monarchs, with another member, George Jones (not the famous country singer) singing lead, but the results were not impressive:   [Excerpt: Georgie and the Monarchs, "O Twingy Baby"]   Morrison moved between several different showbands, but became increasingly dissatisfied with what he was doing. Then another showband he was in, the Manhattan Showband, briefly visited London, and Morrison and several of his bandmates went to a club called Studio 51, run by Ken Colyer. There they saw a band called The Downliners Sect, who had hair so long that the Manhattan members at first thought they were a girl group, until their lead singer came on stage wearing a deerstalker hat. The Downliners Sect played exactly the kind of aggressive R&B that Morrison thought he should be playing:   [Excerpt: The Downliners Sect, "Be a Sect Maniac"]   Morrison asked if he could sit in with the group on harmonica, but was refused -- and this was rather a pattern with the Downliners Sect, who had a habit of attracting harmonica players who wanted to be frontmen. Both Rod Stewart and Steve Marriott did play harmonica with the group for a while, and wanted to join full-time, but were refused as they clearly wanted to be lead singers and the group didn't need another one of them.   On returning to Belfast, Morrison decided that he needed to start his own R&B band, and his own R&B club night. At first he tried to put together a sort of supergroup of showband regulars, but most of the musicians he approached weren't interested in leaving their steady gigs. Eventually, he joined a band called the Gamblers, led by guitarist and vocalist Billy Harrison. The Gamblers had started out as an instrumental group, playing rock and roll in the style of Johnny and the Hurricanes, but they'd slowly been moving in a more R&B direction, and playing Chuck Berry and Bo Diddley material. Morrison joined the group on saxophone and vocals -- trading off leads with Harrison -- and the group renamed themselves after a monster movie from a few years before:   [Excerpt: THEM! trailer]   The newly renamed Them took up a regular gig at the Maritime Hotel, a venue which had previously attracted a trad jazz crowd, and quickly grew a substantial local following. Van Morrison later often said that their residency at the Maritime was the only time Them were any good, but that period was remarkably short -- three months after their first gig, the group had been signed to a management, publishing, and production deal with Philip Solomon, who called in Dick Rowe to see them in Belfast. Rowe agreed to the same kind of licensing deal with Solomon that Andrew Oldham had already got from him for the Stones -- Them would record for Solomon's company, and Decca would license the recordings.   This also led to the first of the many, many, lineup changes that would bedevil the group for its short existence -- between 1964 and 1966 there were eighteen different members of the group. Eric Wrixon, the keyboard player, was still at school, and his parents didn't think he should become a musician, so while he came along to the first recording session, he didn't sign the contract because he wasn't allowed to stay with the group once his next term at school started. However, he wasn't needed -- while Them's guitarist and bass player were allowed to play on the records, Dick Rowe brought in session keyboard player Arthur Greenslade and drummer Bobby Graham -- the same musicians who had augmented the Kinks on their early singles -- to play with them.   The first single, a cover version of Slim Harpo's "Don't Start Crying Now", did precisely nothing commercially:   [Excerpt: Them, "Don't Start Crying Now"]   The group started touring the UK, now as Decca recording artistes, but they almost immediately started to have clashes with their management. Phil Solomon was not used to aggressive teenage R&B musicians, and didn't appreciate things like them just not turning up for one gig they were booked for, saying to them "The Bachelors never missed a date in their lives. One of them even had an accident on their way to do a pantomime in Bristol and went on with his leg in plaster and twenty-one stitches in his head."   Them were not particularly interested in performing in pantomimes in Bristol, or anywhere else, but the British music scene was still intimately tied in with the older showbiz tradition, and Solomon had connections throughout that industry -- as well as owning a publishing and production company he was also a major shareholder in Radio Caroline, one of the pirate radio stations that broadcast from ships anchored just outside British territorial waters to avoid broadcasting regulations, and his father was a major shareholder in Decca itself.    Given Solomon's connections, it wasn't surprising that Them were chosen to be one of the Decca acts produced by Bert Berns on his next UK trip in August 1964. The track earmarked for their next single was their rearrangement of "Baby Please Don't Go", a Delta blues song that had originally been recorded in 1935 by Big Joe Williams and included on the Harry Smith Anthology:   [Excerpt: Big Joe Williams' Washboard Blues Singers , "Baby Please Don't Go"]   though it's likely that Them had learned it from Muddy Waters' version, which is much closer to theirs:   [Excerpt: Muddy Waters, "Baby Please Don't Go"]   Bert Berns helped the group tighten up their arrangement, which featured a new riff thought up by Billy Harrison, and he also brought in a session guitarist, Jimmy Page, to play rhythm guitar. Again he used a session drummer, this time Andy White who had played on "Love Me Do". Everyone agreed that the result was a surefire hit:   [Excerpt: Them, "Baby Please Don't Go"]   At the session with Berns, Them cut several other songs, including some written by Berns, but it was eventually decided that the B-side should be a song of Morrison's, written in tribute to his dead cousin Gloria, which they'd recorded at their first session with Dick Rowe:   [Excerpt: Them, "Gloria"]   "Baby Please Don't Go" backed with "Gloria" was one of the great double-sided singles of the sixties, but it initially did nothing on the charts, and the group were getting depressed at their lack of success, Morrison and Harrison were constantly arguing as each thought of himself as the leader of the group, and the group's drummer quit in frustration. Pat McAuley, the group's new keyboard player, switched to drums, and brought in his brother Jackie to replace him on keyboards.    To make matters worse, while "Baby Please Don't Go" had flopped, the group had hoped that their next single would be one of the songs they'd recorded with Berns, a Berns song called "Here Comes the Night". Unfortunately for them, Berns had also recorded another version of it for Decca, this one with Lulu, a Scottish singer who had recently had a hit with a cover of the Isley Brothers' "Shout!", and her version was released as a single:   [Excerpt: Lulu, "Here Comes the Night"]   Luckily for Them, though unluckily for Lulu, her record didn't make the top forty, so there was still the potential for Them to release their version of it.   Phil Solomon hadn't given up on "Baby Please Don't Go", though, and he began a media campaign for the record. He moved the group into the same London hotel where Jimmy Savile was staying -- Savile is now best known for his monstrous crimes, which I won't go into here except to say that you shouldn't google him if you don't know about them, but at the time he was Britain's most popular DJ, the presenter of Top of the Pops, the BBC's major TV pop show, and a columnist in a major newspaper. Savile started promoting Them, and they would later credit him with a big part of their success.   But Solomon was doing a lot of other things to promote the group as well. He part-owned Radio Caroline, and so "Baby Please Don't Go" went into regular rotation on the station. He called in a favour with the makers of Ready Steady Go! and got "Baby Please Don't Go" made into the show's new theme tune for two months, and soon the record, which had been a flop on its first release, crawled its way up into the top ten.   For the group's next single, Decca put out their version of "Here Comes the Night", and that was even more successful, making it all the way to number two on the charts, and making the American top thirty:   [Excerpt: Them, "Here Comes the Night"]   As that was at its chart peak, the group also performed at the NME Poll-Winners' Party at Wembley Stadium, a show hosted by Savile and featuring The Moody Blues, Freddie and the Dreamers, Georgie Fame and the Blue Flames, Herman's Hermits, Cilla Black, Donovan, The Searchers, Dusty Springfield, The Animals,The Kinks, the Rolling Stones, and the Beatles, among others. Even on that bill, reviewers singled out Them's seven-minute performance of Bobby Bland's "Turn on Your Love Light" for special praise, though watching the video of it it seems a relatively sloppy performance.   But the group were already starting to fall apart. Jackie McAuley was sacked from the group shortly after that Wembley show -- according to some of the group, because of his use of amphetamines, but it's telling that when the Protestant bass player Alan Henderson told the Catholic McAuley he was out of the group, he felt the need to emphasise that "I've got nothing against" -- and then use a term that's often regarded as an anti-Catholic slur...   On top of this, the group were also starting to get a bad reputation among the press -- they would simply refuse to answer questions, or answer them in monosyllables, or just swear at journalists. Where groups like the Rolling Stones carefully cultivated a "bad boy" image, but were doing so knowingly and within carefully delineated limits, Them were just unpleasant and rude because that's who they were.   Bert Berns came back to the UK to produce a couple of tracks for the group's first album, but he soon had to go back to America, as he had work to do there -- he'd just started up his own label, a rival to Red Bird, called BANG, which stood for Bert, Ahmet, Neshui, Gerald -- Berns had co-founded it with the Ertegun brothers and Jerry Wexler, though he soon took total control over it. BANG had just scored a big hit with "I Want Candy" by the Strangeloves, a song Berns had co-written:   [Excerpt: The Strangeloves, "I Want Candy"]   And the Strangeloves in turn had discovered a singer called Rick Derringer, and Bang put out a single by him under the name "The McCoys", using a backing track Berns had produced as a Strangeloves album track, their version of his earlier hit "My Girl Sloopy". The retitled "Hang on Sloopy" went to number one:   [Excerpt: The McCoys, "Hang on Sloopy"]   Berns was also getting interested in signing a young Brill Building songwriter named Neil Diamond... The upshot was that rather than continuing to work with Berns, Them were instead handed over to Tommy Scott, an associate of Solomon's who'd sung backing vocals on "Here Comes the Night", but who was best known for having produced "Terry" by Twinkle:   [Excerpt: Twinkle, "Terry"]   The group were not impressed with Scott's productions, and their next two singles flopped badly, not making the charts at all. Billy Harrison and Morrison were becoming less and less able to tolerate each other, and eventually Morrison and Henderson forced Harrison out. Pat McAuley quit two weeks later,    The McAuley brothers formed their own rival lineup of Them, which initially also featured Billy Harrison, though he soon left, and they got signed to a management contract with Reg Calvert, a rival of Solomon's who as well as managing several pop groups also owned Radio City, a pirate station that was in competition with Radio Caroline. Calvert registered the trademark in the name Them, something that Solomon had never done for the group, and suddenly there was a legal dispute over the name.   Solomon retaliated by registering trademarks for the names "The Fortunes" and "Pinkerton's Assorted Colours" -- two groups Calvert managed -- and putting together rival versions of those groups. However the problem soon resolved itself, albeit tragically -- Calvert got into a huge row with Major Oliver Smedley, a failed right-libertarian politician who, when not co-founding the Institute for Economic Affairs and quitting the Liberal Party for their pro-European stance and left-wing economics, was one of Solomon's co-directors of Radio Caroline. Smedley shot Calvert, killing him, and successfully pled self-defence at his subsequent trial. The jury let Smedley off after only a minute of deliberation, and awarded Smedley two hundred and fifty guineas to pay for his costs.   The McAuley brothers' group renamed themselves to Them Belfast -- and the word beginning with g that some Romany people regard as a slur for their ethnic group -- and made some records, mostly only released in Sweden, produced by Kim Fowley, who would always look for any way to cash in on a hit record, and wrote "Gloria's Dream" for them:   [Excerpt: Them Belfast G***ies, "Gloria's Dream"]   Morrison and Henderson continued their group, and had a surprise hit in the US when Decca issued "Mystic Eyes", an album track they'd recorded for their first album, as a single in the US, and it made the top forty:   [Excerpt: Them, "Mystic Eyes"]   On the back of that, Them toured the US, and got a long residency at the Whisky a Go-Go in LA, where they were supported by a whole string of the Sunset Strip's most exciting new bands -- Captain Beefheart and the Magic Band, The Association, Buffalo Springfield, and the Doors. The group became particularly friendly with the Doors, with the group's new guitarist getting thrown out of clubs with Jim Morrison for shouting "Johnny Rivers is a wanker!" at Rivers while Rivers was on stage, and Jim Morrison joining them on stage for duets, though the Doors were staggered at how much the Belfast group could drink -- their drink bill for their first week at the Whisky A Go-Go was $5400.   And those expenses caused problems, because Van Morrison agreed before the tour started that he would be on a fixed salary, paid by Phil Solomon, and Solomon would get all the money from the promoters. But then Morrison found out how much Solomon was making, and decided that it wasn't fair that Solomon would get all that money when Morrison was only getting the comparatively small amount he'd agreed to. When Tommy Scott, who Solomon had sent over to look after the group on tour, tried to collect the takings from the promoters, he was told "Van Morrison's already taken the money".    Solomon naturally dropped the group, who continued touring the US without any management, and sued them. Various Mafia types offered to take up the group's management contract, and even to have Solomon murdered, but the group ended up just falling apart.    Van Morrison quit the group, and Alan Henderson struggled on for another five years with various different lineups of session men, recording albums as Them which nobody bought. He finally stopped performing as Them in 1972. He reunited with Billy Harrison and Eric Wrixon, the group's original keyboardist, in 1979, and they recorded another album and toured briefly. Wrixon later formed another lineup of Them, which for a while included Billy Harrison, and toured with that group, billed as Them The Belfast Blues Band, until Wrixon's death in 2015.   Morrison, meanwhile, had other plans. Now that Them's two-year contract with Solomon was over, he wanted to have the solo career people had been telling him he deserved. And he knew how he was going to do it. All along, he'd thought that Bert Berns had been the only person in the music industry who understood him as an artist, and now of course Berns had his own record label. Van Morrison was going to sign to BANG Records, and he was going to work again with Bert Berns, the man who was making hits for everyone he worked with.   But the story of "Brown-Eyed Girl", and Van Morrison going solo, and the death of Bert Berns, is a story for another time...

Meet the guv'nor: BBC's first newsreader, children's presenter, actor, Head of Programmes... but before all that Arthur Burrows was one of broadcasting's lone prophets, convincing journalists, ministers and future listeners-in that mass entertainment from a small box was A Good Thing. Plus we exclusively hear from a pirate radio legend. Emperor Rosko tells us his journey from naval ship DJ to Radio Caroline, Radio Luxembourg and the first line-up of BBC Radio 1. This podcast has nothing by the way to do with the BBC. We're talking about them, not with them... It's just a one-man band here. If you'd like to support that one-man band:  - ko-fi.com/paulkerensa buys me a coffee - patreon.com/paulkerensa has tiers and benefits - and your sharing, rating, reviewing and talking about this podcast is hugely appreciated. Follow our Facebook page and Twitter handle for pictures and things to go with this podcast.  Original music is by Will Farmer - if you need music, visit his page. Paul's Mailing list | Books | Facebook | Twitter | Youtube | Website